terça-feira, 28 de fevereiro de 2012

OS 12 MELHORES CDS PELA JAZZWEEK

FEBRERO) JIMMY OWENS INAMOVIBLEEn la cartelera de jazz que publica semanalmente JazzWeek, hay tres nuevas entradas a la primera docena: Akiko Tsuruga, Jeremy Pelt y Steve Turre (8, 9 y 10). En los tres primeros lugares siguen obstinadamente Jimmy Owens, Bruce Babad y Gary Smulyan. Y Chick Corea baja del cuarto al décimo primer puesto. La siguiente es la primera docena de la cartelera de jazz de esta semana:

01 Jimmy Owens, The Monk Project
02 Bruce Babad, A Tribute To Paul Desmond
03 Gary Smulyan, Smul´s Paradise
04 Catherine Russell, Strictly Romancin´
05 Christian McBride Big Band, The Good Feeling
06 Jack DeJohnette, Sound Travels
07 Dennis Rollins, 11th Gate
08 Akiko Tsuraga, Sakura
09 Jeremy Pelt, Soul
10 Steve Turre, Woody´s Delight
11 Chick Corea, Further Explorations
12 Paul McCartney, Kisses On The Bottom

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

segunda-feira, 27 de fevereiro de 2012

THE BROTHERS ! COHN PERKINS KAMUCA

Tuesday, December 9, 2008

Al Cohn, Richie Kamuca & Bill Perkins

Lester Young's influence on younger tenor players was at its height in the early-to-mid-'50s. This enjoyable session matches together the three tenors of Al Cohn, Bill Perkins and Richie Kamuca but good luck telling them apart! Backed by pianist Hank Jones, either Barry Galbraith or Jimmy Raney (who used the pseudonym on this date of Sam Beethoven) on guitar, bassist John Beal and drummer Chuck Flores, the tenors play concise versions of originals by Cohn, Perkins, Nat Pierce, Bill Potts and Bob Brookmeyer in addition to the lone standard "Blue Skies." The music is fun and swinging if not all that original or distinctive. [The disc was issued by Mosaic in 2006 with the addition of four bonus tracks.]
Scott Yanow
Al Cohn, Bill Perkins & Richie Kamuca
The Brothers !
Tracks
1 Blixed* (Potts) 3:48
2 Kim's Kaper (Perkins) 3:13
3 Rolling Stone (Brookmeyer) 3:08
4 Sioux Zan* (Pierce) 3:08
5 The Walrus* (Cohn) 2:48
6 Blue Skies (Berlin) 3:12
7 Gay Blade (Brookmeyer) 3:17
8 Three of a Kind (Pierce) 3:13
9 Hags !* (Potts) 3:19
10 Pro-Ex (Perkins) 3:04
11 Strange Again* (Potts) 3:19
12 Cap Snapper (Cohn) 3:39
13 Memories of You (Blake, Razaf) 3:02
14 Saw Buck* (Pierce) 3:22
15 Chorus for Morris* (Pierce) 3:22
16 Slightly Salty (Kamuca) 3:15
Personnel
Al Cohn, Richie Kamuca & Bill Perkins - ts
Hank Jones - p
Barry Galbraith - g
Jimmy Raney* - g
John Beal - b
Chuck Flores - dr
Recorded at Webster Hall, New York City on June 24 (Galbraith tracks) and June 25 (Raney Tracks), 1955
Canadiense Bria Skonberg debuta en EEUU.La multi-talentosa trompetista, directora, compositora y cantante Bria Skonberg, nacida en el Oeste de Canadá, anunció su álbum de debut en los EEUU. Skonberg ya es ampliamente conocida en ambos países, pero este es el primer disco publicado en EEUU, que se titulará "So Is The Day". Canadá tiene una tradición de músicos de jazz que se han impuesto en el vecino del sur y en todo el mundo: Oscar Peterson, Maynard Ferguson, Gil Evans, Diana Krall, Nikki Yanofsky y más recientemente las hermanas Ingrid y Christine Jensen (trompeta y saxo). Ahora Bria Skonberg ya se ha dado a conocer en Nueva York, donde ha tocado en los principales clubes y salas de concierto. El año pasado hizo su primera aparición como solista en el solemne Symphony Space. Su álbum está programado para abril.

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noticiasjazz.com
Kenny Barron, Michel Camilo y David Sanborn inmortalizados.La famosa firma de esculturas y figurines Lladró ofrecerá un cocktail de honor, el 8 de marzo, en la Lladró Boutique de Nueva York, para el lanzamiento de una escultura en homenaje a los músicos de jazz Kenny Barron, Michel Camilo y David Sanborn. Asó lo anunció su Presidenta, Rosa Lladró. La escultura-figurín es una versión limitada bajo el título "Trío de jazz", que le será presentada a los tres músicos mencionados, en reconocimiento por el logro de sus vidas y por el aporte que han realizado al arte y la cultura. En el evento tocará también el guitarrista de jazz español Ximo Tebart, acompañado del pianista Jim Rido, del contrabajista John Benítez y del baterista Donald Edwards.

noticiasjazz.blogspot.com

MORRE AOS 74 ANOS PIANISTA MIKE MELVOIN

Muere Mike Melvoin.
Uno de los más prolíficos y versátiles pianistas de jazz, Mike Melvoin, falleció a los 74 años de edad en Los Ángeles. Melvoin tocó con el saxofonista Stan Getz y una serie de otros músicos de jazz de esa generación, pero también lo hizo con Frank Sinatra, Barbra Streisand, Natalie Cole, Tony Bennett, John Lennon y los Beach Boys, entre otros. Entre los músicos de jazz con quienes tocó y grabó, además de Getz, se cuentan Frank Rosolino, Leroy Vinnegar, Gerald Wilson, Paul Horn, Terry Gibbs, Herb Ellis, Joe Williams y Peggy Lee. Grabó también álbumes bajo su nombre con grupos pequeños. Fue el primer músico activo que ocupó el puesto de Presidente de la Recording Academy.

noticiasjazz.blogspot.com

sábado, 25 de fevereiro de 2012

HAMPTON HAWES FOUR

Wednesday, February 4, 2009

Hampton Hawes

Pianist Hampton Hawes' 1950s recordings for the Contemporary label are at such a high level that they could all be given five stars. This outing with bassist Red Mitchell, drummer Shelly Manne, and guitarist Barney Kessel (who is a slight wild card) is also quite successful. Two previously unreleased numbers ("Thou Swell" and "The Awful Truth") have been added to the CD reissue. Highlights of the exciting bop date include "Yardbird Suite," "There Will Never Be Another You," and "Love Is Just Around the Corner."
Scott Yanow

Hampton Hawes
Four ! Hampton Hawes !!!!
Tracks
1 Yardbird Suite (Parker) 6:43
2 There Will Never Be Another You (Gordon, Warren) 7:03
3 Bow Jest (Mitchell) 6:33
4 Sweet Sue (Harris, Young) 5:39
5 Up Blues (Hawes) 5:13
6 Like Someone in Love (Burke, VanHeusen) 3:24
7 Love Is Just Around the Corner (Gensler, Robin) 5:45
8 Thou Swell [*] (Hart, Rodgers) 4:56
9 The Awful Truth [*] (Hawes) 8:09
* Bonus Tracks

Personnel
Hampton Hawes - p
Barney Kessel - g
Red Mitchell - b
Shelly Manne - dr
Recorded at Contemporary's Studio in Los Angeles ; January 27, 1958.

TETE MONTOLIU TRIO COMPLETE CONCENTRIC RECORDINGS

:

Tete Montoliu - Complete Concentric Recordings

We are still cooking with Juan here on this disc which combines two LPs from 1965.

"Date: summer 1965
Location: Barcelona, Spain
Label: Concentric

Tete Montoliu (ldr), Tete Montoliu (p), Eric Peter (b), Billy Brooks (d)

Late in the summer of 1965, the excellent performances of Tete Montoliu's trio at the club Jamboree in Barcelona had surpassed even the wildest expectations. The pianist, Eric Peter and Billy Brooks were at their creative best, so much so that, by fall, they recorded for the newly formed label Concentric. The immediate results were an album that went by the name "A tot jazz,"—the first 12 inch LP to be produced in its entirety by a Spanish label—and an EP single. A year later, Concèntric released the second volume of "A tot Jazz" using the remaining material from that recording session. You will find here, for the first time on a single CD, these two essential albums in the pianist's extensive discography. Let's enjoy, once again, the fantastic performances of this legendary trio led by Tete Montoliu."

Songs:

Stella By Starlight
I Guess I'll Hang My Tears Out To Dry
Scandia Sky
Fly Me To The Moon
Lament
Au Privave
Chim Chim Cheree
Polka Dots And Moonbeams
Secret Love
Salt Peanuts
Israel
Sometime Ago
Come Rain Or Come Shine
Have You Met Miss Jones?

Juan's link also includes the two original album covers

LUCKY THOMPSON - SOUL NIGHT OUT

Saturday, November 13, 2010

Lucky Thompson - Soul's Night Out

There are few things in the music world as sublime as the tone of Eli "Lucky" Thompson on a soprano saxophone. I'm sure I'll get howls from the Lacy and Coltrane camps but I put Lucky on the step next to Sidney Bechet when we talk gods of the soprano. He also occupies a Hodges-like tier when it comes to being an unmistakable tone monster be it on either soprano or tenor. Here then, is a little something I've been saving; a Thompson recording as good as any I've heard and I promise you there isn't much I've missed. If you love Lucky Strikes, this is a fitting companion to that album. I am listening as I write and I am finding it increasingly difficult to focus, did I mention he is playing with the Tete Montoliu Trio....No? Okay, well I'm toast then.

Date: May 1-2, 1970
Location: Barcelona, Spain
Label: Ensayo (Sp.)
Lucky Thompson (ldr), Lucky Thompson (ss, ts), Tete Montoliu (p), Eric Peter (b), Peer Wyboris (d)
a.Blue 'n' Boogie - 3:55 (Dizzy Gillespie, Frank Paparelli)
b.Spanish Rails - 4:50 (Lucky Thompson)
c.What's New - 5:20 (Bob Haggart, Johnny Burke)
d.Soul's Nite Out - 3:35 (Lucky Thompson)
e.The World Awakes - 4:05 (Lucky Thompson)
f.When Sunny Gets Blue - 4:05 (Jack Segal, Marvin Fisher)
g.Body and Soul - 4:22 (Johnny Green, Edward Heyman, Robert Sour, Frank Eyton)
h.Spanyola - 3:50 (Lucky Thompson)
i.I Got It Bad and That Ain't Good - 5:25 (Duke Ellington, Paul Francis Webster)
j.Soul Carnival - 3:03 (Lucky Thompson)
All titles on: Ensayo (Sp.) LP 12": ENY 35 — Soul's Nite Out (1970)
Nessa LP 12": N 13 — Body and Soul (1978)
Ensayo (Sp.) CD: ENYCD 3471 — Soul's Nite Out (1993)
Ensayo (Sp.) CD: ENYCD 9774 — Soul's Nite Out (1999)



sexta-feira, 24 de fevereiro de 2012

KENNY BARRON - SCRATCH

Monday, December 14, 2009

Kenny Barron - Scratch


Label: Enja
Styles: Piano Jazz
Release Date: Sep 09, 2008
Quality/Bitrate: eac-ape.cue.log.scans
Size: 206 MB(recovery 5%)






From the original liner notes by Michael Cuscuna (1985):
As a record producer, I know how gratifying it is to have a fantasy realized, especially when one feels that it will enhance the career of the artist involved and contribute to the history of the music. When Matthias Winckelmann called me up a few days after this date to write the liner notes, I heard in his voice a feeling of relief and accomplishment. Sharing his esteem for Kenny Barron's talent and potential and hearing the pride in his voice, I knew that something very special had occurred. I looked forward to receiving the cassette, knowing well what Kenny had to offer. But listening to the cassette was a magnificent revelation. Here was finally the Kenny Barron that was crawling inside the creative but considerate accompanist. Whatever your preconception of Kenny Barron, listen to this album anew.




1. Scratch
2. Quiet Times
3. Water Lillie
4. Song for Abdullah
5. Third Eyes, The
6. Jacob's Ladder
7. And Then Again




Kenny Barron — Scratch : PART1 + PART2 + PART3
 
Dave Holland — bass instrument
Kenny Barron — piano
Daniel Humair - drums

MORRE AOS 74 ANOS O CANTOR PERRY RIBEIRO

Pery Ribeiro morre aos 74 anos, vítima de um enfarte

Cantor estava internado há 30 dias em Niterói, tratando uma endocardite

Publicado:
Atualizado:

Pery Ribeiro em julho de 2009
Foto: Divulgação
Pery Ribeiro em julho de 2009 Divulgação
RIO - O cantor e compositor Pery Ribeiro morreu na manhã desta sexta-feira, aos 74 anos, vítima de um enfarte. Ele estava internado há 30 dias no Hospital Universitário Pedro Ernesto, em Vila Isabel, tratando uma endocardite. O cantor tinha alta marcada para esta semana e a morte surpreendeu a família.
"Hoje pela manhã fomos surpreendidos com esse enfarte fulminante", disse Ana Duarte, esposa de Pery há 20 anos, em entrevista ao G1.
Filho de Herivelto Martins e Dalva de Oliveira, Peri Oliveira Martins iniciou a carreira artística aos três anos de idade, dublando o desenho animado da Disney "Branca de Neve e os Sete Anões" ao lado da mãe. Dalva fazia a voz da Branca de Neve enquanto o pequeno Pery era o anão Dengoso.
Assumiu o nome artístico de Pery Ribeiro em 1959, ao participar do programa de Paulo Gracindo na Rádio Nacional, por sugestão do radialista César de Alencar. Na época, trabalhava como cameraman na TV Tupi.
Em 1963 gravou a primeira versão comercial da canção "Garota de Ipanema", no LP "Pery é todo bossa". O disco traz ainda canções de Roberto Menescal e Ronaldo Bôscoli ("Me lembro vagamente", "Nós e o mar", "Ah! Se eu pudesse" e "Rio"), Silvio César ("O que eu gosto de você") e Tito Madi ("Só sei"), além de composições próprias.
Apesar de ter mais de dez discos dedicados à bossa e de sucessos de shows como "Gemini V" (com Leny Andrade e Bossa Três), Pery lamentava nunca ter sua importância para o movimento reconhecida pelo núcleo que frequentava o apartamento de Nara Leão - talvez por sua origem dedicada a uma linhagem de canção mais romântica.
- Havia os cardeais que diziam "isso é bossa nova, isso não é". A bossa nova poderia ser muito mais abrangente e forte se acolhesse os intérpretes. Gente como eu, Claudette Soares, Agostinho dos Santos. Qualquer movimento musical se difunde pelos intérpretes. Se ficasse só naquele núcleo central, não acredito que teria chegado onde chegou. Ora, nos Estados Unidos, a grande mola propulsora do movimento não foi Tom, e sim Sinatra, que era tão ou menos bossa nova que eu!
Nos últimos meses, Pery trabalhava num projeto de um show sinfônico em homenagem aos pais, com 42 músicos regidos por Amilton Godoy.
Ministra da Cultura, Ana de Hollanda, lamenta perda do cantor.
- Parte Pery Ribeiro, e o Brasil perde uma bela voz, um cantor que, com grande estilo, interpretou desde samba-canção e bossa-nova até composições mais recentes. Sentiremos todos sua falta, que só será suavizada ao reescutarmos suas gravações. Envio meus abraços solidários à família, amigos e admiradores de Pery.


Leia mais sobre esse assunto em http://oglobo.globo.com/cultura/pery-ribeiro-morre-aos-74-anos-vitima-de-um-enfarte-4057169#ixzz1nL1ocZTl
© 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.

quinta-feira, 23 de fevereiro de 2012

CEDAR WALTON TRIO - MIDNIGHT WALTZ

Sunday, September 19, 2010

Cedar Walton Trio - Midnight Waltz


Label: Venus Records
Styles: Hard Bop,Piano Jazz
Original Release Date: 2005
Quality/Bitrate: eac-flac.cue.log.scans
Size: 477 MB(recovery 5%)


FESTIVAL DE JAZZ SO PARA MULHERES

PRIMER "CAMPAMENTO" Y FESTIVAL DE JAZZ DE MUJERES.
La Jazzschool de Berkeley, en California (no confundir con Berklee, Boston), está organizando el primer evento de su tipo que reune sólo a mujeres jazzistas, y que abarca un festival de jazz y un "Women in Jazz Camp". El evento se realizará entre el 23 y el 30 de marzo, para coincidir con el Día Internacional de la Mujer. La trompetista Ellen Seeling, que co-produce el festival junto con la saxofonista Jean Fineberg (foto), dijo que "el objetivo es proveer visibilidad para una comunidad inmensa de mujeres instrumentalistas, todas ellas maravillosas y talentosas. Servirá para recordar también la tradición de solidaridad entre las mujeres en el empeño para obtener igualdad y reconocimiento totales". El evento reunirá literalmente a cientos de mujeres instrumentistas del estado de California, así como del resto del país, de Canadá y otros lugares del extranjero, muchas de ellas jóvenes egresadas las mejores escuelas de música y jazz de EEUU. Algunos de etos conjuntos han agotado las entradas para sus conciertos. Pero también tomarán parte educadoras, productoras y músicas más maduras y experimentadas tales como las propias Ellen Seeling y Jean Fineberg, junto con Sarah Cline, Susan Muscarella, Carla Kaufmann, Kelly Fasman y otras, así como big-bands femeninas y conjuntos de blues. El evento, sin embargo, tiene el atractivo de estar abierto a todas las mujeres instrumentalistas que deseen tomar parte, de todos los niveles y edades, por lo que habrá en el "campamento" (camp) numerosos talleres, clínicas y escenarios. Todo esto se realizará primcipalmente en el campus de la Jazzschool de Berkeley.


noticiasjazz.bloghspot.com

quarta-feira, 22 de fevereiro de 2012

TRIBUTO A LEE MORGAN NO HARLEM

Tributo a Lee Morgan en Harlem.
60 años después de la trágica muerte de Lee Morgan, el 19 de este mes se conmemorará la fecha que truncó la vida y obra del influyente trompetista. La galería Harlem´s Shrine of Masters Jazz ha organizado un día de honor al famoso músico que fuera asesinado por su novia durante el descanso de una presentación, cuando Morgan sólo tenía 33 años de edad. Por entonces se había convertido en uno de los grandes del jazz. Había sido discípulo y protegido de Clifford Brown (otro trompetista virtuoso que murió a temprana edad en un accidente de automovil) despùés de lo cual tocó con grandes del jazz tales como Dizzy Gillespie, Art Blakey, John Coltrane, Wayne Shorter, Hank Mobley, Freddie Hubbard, Joe Henderson, McCoy Tyner, etc., para nombrar sólo algunos. Grabó mucho como lider de sus propios conjuntos y su composición "The Sidewinder" (1963) llegó a las carteleras pop. Hoy Morgan está considerado como uno de los más importantes e influyentes trompetistas del jazz moderno. La directora del centro de Harlem mencionado arriba, Lena Sherrod indicó que ese lugar tiene una de las mayores colecciones de grabaciones y elementos de museo relacionados con la vida del trompetista. El 19 habrá música en vivo, charlas y presentaciones audiovisuales.

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

noticiasjazz.blogspot.com

PROGRAMAÇÃO DO SANTO SCENARIUM de 23 a 25/02/2012


Quinta - feira, 23 às 18h30
DINO RANGEL TRIO
Mazinho Ventura (baixo) e Amaro Junior (bateria)

[...]"Dino Rangel combina técnica com inventividade em doses equivalentes, com fluência invejável"[...] (JOSÉ DOMINGOS RAFFAELLI - O Globo)

Com um repertório instrumental animado, Dino apresenta temas de seu 2º CD “Partir... Voltar” onde mistura samba, choro, toada, baião e frevo em uma bela homenagem ao cronista Rubem Braga. Compositores como Guinga, Victor Assis Brasil e Garoto são interpretados com uma vivacidade impulsionada pela precisa seção rítmica proporcionada por Mazinho (João Donato, Sadao Watanabe, Patty Austin) e Amaro (Osmar Milito, Emílio Santiago, Mônico Aguilhera).

Couvert artístico: R$ 10

________________________________________________


Sexta-feira, 24 às 20h30
TUTTI
Ana Azevedo (piano), Daniel Garcia (sax), Lipe Portinho (contrabaixo acústico) e André Tandeta (bateria).

“O grupo Tutti cria uma abordagem jazzística de obras do repertório de concerto, cujas releituras abrem espaço para o improviso instrumental. Fiquei fascinado ao ouvir minha “Canção do Porto”, que já revela a influência da estética jobiniana, desdobrar-se em belíssimos solos do saxofone de Daniel Garcia e do piano de Ana Azevedo, acompanhados por Lipe Portinho, no baixo acústico e André Tandeta, na bateria. Os arranjos, de muito bom gosto, ampliam os temas originais e destacam aspectos inauditos, com destaque para “Acalanto da rosa”, de Cláudio Santoro e o tema do Largo da Sinfonia n. 9, de Dvorak. O grupo Tutti transita com grande competência e força expressiva entre a música clássica e o jazz, naquele campo lúdico, propício às experimentações, que se convencionou chamar de “cross-over“. (João Guilherme Ripper - Compositor e Diretor da Sala Cecília Meireles)

Couvert artístico: R$ 10

________________________________________________


Sábado, 25 às 21h30
DANILO SINNA QUARTETO
Pedro Araújo (guitarra), Vitor Gonçalves (piano), Andre Vasconcellos (baixo acústico) e Antonio Neves (Bateria) Vitor Gonçalves (Piano)

Um dos grandes destaques da nova geração da música instrumental brasileira, Sinna já tocou com Roberto Menescal, Marcio Montarroyos, Orquestra Rio Jazz e Orquestra Ouro Negro. No show de lançamento do disco "De lá pra cá" ele apresenta composições suas, e também de artistas que admira como Jhonny Alf e Kenny Garrett.

Couvert artístico: R$ 10


PROGRAMAÇÃO DA TRIBOZ DE 23 A25/02/2012

QUINTA, 23 DE FEVEREIRO

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, 24 DE FEVEREIRO

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


Carlos Malta em Pimenta - Tributo à Elis Regina
O multiinstrumentista Carlos Malta realiza uma releitura lúdica, poética, jazzística e mágica para o repertório gravado e eternizado pelo canto de Elis Regina, tendo lançado um CD que foi indicado pela revista norteamericana Jazz Times como o melhor lançamento de 2000. Não perca a chance de ouvir um dos maiores instrumentistas da história da música brasileira, interpretando "Nada será como antes" (M. Nascimento), "Águas de Março" (T. Jobim), "Ladeira da Preguiça" (G. Gil) e "Upa Neguinho" (E.Lobo/G. Guarnieri).

Carlos Malta - saxofones e flautas, Cliff Korman - piano, André Siqueira - guitarra, Augusto Mattoso - contrabaixo, Kesso Fernandes - bateria.

Apresentação: 21h à 1h
Couvert artístico: R$ 25,00



SÁBADO, 25 DE FEVEREIRO

Carlos Malta em Pimenta - Tributo à Elis Regina
O multiinstrumentista Carlos Malta realiza uma releitura lúdica, poética, jazzística e mágica para o repertório gravado e eternizado pelo canto de Elis Regina, tendo lançado um CD que foi indicado pela revista norteamericana Jazz Times como o melhor lançamento de 2000. Não perca a chance de ouvir um dos maiores instrumentistas da história da música brasileira, interpretando "Nada será como antes" (M. Nascimento), "Águas de Março" (T. Jobim), "Ladeira da Preguiça" (G. Gil) e "Upa Neguinho" (E.Lobo/G. Guarnieri).

Carlos Malta - saxofones e flautas, Cliff Korman - piano, André Siqueira - guitarra, Augusto Mattoso - contrabaixo, Kesso Fernandes - bateria.

Abertura da casa: 20h
Apresentação: 21h
Couvert artístico: R$ 25,00



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


Se você deseja ser excluído da mala-direta, responda esse email com REMOVER no assunto.

HAROLD MARBEN TRIO - KISS OF FIRE

Thursday, November 26, 2009

Harold Mabern Trio - Kiss of Fire


Label: Venus Records
Styles: Piano Jazz
Original Release Date: Jan 13, 2008
Quality/Bitrate: Eac — WavPack,Cue,Log,scans
Size: 495 MB(recovery 5%)






1. How insensitive
2. I'ts a lonesome old town
3. Nancy (with the laughing face)
4. Bag's groove
5. Blue Bossa
6. Black orpheus
7. Cheese cake
8. Recado Bossa
9. Kiss of fire
10. Brazil




Harold Mabern (piano); Nat Reeves (bass); Joe Farnsworth (drums).
Eric Alexander (tenor sax)


Kiss of Fire : PART1 * PART2 * PART3 * PART4 * PART5 * PART6

VENUS SAX PLAYERS 10

Monday, October 26, 2009

Venus Great tenor Sax Players 10 - Ten Tenors,Ten Colors



Label: Venus Records
Styles: Jazz,Standards
Original Release Date: 2008
Quality/Bitrate: WavPack,Cue,Scans
Size: 420 MB(recovery 5%)






01 Mona Lisa Eric Alexander
02 Alone Together Scott Hamilton
03 Poor Butterfly Ken Peplowsky
04 Taboo Bob Kindred
05 My Funny Valentine Carmen Leggio
06 Night Of My Beloved George Garzone
07 You’d Be So Nice To Come Home To Barney Wilen
08 Georgia On My Mind Eddie Harris
09 Everytime We Say Goodbye Archie Shepp
10 Greatest Love Of All Pharoah Sanders




Ten Tenors,Ten Colors : PART1 * PART2 * PART3 * PART4 * PART5

FREDDIE HUBBARD NEW COLORS

Sunday, December 6, 2009

Freddie Hubbard - New Colors


Label: Hip Bop
Styles: Straightahead/Mainstream/Bop/Hard Bop/Cool
Original Release Date: Apr 24, 2001
Quality/Bitrate: eac-flac.cue.log.scans
Size: 401 MB(recovery 5%)







The New Jazz Composers Octet, a New York scene collective of young players/composers dedicated to the ideal of new composition in jazz, here reaffirms their commitment to "new" jazz composition with nothing less than- you guessed it: backing up a aging jazz icon in an album consisting entirely of that icon's tunes.

How the irony of this could escape even the casual observer is beyond this reviewer. The New Jazz Composers collective, if one has checked out their web site, forswears to a mantra of creating original music. Perhaps it is they who are being ironic, or maybe this reviewer takes them too seriously in living out their ideal; in any event it is at least rather odd that the members of the Octet chose to do a record with Freddie Hubbard and play only his tunes.

Alas, people will say that there may not be new compositions on this album, but there are most certainly- New Colors. The line goes like this: The New Jazz Composers acquit themselves of any charges of fraud or pretense by their fundamentally "new" arrangements of these standby tunes like Red Clay and Blues for Miles. Fair enough, assuming however- assuming, that the arrangements transcended the tunes enough to make them seem truly, fundamentally, new, such as the "New Directions Band" (Greg Osby and co.) managed to do to a good extent on their album of Blue Note covers. Judging by the title this was undoubtedly their promise, but did they deliver?

                                                                                                                                                                                         


The New Jazz Composers arrangements of classic Freddie Hubbard tunes do not transcend these tunes by any great measure. Furthermore, it is unfortunate that what "new colors" there are on these tunes is often less for the better. For starters, the opening track, the modal burner "One of Another Kind" is tamed to such an extent by a brass-heavy arrangement and a modest swing that it ends up having little vitality. We needn't even compare this rendition to the vigorous original (on a McCoy Tyner record) to realize how brazenly unmoving it sounds here. The blurred studio mix (that is a constant through the album) with way too much cymbals, doesn't help in the least bit.

"Red Clay", another of Freddie Hubbard's wooly chestnuts, is another fine case in point, or victim if you will. Lest one be under the impression that Red Clay is THE veritable anthem of jazz-funk, we are treated to a West-Coastish rendition here that lumbers along in a very unfon-kay way. Freddie's opening solo (on fluegelhorn, as throughout) sounds as if he is altogether disinterested; his solo, no insult intended, actually sounds like a broken record. And despite the best efforts of Craig Handy and Xavier Davis in their solos, the track ends up sounding frankly like a cut from Jamey Aebersold play-along cd= flat and swinging in only the most stilted way.

That said, attributed to the blandness of "Red Clay" and other tracks is that the rhythm section is not at all responsive, and the horn section is similarly at fault (their refrains typically sound like they are on a 2-second time delay.) The collaboration of these two lacking performances means this band as a whole reeks of a studio auto-pilot aura from almost start-to- finish on this record.

Aside from the negatives, which admittedly are quite abundant here, "Blue Spirits" is one of the few genuinely worthwhile tracks on this record. Craig Handy's solo on soprano is incisive and Freddie Hubbard turns out his most thoughtful solo on the album as well. The Octet undergirds the soloists with responsive brass chorus' and here the band sounds most like one full unit, instead of Freddie +8 or the rhythm section being aloof. "True Colors" is also a pretty good one; the band actually swings a bit here and lets down its uptight studio hair. Craig Handy has a strong solo and Myron Walden follows suit. It is a tidy affair however, at only over 5 minutes. "Inner Space" is noted for its decent intensity. "Dizzy's Connotations" however is only fair and it is probably the most telling track of this record. It has an overwhelming vibe of modest ambition and indifference, with the results being suitably modest and indifferent. That is the par of this record; a modest studio outing it is.


Finally, there is the issue of (nominal) leader Freddie Hubbard himself. That is in fact an issue on this record, because there is no doubt that many people are going to buy this record on the basis of his name alone.

Please take care to realize that Freddie Hubbard is a NOMINAL leader in every sense of the word on this record. His name may be out front-and-center on the record cover but it is only obvious he is never out front-and-center as a musician here. His solos are brief and too often wavering, and he does not lead the band in playing the melodies in a very assertive way. For those expecting some kind of return to form by Freddie Hubbard here, you will be sorely disappointed, not only because he plays fluegelhorn straight through but because he doesn't even sound remotely convincing on the easier-played horn. The fact of the matter is, Freddie's chops are way down and this record, pity him or not, is he as a shadow of his former self. If you want to hear Freddie Hubbard like Freddie Hubbard can play, and of recent years- check out the live album reissued on Metropolitan a year ago. THAT was a return to form. This in contrast suggests a slippery slope for the future in his playing.

Finally, this is by no means a completely dismal record; there ARE moments here and there, and even a few tracks that hold interest all the way through. But it would not at all be an understatement to say that this is an exceptionally pedestrian, ho-hum blase record, and it is most certainly a contender for the top-ten blandest studio jazz records of 2001.

Why the New Jazz Composers Octet latched onto Freddie Hubbard to create not only a record comprised purely of Freddie's tunes, but a mediocre one at best, is confounding. These are supposedly "go get ‘em" cats who are very idealistic about the musical careers which lay before them, and yet here they play a very slim second fiddle to the big name of a fading Freddie Hubbard. For what? Affection or honoring Freddie? Perhaps, but if they also bet that Freddie's name can help them get exposure, they are right in theory but wrong so long as they don't realize the record has to stand on it's own merits. Maybe they will think harder about going against their own better wisdom (New Jazz Composition) next time.



New Colors   :  PART1  *  PART2PART3  *  PART4  *  PART5

STAN GETZ MEETS CHET BAKER

Wednesday, November 12, 2008

Stan Getz & Chet Baker - Stan Meets Chet


Label: Verve
Styles: Cool Jazz
Original Release Date: February 16, 1958
Quality/Bitrate: APE
Size: 320 MB





1. I'll Remember April 12:24
2. Medley: Autumn In New York/Embraceable You/What's New 14:34
3. Jordu 8:31
4. Half-Breed Apache 14:49


This session was recorded in 1958 in Chicago and features Getz, the saxophonist highly influenced by Lester Young and Chet Baker,the trumpet player considered a Miles Davis devotee...both are quality known men and rumour has it they have been at odds with one another so perhaps what comes as a surprise is their pairing on this CD (only on 1/2 of the cuts).
The music is also found on a USA release so don't buy this pricey import...The USA Verve release has great sound and the tracks are standard fare..I'll Remember April,Autumn In New York/Embraceable You/What's New(medley),Jordu and Cherokee(Half Breed Apache)...you won't be disappointed and it has it's fine moments with Getz's longer notes and Baker's sparser delivery...It runs over 50 minutes and is a worthy collection fusing West and East in Chicago minus the Blues but nonetheless nice music and a worthy CD to have.
If the tracks were played more together with 2 men it would have been a sure 5 star..they are accompanied by piano,drums and bass...

Stan Meets Chet : PART1 + PART2

pass : rfccbh

quinta-feira, 16 de fevereiro de 2012

terça-feira, 14 de fevereiro de 2012

OS DOZE MELHORES CDS PELA JAZZWEEK

JIMMY OWENS SE MANTIENE A LA CABEZA
En la cartelera semanal de JazzWeek permanece en el primer lugar Jimmy Owens con su álbum The Monk Project; y Christian McBride y Chick Corea pierden los segundo y tercer lugares, respectivamente, dejando paso a Bruce Babad y Gary Smulyan. Vuelve a entrar a la lista Deep Blue Organ Trio con Wonderful! Estos son los 12 primeros lugares de la cartelera de jazz, esta semana, en la que hay dos big bands:

01 Jimmy Owens, The Monk Project
02 Bruce Babad, A Tribute To Paul Desmond
03 Gary Smulyan, Smul´s Paradise
04 Deep Blue Organ Trio, Wonderful!
05 Chick Corea, Further Explorations
06 Christian McBride, Conversations With Christian
07 Pat Martino, Undeniable
08 Christian Tamburr, Places
09 Houston Person, So Nice
10 Christian McBride Big Band, The Good Feeling
11 Joey DeFrancesco, 40
12 Ron Carter, Ron Carter´s Great Big Band

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