OS MELHORES CDS PELA JAZZWEEK

THE CLAYTON BROTHERS LLEGAN AL PRIMER LUGAR DE CARTELERA

En la cartelera de jazz de esta semana The Clayton Brothers han subido del segundo al primer puesto, mientras que Joe Lovano asciende al cuarto lugar, uno de los avances más espectaculares, ya que su álbum Cross Culture fue sólo publicado el 13 de este mes y hace dos semanas se encontraba en el lugar 200.

Otro "salto" fenomenal lo ha hecho el saxofonista Paul Carr con su álbum Standard Domain, que sube del puesto 64 al 7. Ingresan igualmente a la primera docena Kevin Mahogany y Chester "CT" Thompson.

Los siguientes son los 12 primeros lugares de la cartelera de jazz de esta semana:

01  The Clayton Brothers, The Gathering
02  Winard Harper, Coexist
03  Houston Person, Naturally
04  Joe Lovano, Cross Culture
05  Poncho Sánchez, Live In Hollywood
06  Graham Dechter, Takin´ It There
07  Paul Carr, Standard Domain
08  George Cables, My Muse
09  Claire Daily Quartet, Baritone Monk
10  Kevin Mahogany, Old, New, Borrowed & The Blues
11  Pharez Whitted, For The People
12  Chester "CT" Thompson, Mixology


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Beautiful Love - Russell Malone & Romero Lubambo

Frank Rosolino (lista de reprodução)

Kevin MAHOGANY & Cyrus CHESTNUT au Duc des Lombards

Ray Brown Trio feat. Kevin Mahogany - Yardbyrd Suite

MARK LAMBERT & ORQUESTRA RADIO SWING PARTICIPAÇÃO ESPECIAL DE INDIANA NOMMA

Crosby, Stills & Nash to Perform with Wynton Marsalis and the JALC Orchestra

1/28/13

Annual gala and concert will benefit Jazz at Lincoln Center

By Jeff Tamarkin

The Jazz at Lincoln Center Orchestra with Wynton Marsalis will perform two concerts with rock legends Crosby, Stills and Nash in May. The shows, titled “The Crosby, Stills & Nash Songbook,” will take place at the Rose Theater at JALC’s Frederick P. Rose Hall. The premiere, on May 1, will serve as Jazz at Lincoln Center’s 2013 Gala Concert and will be followed by a public concert on May 3.

The Gala Concert, according to a press release, "will honor New York interior designer and JALC Board Member Mica Ertegun and bestow upon her the organization's Ed Bradley Award for Leadership in Jazz.”

The performances will feature Crosby, Stills & Nash’s classic songs arranged by Marsalis and members of the Jazz at Lincoln Center Orchestra.

1

Wynton Marsalis with Willie Nelson

By Danny Clinch

2

Wynton Marsalis & Eric Clapton "Play the Blues" at Jazz at Lincoln Center

By Julie Skarratt

3

Wynton Marsalis and Paul Simon

4

Crosby, Stills & Nash

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Previous annual Gala events featured Willie Nelson, Eric Clapton and Paul Simon.

The May 1 Gala begins with a 7 p.m. concert in Rose Theater followed by a 9 p.m. dinner in the Allen Room and Atrium. The May 3 show takes place at 8 p.m. in Rose Theater. JALC is located at Broadway at 60th Street in Manhattan.

Gala tickets begin at $1,500 and tables begin at $25,000. Contact Stacie Middleton Crawford at scrawford@jalc.org for information.

Tickets for the public concert on May 3 will be available to Jazz at Lincoln Center members and subscribers with a MasterCard starting February 4 at 10 a.m. ET. Tickets will go on sale to the general public on February 11. All ticket sales will be handled via jalc.org, through CenterCharge at 212-721-6500 or the Jazz at Lincoln Center Box Office at Broadway and 60th Street. There is a maximum of two tickets per household. There are no group sales, Hot Seats, or discounted tickets available for this event.jazztimes.com

PIANISTA RAHN (RON) BORTON MORRE AOS 78 ANOS

Pianist Rahn (Ron) Burton Dies at 78

Best known for his work with Rahsaan Roland Kirk

By Jeff Tamarkin

Pianist Rahn Burton, also known as Ron Burton and best known for his work with Rahsaan Roland Kirk, died Jan. 25 in New York City. The cause of death was not reported.

Burton was born in 1934 in Louisville, Ky., and began playing in that city in the early 1950s. He joined Kirk’s group in 1953 and stayed with him for six years, recording with Kirk for the Argo label. Later Burton toured with George Adams, rejoining Kirk in the late ’60s and remaining with him into the mid-’70s. He started his own band, the African-American Connection in the early ’70s, while also freelancing with other musicians.

Rahn Burton

ROY ELDRIGE E BENNY CARTER - URBANE JAZZ

Roy Eldridge and Benny Carter - Urbane Jazz (1955)

Mp3, 320 kbps.


01 Still Love Him So 5:47
02 The Moon Is Low 6:07
03 I Missed My Hat 5:20
04 Ballad Medley 6:20
05 Polite Blues 8:36
06 Close Your Eyes 2:40
07 Wheres Art 4:07
08 I Dont Know 4:37
09 Striding 4:37
10 Wailing 3:14
11 The Moon Is Low (78 Version) 2:29
12 The Moon Is Low (Atl Tk) 3:10
13 I Missed My Hat 5:27
14 Close Your Eyes 2:43
15 Ballad medley: I Remember You/ Chelsea Bridge/I've got the world on a string (alt. tk) 5:45
16 Les Tricheurs 3:15
17 Phils Tune 4:23

Roy Eldridge (trumpet)
Benny Carter (alto saxophone)
Bruce McDonald (piano)
John Simmons (bass)
Alvin Stoller (drums)
Stan Getz (tenor saxophone, on Les Tricheurs only)
Oscar Peterson (piano)
Herb Ellis (guitar)
Ray Brown (bass)
Gus Johnson (#11-12 drums)

Recorded: March 1955 LA, CA and May 1958, Paris, France (#'s 16-17 Les Tricheurs and Phil's Tune)

http://freakshare.com/files/i3u3uyf7/Roy-Eldridge-and-Benny-Carter---Urbane-Jazz.rar.html

MÚSICOS ESTELARES INAUGURAN CENTRO SFJAZZ

San Francisco Jazzinauguró esta semana su esperado centro de conciertos y otras actividades relacionadas con este género. Al evento inaugural convergió una constelación de "gigantes" del jazz, entre ellos Chick Corea, Bill Frisell, Joe Lovano, Esperanza Spalding, McCoy Tyner, Regina Carter, Jeff Ballard, Mary Stallings, Avishai Cohen, Greg Osby, Joshua Redman y otros, incluida la última encarnación del aclamado grupo rotante SF Jazz Collective. El maestro de ceremonias fue el actor, comediante y baterista Bill Cosby.

El "SF Jazz Center" es un proyecto que viene desarrollándose desde hace años y será uno de los lugares más importantes de la Costa Oeste de los EEUU dedicados a la promoción. educación y presentaciones de jazz, abarcando innumerables actividades relacionadas con este tipo de expresión artística.Su sala de conciertos tiene asientos para 700 personas.

Muchos de los músicos mencionados fueron recibidos por el público con ovaciones de pie, particularmente  McCoy Tyner, y lo mismo sucedió cuando subió al escenario el responsable de haber hecho realidad este proyecto, Randall Kline, fundador del SF Jazz.

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Duo - "Joy Spring" CESAR CAMARGO MARIANO E ROMERO LUBANBO

Stan Getz Quartet Featuring Kenny Barron - Live 1989

JAVON JACKSON WITH LES McCANN - LUCKY 13

01/23/13

Javon Jackson with Les McCann
Lucky 13
Solid Jackson

By Philip Booth

Javon Jackson’s simultaneously brawny and brainy tenor sound, burly and commanding but also capable of surgical precision, is well featured on Lucky 13, not coincidentally his 13th album as a leader. Having graduated from the schools of Art Blakey, Elvin Jones and Betty Carter before embarking on his solo career, Jackson knows a thing or two about pacing and programming, and he applies those skills to this appealing set of familiar tunes and original compositions.

Les McCann, a Jackson tour mate for the last five years, lends soul-jazz authenticity on piano and growly vocals, revisiting his 1969 crossover hit “Compared to What” with a rambunctious version recorded live at the Kennedy Center in 2008; Jackson’s soloing is as ferocious as the passion behind McCann’s singing. McCann is also showcased on a molasses-slow seven-minute version of the love ballad “With These Hands” and a similarly relaxed “Amazing Grace.” On both tracks he’s accompanied solely by Jackson, a natural duo partner whose playing is nicely attuned to McCann’s.

Jackson, joined elsewhere by pianist Joel Holmes, bassist Corcoran Holt and drummer McClenty Hunter, opens strong with an exuberant take on Stevie Wonder’s “Don’t You Worry ’Bout a Thing” before offering three of his own pieces. Beautifully turned ballad “Lelia,” a duo with Holmes, is followed by the gently waltzing “TJ,” which opens for extended solos by the pianist and Holt, and the driving Trane/Pharoah-style blues of “Mr. Sanders,” sparked by the bassist’s unaccompanied sliding and chording. The drummer gets some with “Sun Up,” bubbling up under the tenor on a tune from Jackson’s score for the early Hitchcock silent film The Lodger, inspired by the search for Jack the Ripper. The waltz-time piece, belying the movie’s subject matter, is buoyant and insistently sunny.JAZZTIMES.COM

HAROLD MABERN - MR LUCKY; A TRIBUTE TO SAMMY DAVIS JR

/24/13

Harold Mabern
Mr. Lucky: A Tribute to Sammy Davis Jr.
HighNote Records

By Britt Robson

Brisk, buoyant and gimmick-free, this straightahead quartet date is as unpretentiously satisfying as that first swig of cold beer after a hard day’s work. In the liner notes to Mr. Lucky, pianist Harold Mabern proclaims Sammy Davis Jr. to be “the greatest performer ever,” and this beaming tribute brims with the innocent insouciance of that Rat Pack era of the 1950s and ’60s, when Davis palled around Vegas with Sinatra and Dean Martin and Mabern, now 76, was just entering adulthood.

The lead soloists here, Mabern and tenor saxophonist Eric Alexander, are both master craftsmen of underrated artistry, their stylistic conservatism camouflaging their creative refinement of the blues and hard-bop idioms. Joined by their likeminded and frequent cohorts in the rhythm section—drummer Joe Farnsworth and bassist John Webber—on a project dear to Mabern’s heart, they set their intuitions on high alert and allow their expertise and shared musical experience to hone their ensemble interplay. As a result, precious few records swing so efficiently and reliably as Mr. Lucky.

Most of the material here is not automatically associated with Davis, who was more of an all-around entertainer than a musician. But on the relatively iconic “I’ve Gotta Be Me,” both Mabern and Farnsworth burst from the gate with joyous energy, while Alexander gradually builds the sort of gusto implied by the song’s credo over the course of three solos. Mabern is also ecstatic—his right hand trilling, flecks of New Orleans stride spangled on his Memphis funk-soul-blues-bop amalgam—on “As Long as She Needs Me” and the finger-snapping title track. Sans Alexander, he lets the ballad breathe on “What Kind of Fool Am I?,” a somber interlude that reminds us how segregation and accusations of being a racial sellout besmirched some of the luster of Davis’ celebrity. But as the album title implies, Mabern prefers to honor his hero with music that puts the wind in your hair and tempts you to engage in a little soft-shoe celebration.  JAZZTIMES.COM

A BOA MUSICA DE JAZZ E BOSSA NOVA COM O GRUPO A TAMPA DO BAÚ NO BAR DO MARCÔ EM SANTA TERESA RJ NESTA SEXTA 25/01/2013

A MARAVILHOSA MUSICA LATINA COM O GRUPO MANO A MANO NO BAR LEVIANO NA LAPA RJ FAZ A GALERA NÃO PARAR DE DANÇA

GRUPO A TAMPA DO BAÚ TODA SEXTA EM SANTA TERESA

JAZZ TRIO NESTA QUARTA 23/01/2013 NA BOURBON STREET

PROGRAMAÇÃO DO SANTO SCENARIUM 24/25/26/01/2013

RICARDO SERPA QUARTETO & CONVIDADOSRicardo Serpa - sax e flauta, Marcilio Figueiró - violão, Augusto mattoso - baixo e Robertinho silva - bateria
Aprticipação Especial: Arimatéia (trompete), Marcelo Caldi (acordeon) e outrosNo repertório Serpa tocara musicas de seu primeiro CD “Aquariando” como Vera Cruz, de Milton Nascimento; Porto, de Dori Caymmi; Aquelas Coisas Todas, Toninho Horta, além de fazer um pré-lançamento de seu seu novo CD Dança do Vento. Além das autorais, eles também tocam Milagre dos Peixes (Milton), Esperando Anjinha (Toninho Horta), Geni e o Zepelim (Chico Buarque) e clássicos como Estate, Body and soul, My Favorite Things, 
Tutu (miles) entre outros.Serpa ainda aproveita a temporada para comemorar seu aniversário como gosta, muitos amigos e muita música.
Qui, às 19h30. Sex, às 20h30. Sáb, às 21h30 – Couvert artístico R$ 10

Concert Review: Ninety Miles in Madison, Wisconsin

01/08/13

Stefon Harris and David Sánchez are still traveling, albeit with different passengers

By Wayne Corey

Stefon Harris and David Sánchez began their exciting musical collaboration almost three years ago with Ninety Miles, their joint musical diplomacy in Cuba. As Ninety Miles played its most recent series of U.S. concert gigs in late 2012, the Harris-Sanchez enthusiasm rolled through concert hall crowds that reacted with their own enthusiasm. Harris and Sanchez and their touring group won two standing ovations from the filled auditorium at the University of Wisconsin-Madison. The ovations were deserved, the concert was remarkable, and the performances of Harris and Sanchez were sensational.

1

David Sanchez wails with Ricky Rodriguez, Henry Cole and percussionist Mauricio Herrera as Stefon Harris watches.

By Claire Weissenfluh, University of Wisconsin Union Theater

2

Stefon Harris, vibraphone master. Ricky Rodriguez is on bass, Henry Cole on drums.

By Claire Weissenfluh, University of Wisconsin Union Theater

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The Ninety Miles concerts evolved out of the acclaimed Ninety Miles and Ninety Miles Live at Cubadisco albums created in a one-week period in 2010. Harris and Sanchez, outstanding players on vibraphone and tenor sax, respectively, traveled to Havana with trumpeter Christian Scott. The young American jazz titans worked in Cuba with the groups of Harold Lopez-Nussa and Rember Duharte. Lopez-Nussa and Duharte are hugely talented young pianists and composers virtually unknown in the United States.

Harris and Sanchez are playing with a different cast of musicians now. American tours have provided the opportunity to reconfigure the Ninety Miles Project music with U.S. Latin jazz players. The “original cast” played one concert in Havana. The U.S. tour group is highly talented but not, of course, the Cuban musicians with whom Harris, Sanchez and Scott made their breathtaking music in Havana. For people very familiar with the music, comparisons are inevitable.

“And This Too Shall Pass,” “E’Cha,” “The Forgotten Ones” and “Brown Belle Blues” were all stretched beyond 20 minutes each for the Madison audience. An encore not associated with the Ninety Miles book wrapped the two-hour show.

Harris’ “And This Too Shall Pass” started the set with a totally redesigned opening. Percussionist/vocalist Mauricio Herrera, a Cuban native now in New York, began with an extended solo and chant before the song’s familiar trumpet call. Nicholas Payton has taken Scott’s frontline trumpet spot on recent Ninety Miles gigs. Scott brings a more melodic approach to his trumpet solos, but Payton is a noted player who gives the music a different sound. It isn’t better or worse, just different.

“E’Cha” was composed by Lopez-Nussa. His enthusiastic piano playing was missed on the set’s first two songs. Prominent New York leader and sideman Edward Simon filled the roles played by Lopez-Nussa and Duharte in Havana, but the tour piano was less pronounced than the keyboard playing on the Cuban originals.

“The Forgotten Ones,” the haunting Sanchez composition dedicated to the New Orleans victims of Hurricane Katrina, was stretched to four times its original length but was still highlighted by the composer’s tenor and beautiful vibraphone chords.

“Brown Belle Blues,” a Harris masterpiece, swung the theater for almost 30 minutes. Harris’ prodigious approach to the vibraphone/marimba is simply astonishing. The arrangement gave Payton an opportunity to open up and the rhythm section of Simon, Herrera, drummer Henry Cole and bass player Ricky Rodriguez all took solos; at one point it appeared each was contributing separately to the polyrhythms.

This writer looks forward to the day when Harris and Sánchez can be reunited with the original Cuban cast here in the States. Meanwhile, Harris hints they are looking for countries somewhat farther away where the Ninety Miles concept could be tried. Considering the enthusiasm that Harris and Sanchez bring to their joint music efforts, musicians in other countries should be ready and willing to be part of the project.

JAZZ NO CHILE

COMIENZA SEMANA DEL JAZZ EN LAS CONDES, CHILE   

Hoy parte el principal festival de jazz chileno, que este año se denomina "Semana  internacional de jazz Las Condes", en Santiago, el que se extenderá hasta el domingo 27.  Este evento se ha ido transformando en los últimos años en el más importante de su tipo en el país, destacando con fuerza a músicos nacionales junto con una buena dosis de invitados extranjeros.

Hoy miércoles comienza con un homenaje al destacado músico chileno Valentín Trujillo, a cargo del aclamado trompetista nacional, Cristián Cuturrufo. Le seguirá lo que se ha denominado "Jazz de salón" y cerrará la noche el grupo de jazz tradicional del trombonista Héctor "Parquímetro" y su Dixieland Band.

El jueves se presentan el Novas tríocon músicos de Nueva York y chilenos, el guitarrista Jeff Miles y el conjunto Criminal Jazz.  El viernes lo harán el grupo brasileñoNetto Rockefeller Blues Band y el cuarteto español de Luis Verde. El sábado están programados Cristián Gálvez y su banda y el cuarteto neoyorquino de Pablo Vergara.  El festival llegará a su término el domingo con el Quinteto de Cristián Cuturrufo, el conjunto del belga Jasper Huysentruit, y el Trío de Ángel Parra.  

El festival se realiza en el anfiteatro natural del Parque Padre Hurtado, en la capital chilena   noticiasjazz.com

Ella Fitzgerald and Oscar Peterson Live Paris Olympia 63 part II

Smooth Jazz II (lista de reprodução)

OS DOZES MELHORES CDS PELA JAZZWEEK

SALTO GIGANTE DE JOE LOVANO EN CARTELERA

Hace dos semanas, el saxofonista Joe Lovano entró a la cartelera con su nuevo álbum al lugar número 548.  La semana pasada había avanzado al 200 y esta semana, en un salto extraordinario, ha llegado al décimo lugar de la cartelera de jazz.

 En el primer puesto sigue Houston Person, seguido en el segundo por los hermanos Clayton. Otras entradas nuevas a la primera docena son las de Ed Cherry y Pharez Whitted.


Estos son los 12 primeros lugares de la cartelera de jazz esta semana:

01  Houston Person, Naturally
02  The Clayton Brothers, The Gathering
03  Winard Harper, Coexist
04  George Cables, My Muse
05  Graham Dechter, Takin´It There
06  Poncho Sánchez, Live In Hollywood
07  Harold Mabern, Mr Lucky
08  Ed Cherry, It´s All Good
09  Pharez Whitted, For The People
10  Joe Lovano, Cross Culture
11  Claire Daly Quartet, Baritone Monk
12 Kurt Rosenwinkel New Quartet, Star of Jupiter  noticiasjazz.com

Ain't Nobody by Jeff's Golub & Lorber and Croatian musitians - Live from...

Hank Mobley - Workout (Full Album)

Wynton Kelly Kelly at Midnight (Full Album)

Wayne Shorter Speak No Evil (Full Album)

Jackie McLean A Fickle Sonance (Full Album)

JAZZ PARA QUEM NÃO GOSTA DO CARNAVAL

New Orleans Jazz & Heritage Fest Lineup NAnnounced

Jazz headliners include George Benson, Dianne Reeves, Roy Ayers, Wayne Shorter

By Jeff Tamarkin

The lineup for the 2013 New Orleans Jazz & Heritage Festival has been announced. The festival dates are Friday, Apr. 26- Sunday, May 5. As has been customary in recent years, most major acts fall outside of the jazz arena, but top jazz artists such as George Benson, Dianne Reeves, Roy Ayers, Wayne Shorter, Irvin Mayfield, Stanley Clarke/George Duke Project, Eddie Palmieri and the Joshua Redman Quartet are on the extensive bill.

1

George Benson

By Kris King

2

Irma Thomas at 2011 New Orleans Jazz & Heritage Festival

By Joel A. Siegel

3

Dianne Reeves, Spoleto 2011

By William Struhs

4

Dr. John (piano), Ivan Neville (organ) and the Dirty Dozen Brass Band, Brooklyn, 2012

By Greg Aiello

5

Aaron Neville

By Sarah A. Friedman

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Non-jazz artists scheduled to perform include Billy Joel, Fleetwood Mac, John Mayer, Black Keys, the Dave Matthews Band, Widespread Panic, Maroon 5, Daryl Hall and John Oates, B.B. King, Frank Ocean, Ben Harper and Charlie Musselwhite, Jimmy Cliff, Earth, Wind & Fire, Los Lobos, Willie Nelson, the Gipsy Kings, Gary Clark Jr. and Patti Smith.

Louisiana artists represented this year include Irma Thomas, Allen Toussaint, Aaron Neville, Ivan Neville’s Dumpstaphunk, Preservation Hall Jazz Band, Dr. John, Trombone Shorty and the Rebirth Brass Band.

Jazz Fest tickets are on sale now. For the complete lineup, ticket details and much more, visit Jazz Fest.     jazztimes.com

Maria Schneider to Release First New Album in Five Years

Winter Morning Walks’ features orchestras, vocalist Dawn Upshaw

By Jeff Tamarkin

Composer and bandleader Maria Schneider will release Winter Morning Walks, her first album in five years, on March 5. Recorded with soprano Dawn Upshaw, the album features two commissioned works composed by Schneider and featuring the Saint Paul and Australian Chamber Orchestras. Schneider conducted both orchestras and, according to a release from her publicist, “became the first artist to use fan-funding methods to record major orchestras for this project.”

Maria Schneider

The recording consists of two pieces. The first is the title track, featuring Upshaw and the Australian Chamber Orchestra. The nine songs that comprise the work include poetry written by Ted Kooser, taken from his book of the same name.

“Carlos Drummond De Andrade Stories” is the second work and consists of five songs, recorded by the Saint Paul Chamber Orchestra with Upshaw singing. The poetry featured in this work is by Carlos Drummond.

For more information, visit Maria Schneider.

TRIBUTO DE TERRI LYNE CARRINGTON A DUKE ELLINGTON

Hace medio siglo Duke Ellington reunió a Charles Mingus y Max Roach para grabar un disco con un trío. El álbum, publicado en 1963, se llamó "Money Jungle" y hoy se le considera como uno de las grabaciones de antología de esa década. La intención de Ellington fue contrarrestar artísticamente las inclinaciones "capitalistas" de la generación de los Mad Men, en momentos en que había un "tira y afloja" entre el arte y lo comercial.

Ahora la baterista Terri Lyne Carrington ha rendido un tributo a Ellington y su iniciativa con Mingus y Roach, con un nuevo álbum titulado "Money Jungle: Provocative in Blue", para marcar los 50 años del lanzamiento del disco del trío de Ellington, en momentos en la que esa tensión entre el arte y el afán de hacer dinero no ha cambiado.

Para este homenaje al  "duque", la baterista, compositora, profesora y ganadora de premios Grammy,Terri Lyne Carrington agrupó a otro trío de alto vuelo con el pianista y tecladista Gerald Clayton y el contrabajista Christian McBride. El álbum es editado por el selloConcord Jazz y será publicado en los primeros días del próximo mes.

"Compré hace unos años el disco original de Ellington, en formato CD, en una tienda de descuentos  --relata Carrington-- y apenas subí a mi auto lo comencé a escuchar.  Había algo misterioso y subrecogedor en su música, una energía que pasaba de track a track. Había obviamente una "química" especial entre Duke, Charles y Max, una tensión que se transformaba en un entendimiento perfecto entre los tres".  Desde entonces, explica la baterista, ese álbum la persiguió intelectual y emocionalmente. Ahora este tributo tiene el sonido, la inventiva y el frescor de músicos del Siglo XXI, pero según Carrington "a Ellington no le importaría eso porque además de haber tenido un criterio muy amplio, él apoyaba el avance en el jazz".