sábado, 31 de dezembro de 2011


Freddie Hubbard - The Body And The Soul

Freddie Hubbard
The Body And The Soul
ABC/Impulse! 9000 series/A 38

Capitol Studios, NYC, March 8, 1963
Ed Armour, Freddie Hubbard, Richard Williams (tp)
Curtis Fuller, Melba Liston (tb)
Bob Northern, Julius Watkins (frh)
Eric Dolphy (as)
Jerome Richardson (bars)
Harry Cykman, Arnold Eidus, Julius Held, Harry Katzman, Harry Lookofsky, Charles
McCracken, Gene Orloff, Paul Poliakin, Sol Shapiro, Morris Stonzek (strings)
Cedar Walton (p)
Reggie Workman (b)
Philly Joe Jones (d)
Wayne Shorter (arr, cond)

Chocolate Shake
I Got It Bad (And That Ain't Good)

Capitol Studios, NYC, March 11, 1963
Ed Armour, Al DeRisi, Freddie Hubbard, Ernie Royal, Clark Terry, Richard Williams (tp)
Curtis Fuller, Melba Liston (tb)
Bob Northern (frh)
Robert Powell (tu)
Eric Dolphy (as)
Seldon Powell (ts)
Charles Davis, Jerome Richardson (bars)
Cedar Walton (p)
Reggie Workman (b)
Philly Joe Jones (d)
Wayne Shorter (arr, cond)

Carnival (Manha De Carnaval)
Aries (Aires)

Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 2, 1963
Freddie Hubbard (tp)
Curtis Fuller (tb)
Eric Dolphy (as, fl)
Wayne Shorter (ts)
Cedar Walton (p)
Reggie Workman (b)
Louis Hayes (d)

Body And Soul
Dedicated To You
Clarence's Place
1. Body and Soul [Eyton/Green/Heyman/Sour] 4:41
2. Carnival (Manha de Carnaval) [Bonfa/Creatore/Maria/Peretti] 5:22
3. Chocolate Shake [Ellington/Webster] 4:01
4. Dedicated to You [Cahn/Chaplin/Zaret] 3:26
5. Clarence's Place [Hubbard] 3:32
6. Aries [Hubbard] 3:09
7. Skylark [Carmichael, Mercer] 4:36
8. I Got It Bad (And That Ain'tGood) [Ellington/Webster] 3:45
9. Thermo [Hubbard] 4:15

Review by Michael G. Nastos
At age 25, Freddie Hubbard made inroads into modern jazz most trumpeters could not
imagine, much less come through with. As a soloist, one of Hubbard's crowning
achievements in his early period was this recording on which he teamed with Wayne
Shorter, marginally as a performer but prominent in the role of arranger/conductor for his
first time ever. Utilizing a septet, 16-piece big band, and orchestra plus stings to play
concise, tight tunes, Shorter provides the backdrop to employ Hubbard's bold toned
trumpet and all of its devices in a full display of his powerful melodic talents. Yeoman
Reggie Workman plays bass on all selections, with drummer Louis Hayes in the
seven-piece combo, and great work from Philly Joe Jones in the larger bands.
Interestingly enough, the three tracks with the smaller ensemble are the most
interesting, due to the presence of Eric Dolphy, Curtis Fuller, Cedar Walton, and Shorter
on the front line. "Clarence's Place" is a post-bop jewel with spiky brass accents and
Dolphy's ribald and outre alto sax solo contrasting Shorter's relatively reserved tenor,
"Dedicated to You" is a wisp of a tune, while "Body & Soul," an atypical choice for the
opening selection, is a straight read of the classic ballad with a chart that sounds larger
than the small horn section, and a wavering flute via Dolphy. The big band does an
unusual soul-jazz treatment of the Brazilian number "Manha de Carnaval" flavored by
Robert Northern's French horn, while "Aries" is a hard bop show stopper with two-note
accents buoying Hubbard's great lyrical lines, and goes further into hard bop with
"Thermo" as the horns demand attention with the trumpeter as an afterthought. The
string section, ten pieces strong, joins the big band on the film noir type Duke Ellington
piece "Chocolate Shake," the stock "I Got It Bad," and "Skylark," with its soft clarion
intro bubbling underneath with the violins, violas, and cellos. The manner in which this
recording is programmed is thoughtful in that it lends to the diversity of the project, but is
seamless from track to track. Dan Morgenstern's hefty liner notes also explain the
concept behind this ambitious project, one which did not compare to any of Hubbard's
other recordings in his career. Therefore it stands alone as one of the most unique
productions in his substantive discography, and a quite credible initial go-round for
Shorter as an orchestrator.


Milt Jackson - That's The Way It Is http://www.mediafire.com/download.php?im8k8f2eoaenyzr

Milt Jackson
That's The Way It Is
ABC/Impulse! AS 9189

Shelly's Manne-Hole, Hollywood, CA, August 1 & 2, 1969
Teddy Edwards (ts)
Milt Jackson (vib)
Monty Alexander (p)
Ray Brown (b)
Dick Berk (d)

Frankie And Johnny
Here's That Rainy Day
Wheelin' And Dealin'
Blues In The Bassment
That's The Way It Is
1. Frankie and Johnny [Traditional] 6:43
2. Here's That Rainy Day [Burke/VanHeusen] 7:45
3. Wheelin' and Dealin' [Edwards] 4:32
4. Blues In Bassment [Brown] 7:15
5. Tenderly [Gross/Lawrence] 8:44
6. That's The Way It Is [Alexander] 7:22

This live date is refreshingly straight ahead,considering it was recorded in 1969. In that year jackson worked frequently with bassist Ray Brown and the results were always swinging. Here Jackson is joined on the front line by tenor man Teddy Edwards, his warm tenor is alternately boppish and soulful, especially on Blues In The Bassment. Monty Alexander is on piano rounding out the rhythm section and contributing some wonderful solos. But it's Milt and Ray's show all the way. Recommended to fans of hard bop.


Crean portal de jazz en Cuba.
Se ha lanzado por primera vez en Cuba un sitio Web dedicado al jazz de ese país. Aunque el sitio está todavía en construcción se puede visitar y explorar la información que hay en él referente a la historia y desarrollo del jazz cubano, así como sobre sucesos actuales. El sitio se llama D´cubajazz ( www.dcubajazz.com ) y en su portada trae artículos sobre famosas figuras cubanas del género, tales como Chico O´Farrill, Chucho Valdés, Gonzalo Rubalcaba y Chano Pozo, entre otros. El portal se puede abrir en español, inglés o francés y es producto del trabajo de especialistas de Cubarte quienes lo presentaron este mes en el Festival Internacional de Jazz de La Habana Jazz Plaza, evento organizado por Chucho Valdés y que fue abierto por figuras tales como Gonzalo Rubalcaba y Arturo O´Farrill.


sexta-feira, 30 de dezembro de 2011


Hank Mobley - Another Workout

Bitrate: 320K/s
Time: 37:13
Size: 85.2 MB
Label: Blue Note
Styles: Hard bop, Saxophone jazz
Year: 1961/2006
Art: Front

[5:04] 1. Out Of Joe's Bag
[7:40] 2. I Should Care
[7:41] 3. Gettin' And Jettin'
[8:42] 4. Hank's Other Soul
[8:04] 5. Hello, Young Lovers

This is part of Blue Note's Collector's Choice series. These are limited-edition pressings of a few thousand copies.

This LP has material from 1961 that for no real reason went unreleased until 1985. One song, "Three Coins in a Fountain," is from


George Shearing Quintet With Nancy Wilson - The Swingin's Mutual http://www.megaupload.com/?d=S2YU0MIK

George Shearing é simplesmente sensacional, um dos maiores pianistas do Jazz, neste disco de 1961 se une a cantora Nancy Wilson, para um agraciar-nos com belos momentos.

1. "On Green Dolphin Street" (Bronisław Kaper, Ned Washington) – 2:22
2. "Oh! Look at Me Now" (Joe Bushkin, John DeVries) – 2:11
3. "The Nearness of You" (Hoagy Carmichael, Washington) – 2:58
4. "You Are There" (Karin Rybar, Walter) – 2:08
5. "Born to Be Blue" (Mel Tormé, Robert Wells) – 2:14
6. "Blue Lou" (Irving Mills, Edgar Sampson) – 2:16
7. "Lullaby of Birdland" (Shearing, George David Weiss) – 2:22
8. "All Night Long" (Curtis Reginald Lewis) – 3:06
9. "Inspiration" (George Shearing) – 2:14
10. "The Things We Did Last Summer" (Sammy Cahn, Jule Styne) – 2:41
11. "Don't Call Me" (Ericsson) – 2:46
12. "Let's Live Again" (Milhttpn, George Shearing) – 2:21


The Stan Getz Quartet

Pure Getz
- 1982 -

01 - On The Up And Up
02 - Blood Count
03 - Very Early
04 - Sipping At Bell's
05 - I Wish I Knew
06 - Come Rain Or Come Shine
07 - Tempus Fugit

24-96 to mp3 Vbr


quarta-feira, 28 de dezembro de 2011


: , http://www.mediafire.com/?bc0b6v169kpncbs

Sonny Stitt - The Last Stitt Sessions Vol. 1 & 2 (1982)

Review by Scott Yanow:

It is difficult to believe after listening to this CD , that Sonny Stitt only had six weeks left in his life; he already had cancer but did not know it. Switching between tenor and alto, Stitt on the first session is heard in top form with pianist Junior Mance, bassist George Duvivier, and drummer Jimmy Cobb while the second session (recorded the following day) adds trumpeter Bill Hardman and has Walter Davis in Mance's place. As was typical of Stitt's career, the music throughout is high-quality bebop with the saxophonist stretching out creatively over common chord changes. This CD (a straight reissue of two single LPs) shows that Sonny Stitt went out on top.

Link in Comment.


santo Quinta-feira, 29
Roberto Rosemberg
Roberto Rosemberg (guitarra e violão), Carlos Duba (contrabaixo) e Marcos Zama (bateria e percussão).

Carlos Duba tocou profissionalmente na Europa durante os 18 anos em que lá viveu, e entre 2003 e 2005 excursionou por toda Europa e Japão como integrante da banda do cantor e compositor Celso Fonseca.

Marcos Zama acompanhou os maiores nomes da MPB tais como Caetano Veloso, Lulu Santos, Simone, João Donato, Dominguinhos, Geraldo Azevedo, Cristina Braga, entre muitos outros.

O Trio cobre um repertório que inclui desde composições próprias até temas conhecidos de Bossa Nova, MPB, Jazz e Blues , e tem como principal característica uma música altamente “swingada” e com grande liberdade de improvisação.
às 18h30 – Couvert artístico: R$ 10

Sexta-feira, 30 
Daniel Santos
Daniel Santos (sax – Uruguai), Carlito Gepe (baixo), Cesar Brunet (bateria) e Cesar Rebecci (guitarra - ARG) 

O saxofonista uruguaio comanda esse original quarteto de jazz latino. Eles tocam músicas consagradas do latin jazz além de interpretarem temas do jazz tradicional em ritmos como a salsa, o candombe (música afro uruguaia) e o choro. Os músicos que acompanham o saxofonista têm longa trajetória e afinidade com esses ritmos.
às 20h30 – Couvert artístico: R$ 10

terça-feira, 27 de dezembro de 2011


Lenda do jazz Sam Rivers morre nos EUA aos 88 anos

Sam Rivers gravou uma série de álbuns inovadores de sua autoria.
Ele também integrou banda de Miles Davis e fez turnês com Billie Holiday.

France Presse
Comente agora
Saxofonista Sam Rivers morreu aos 88 anos de pneumonia. (Foto: Divulgação/Wikimedia Commons)Saxofonista Sam Rivers morreu aos 88 anos de
pneumonia. (Foto: Divulgação/Wikimedia Commons)
O saxofonista Sam Rivers, um dos grandes nomes do jazz de improviso e vanguarda, morreu aos 88 anos de pneumonia em Orlando (Flórida, sudeste dos EUA), confirmou sua família nesta terça-feira (27).
Nascido em Oklahoma (centro sul) em uma família de músicos, Rivers adotou o estilo musical "bebop" nos anos 50 e fez turnês com a cantora Billie Holiday, antes de integrar a banda de Miles Davis em 1964, com quem gravou o disco ao vivo "Miles in Tokyo" nesse mesmo ano.
Rivers gravou uma série de álbuns inovadores de sua própria autoria para o selo Blue Note, entre eles "Fuchsia Swing Song". Também tocou junto com o baixista Dave Holland e o baterista Tony Williams.
Em 1970, Rivers e sua esposa Bea compraram um apartamento no coração de Nova York, ao que chamaram Studio Rivbea e cujas portas estavam sempre abertas para os músicos e aficcionados por jazz.
Em pouco tempo, este lugar se converteu na pedra angular do movimento "Loft jazz scene", que se popularizou nos anos 70 em Nova York e que consiste em fazer shows em grandes apartamentos, que são de fato reciclagens de fábricas e armazéns em desuso.
Nos anos 80, Rivers tocou durante quatro anos com a banda United Nations de John Birks "Dizzy" Gillespie, para logo se estabelecer em Orlando e formar sua própria banda.
"Para mim, meu pai esteve de férias a vida toda", disse sua filha e empresária Monique Rivers Williams na segunda-feira, ao jornal "Orlando Sentinel", ao informar sobre o falecimento.
"Ele costumava me dizer: 'Estou trabalhando, mas aproveito cada momento dele'", explicou.
"Aposentaria não fazia parte de seu vocabulário. Ele costumava me perguntar: Para que temos essa palavra?", acrescentou. GLOBO .COM


sábado, 10 de setembro de 2011

Dee Dee Bridgewater - To Billie With Love From Dee Dee Bridgewater

Album de 2010 onde Dee Dee Bridgewater homenageia a grande Billie Holiday, o repertório não poderia ser mais caprichado, e acompanhando a performance vibrante da cantora há o pianista e arranjador Edsel Gomez, James Carter nos sopros, Christian McBride no contrabaixo e Lewis Nash na bateria.

1. Lady Sings The Blues (3:33)
2. All Of Me (3:01)
3. Good Morning Heartache (5:11)
4. Lover Man (4:43)
5. You've Changed (5:11)
6. Miss Brown To You (2:14)
7. Don't Explain (6:15)
8. Fine And Mellow (4:55)
9. Mother's Son-In-Law (2:48)
10. God Bless The Child (5:13)
11. Foggy Day (4:34)
12. Strange Fruit (4:16)


) PERSON DESPLAZA A McBRIDE El saxofonista tenor Houston Person ha subido al primer lugar de la cartelera de jazz que publica los martes JazzWeek, destronando al contrabajista Christian McBride quien lo ocupó durante varias semanas. John Scofield, quien había llegado al segundo puesto la semana pasada, desapareció de la primera docena (bajó al 19), y Ellis Marsalis entró directamente al cuarto con su disco de jazz de Navidad. Estos son los 12 primeros lugares de la cartelera de jazz de esta semana:

01 Houston Person, So Nice
02 Christian McBride Big Band, The Good Feeling
03 Pat Martino, Undeniable
04 Ellis Marsalis, A New Orleans Christmas Carol
05 Joey DeFrancesco, 40
06 Poncho Sánchez & Terence Blanchard, Chano y Dizzy
07 George Benson, Guitar Man
08 Christian McBride, Conversations With Christian
09 Mike Longo, To My Surprise
10 Mary Louise Knutson, In The Bubble
11 Rene Marie, Black Lace Freudian Slip
12 Hendrick Meurkens, Live At Bird´s Eye

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


segunda-feira, 26 de dezembro de 2011


Concierto anual de Duke Ellington, hoy.
Esta noche la organización Earshot presentará, como lo hace todos los años cerca de la Navidad, un concierto de la composición de Duke Ellington "Música sacra", que es una obra que mezcla el swing, el jazz y un aspecto serio y religioso del famoso pianista, director de orquesta y compositor. El concierto será en Seattle. Ellington escribió esta obra en los últimos años de su vida para ser interpretada por una big-band, solistas instrumentales y vocales, así como tap dancers. Earshot ha presentado este concierto durante los últimos 22 años y en esta ocasión tomarán parte la Seattle Repertory Jazz Orchestra, co-dirigida por Michael Brockman y Clarence Acox, con una serie de vocalistas invitados, así como un coro de cámara y el bailarín "tap", Alex Dugdale.



segunda-feira, 19 de setembro de 2011

Frank Rosolino & Carl Fontana - Trombone Heaven http://www.megaupload.com/?d=OCIJJR5Q

Depois de brincar com a guitarra, Frank Rosolino assumiu o trombone.Após o serviço militar durante a Segunda Guerra Mundial que ele tocou em uma sucessão de grandes bandas. Gravou com Dexter Gordon Stan Levey Conte Candoli e outros.
Charles Carl Fontana, trombonista e bandleader, nasceu em Monroe, Louisiana em 18 julho de 1928 e morreu em Las Vegas no dia 09 de outubro de 2003.

1 - Here's That Rainy Day/Stardust
2 - Well, You Needn't
3 - All Blues
4 - Just Friends
5 - Laura/Embraceable You
6 - Ow

Frank Rosolino, Carl Fontana - trombones
Elmer Gill - piano
Torban Oxbol - bass
George Ursan         


sexta-feira, 23 de dezembro de 2011

Ella e Basie - On Sunny Side of the Street.

Ella e Basie! É um álbum de estúdio de 1963, onde a espetacular cantora Ella Fitzgerald e acompanhada pela Orquestra de Count Basie, com arranjos de Quincy Jones. Mais tarde foi relançado com a capa ligeiramente diferente como "On Sunny Side of the Street".

1. Honeysuckle Rose
2. 'Deed I Do
3. Into Each Life Some Rain Must Fall
4. Them There Eyes
5. Dream a Little Dream of Me
6. Tea for Two
7. Satin Doll
8. I'm Beginning to See the Light
9. Shiny Stockings
10. My Last Affair
11. Ain't Misbehavin'
12. On the Sunny Side of the Street
13. My Last Affair
14. My Last Affair
15. Robbins Nest (Breakdown)
16. Robbins Nest
17. Robbins Nest
18. Robbins Nest


Plan Gordon - Bill Perkins

# 100 - Just Friends

Originalmente influenciado por Lester Young y más orientado al estilo de John Coltrane después, Bill Perkins fue uno de los más talentosos saxofonistas de la escena de Los Angeles en la década de 1950.
En la ambiciosa edición del sello Lone Hill de 2006 que se presenta aquí, se recoge "casi" en su totalidad las grabaciones junto a sus colegas Richie Kamuca y Art Pepper, aparecidas inicialmente en dos destacados discos: Tenors Head On -uno de los tres volúmenes de la serie Lighthouse ideada por Howard Rumsey para el sello Liberty-, y Just Friends del sello Pacific Jazz, que es el mencionado por Robert Gordon en su selección.

Ese "casi" entrecomillado es debido a que, por razones de espacio, la producción de Lone Hill excluyó "What Is This Thing Called Love?", una de las tomas del LP Just Friends orignal (Pacific Jazz M-401), compensándola con "Angel Eyes", una grabación de la misma sesión de Diciembre de 1956, que completaron Art Pepper en saxo alto, Jimmy Rowles al piano, Ben Tucker en contrabajo y Mel Lewis en batería.
Aquellos visitantes habituales de Quintaesencia, encontrarán esa toma "perdida" en la ya presentada colección de grabaciones completas de Art Pepper para el sello Pacific Jazz. Pero como las libertades que nos tomamos los "blogeros" son ilimitadas, también encontrarán en la música compartida, la mencionada grabación, extraída de una de las tantas reediciones de estos registros que han aparecido en el tiempo.

Por su parte, las grabaciones de Perkins con Kamuca, datan de Julio y Octubre de 1956 y allí están presentes los pianistas Hampton Hawes y Pete Jolly, el contrabajista Red Mitchell y los bateristas Mel Lewis y Stan Levey.
Una sutil maravilla a destacar: la hermosísima versión de "Sweet And Lovely" donde Kamuca exige a su tenor un registro "ultra-alto" y Perkins deslumbra en clarinete bajo y flauta.


domingo, 25 de dezembro de 2011


Zoot Sims - Stretching Out

Bitrate: 320K/s
Year: 1958
Time: 36:07
Size: 82,7 MB
Label: Jazz Beat Records
Styles: Jazz Instrumental
Art: Front

1. Stretching Out - 6:08
2. Now Will You Be Good - 5:28
3. Pennies from Heaven - 6:15
4. King Porter Stomp - 4:39
5. Ain't Misbehavin' - 6:54
6. Bee Kay - 6:42

This all wouldn't have been possible without Harry Edison and Fred Green you know. They know as much about the kind of music that I feel as any men who ever lived. They have earned - with no caterwauling about travel, working conditions, the plight of the "jazzman" in America today, and related rot- the respect and love of many musicians and listeners, especially those who were around to sop up that Basie band in the early `40s. They are, truly, giants: yesterday through, and inclusive of, tomorrow. The album was recorded at Nola's penthouse from 10 AM to 4 PM on a Sunday afternoon in December and it was fun, fun, fun and happiness. What I wouldn't give to play with a band like this every night! Ah well, back to the workroom and some more of that score paper so have a good time at the funeral and a good day to all. (From Bob Brookmeyer's original liner notes)

Stretching Out  CLIQUE AQUI



Ron Carter's Great Big Band
Ron Carter's Great Big Band

Philip Booth reviews the legendary bassist's new CD

Given the thousands of recordings that Ron Carter has played on, it’s surprising that Ron Carter’s Great Big Band is the masterful bassist’s first session leading a large ensemble. Tapping the talents of prolific jazz and pop arranger Robert Freedman, pianist Mulgrew Miller, drummer Lewis Nash and a roomful of first-call hornmen, Carter turns in a 13-track program that makes a refreshing—not stuffy—jazz-history survey, with music dating all the way back to W.C. Handy. Underneath it all, Carter drives the tunes, including two of his own, with typically impeccable time, tone that’s woody and resonant, and adroit note choices.
The Latin-tinged pieces are among the standouts on the disc. A shimmering version of Dizzy Gillespie’s “Con Alma” opens and closes with a brass choir, and features a slipping-and-sliding Carter solo as well as dazzling, economical turns from Miller, trumpeter Greg Gisbert and alto saxophonist Steve Wilson. Jerry Dodgion’s bright, inquisitive soprano sax rides atop a version of Ellington’s “Caravan” characterized by a sneaky intro, staggered brass and some intriguing detours.
Freedman nods to the classic ’40s big-band sound on a couple of occasions, with an update of Sy Oliver’s “Opus One,” penned for the Tommy Dorsey Orchestra and here led off by bass trombonist Doug Purviance, and Tom Harrell’s retro-minded “Sail Away,” with relaxed solos by Miller, trombonist James Burton III, Carter and tenor saxophonist Wayne Escoffery. The band also ventures into hard bop, with a fiery take on Sonny Stitt’s “The Eternal Triangle”; cool-jazz climes, with Gerry Mulligan’s tuneful “Line for Lyons” and John Lewis’ “The Golden Striker”; and soul jazz, with a grooving take on Nat Adderley’s “Sweet Emma.” Carter even offers a pleasant return trip to Wayne Shorter’s “Footprints,” which the bassist, 74, helped make famous as part of Miles’ Second Great Quintet.  jazztimes.com



Benny Carter - Additions To Further Definitions

Benny Carter
Additions To Further Definitions
ABC/Impulse! A 9116

Los Angeles, CA, March 2, 1966
Benny Carter, Bud Shank (as)
Buddy Collette, Teddy Edwards (ts)
Bill Hood (bars)
Don Abney (p)
Barney Kessel (g)
Ray Brown (b)
Alvin Stoller (d)

90472 If Dreams Come True
90473 Fantastic, That's You
90474 Come On Back
90475 Prohibido

Los Angeles, CA, March 4, 1966
Benny Carter, Bud Shank (as)
Bill Perkins, Bill Perkins, Teddy Edwards (ts)
Bill Hood (bars)
Don Abney (p)
Mundell Lowe (g)
Al McKibbon (b)
Alvin Stoller (d)

90476 Doozy
90477 We Were In Love
90478 Titmouse
90479 Rock Bottom
1. Fantastic, That's You [Thiele/Cates/Greene] 6:11
2. Come On Back [Carter] 4:14
3. We Were In Love [Carter] 4:27
4. If Dreams Come True [Goodman/Sampson/Mills] 5:49
5. Prohibido [Carter] 3:20
6. Doozy [Carter] 5:33
7. Rock Bottom [Carter] 4:14
8. Titmouse [Carter] 3:02

This LP is a reprise of Benny Carter's brilliant Further Definitions session of 1961 and, like most sequels, it is not quite on the same level as the original. Utilizing five saxes (Bud Shank and his own altos, tenors Buddy Collette and Teddy Edwards and baritonist Bill Hood), Carter's arrangements for six of his originals, "Fantastic, That's You" and "If Dreams Come True" are colorful, although the solos are less memorable than on the earlier session; who could replace Coleman Hawkins? Carter, who did all the arrangements here too, features more of his own compositions this time around, with an updated version of "Doozy" and a superb cover of "Fantastic, That's You" (was every artist at Impulse! in 1966 forced to record this song?). The 1966 date features West Coast cats like Bud Shank, Buddy Collette, Teddy Edwards, Barney Kessel and Ray Brown -- all of whom swing hard and warm like the East Coasters who made the 1961 session famous. A highly recommended choice for some great jazz listening.Refreshingly timeless.
http://www.mediafire.com/download.php?l719ptkx5nbyoyp    clique aqui 

sábado, 24 de dezembro de 2011



Sonny Rollins - East Broadway Run Down

Sonny Rollins
East Broadway Run Down
ABC/Impulse! A 9121

Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 9, 1966
Freddie Hubbard (tp*)
Sonny Rollins (ts)
Jimmy Garrison (b)
Elvin Jones (d)

East Broadway Run Down*
Blessing In Disguise
We Kiss In A Shadow
1. East Broadway Run Down (Rollins) 20:27
2. Blessing in Disguise (Rollins) 12:27
3. We Kiss in a Shadow (Hammerstein, Rodgers) 5:40

For Sonny Rollins, the 1960s were a period of consolidation and revolution as he refined his own concepts and reacted to the flurry of events around him. In taking stock of John Coltrane, Ornette Coleman, Albert Ayler and Archie Shepp, Sonny formulated a series of fascinating responses, from the elegant, mainstream approach of THE BRIDGE to his free-form safaris into the underbrush of open-ended group improvisation with Don Cherry (On The Outside).

East Broadway Run Down is the apotheosis of this period, one of Sonny Rollins most powerful recordings. Jimmy Garrison and Elvin Jones (late of Coltrane's band) fire each of these performances with an elemental energy. Meanwhile, the relaxed and extremely confident Sonny responds with some of his most charged improvisations, abstract and exploratory, yet lyrical and supremely bluesy.

The title tune begins with an angular, fragmented blues vamp. As Garrison and Jones lock into a multi-layered 4/4 groove, Rollins sculpts in space, lagging way behind the beat with heraldic recitatives and coy snippets of the theme, teasing Jones into one rhythmic climax after another in the manner of Monk and Lester Young. Freddie Hubbard responds to Rollins' thematic parries with fierce, bluesy counterpunches, and following free solo passages from Garrison and Jones, they proceed with free textural exchanges over a hypnotic rhythm vamp. After this epic romp, Sonny (sans Freddie) jumps headfirst into the ancestral blues figures of "Blessing In Disguise" with garrulous, preaching energy. "We Kiss In A Shadow" (from "The King And I") is among his most touching ballads, moving from a tender Afro-Cuban head to a slow grinding shuffle, as Sonny deconstructs the melody with rhapsodic elan.

Review by Steven McDonald
Around the ten-minute mark of the title track, things get very interesting indeed — moody and spooky as Jimmy Garrison hangs on a single note, making his bass throb along while Elvin Jones widens the space and fires drum and cymbal hits in all directions. Coming off bass and drum solos that never seem to fit anywhere in the piece, it's a supreme moment of tension-building, one that gets repeated after Rollins and trumpeter Freddie Hubbard restate the theme in unison. This is the sound of Rollins' group working in unity. For much of "East Broadway Run Down," though, the rhythm section is off doing their thing, usually together, while Rollins meanders about in limbo, seemingly trying to figure out what it is that he should be doing. That Rollins was having an off day for this recording is a suspicion that's strengthened by Hubbard's part — where Rollins is wandering, Hubbard is charging ahead, focused and tight, fitting with the rhythm section, keeping the tension up. The remainder of the album is more on the mark, with "Blessing in Disguise" being quite enjoyable — it starts out in a cheerfully traditional vein and gradually, subtly, starts to slide off into an improvisational area only to come back again to the traditional, and so back and forth. Rollins floats his sax line around the melody with only occasional excursions toward the outer regions. "We Kiss in a Shadow," though, is charmingly straightforward, a ballad rendering supported by Jones and Garrison locking together on a nice rhythm construction that lets Rollins float around the melody.
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10 años de la Afro Latin Jazz Orchestra.El pianista y director Arturo O´Farrill anunció que habrá una celebración de beneficio para conmemorar los 10 años de la Afro Latin Jazz Orchestra, que dirige. El evento se realizará el 20 de enero en el Symphony Space de Nueva York y habrá invitados especiales, tales como la vocalista Claudia Acuña, el saxofonista Donald Harrison, y el pianista Randy Weston que estará reemplazando a Eddie Palmieri quien no estará participando como se había anunciado antes. En cierta medida esta orquesta es la continuadora de la del padre de Arturo O´Farrill, el legendario Chico O´Farrill y su estilo y repertorio reflejan una perfecta imagen del jazz latino actual. Ha estado vinculada al Lincoln Center y al club de jazz Birdland y ha recibido comisiones musicales de autores como Miguel Zenón, Dafnis Prieto y del propio O´Farrill, entre otros. También ha realizado giras internacionales que incluyen una célebre visita a Cuba el año pasado en la que hubo una intensa interacción con músicos de jazz cubanos.




sexta-feira, 23 de dezembro de 2011


sábado 15 de octubre de 2011

Oscar Peterson, Harry Edison, Eddie ''Cleanhead'' Vinson

Oscar Peterson + Harry Edison
 + Eddie ''Cleanhead'' Vinson
- 1987 -
01 - Stuffy
02 - This One's For Jaws
03 - Everything Happens To Me
04 - Broadway
05 - Slooow Drag
06 - What's New
07 - Satin Doll



lunes 16 de agosto de 2010

Chet Baker And Bill Evans - 2010 - The Complete Legendary Session

01 - Alone Together
02 - How High The Moon
03 - It Never Entered My Mind
04 - 'tis Autumn
05 - If You Could See Me Now
06 - September Song
07 - You'd Be So Nice To Come Home To
08 - Time On My Hands
09 - You And The Night And The Music
10 - Early Morning Mood
11 - Show Me
12 - I Talk To The Trees
13 - Thank Heaven For Little Girls
14 - I Could Have Danced All Night
15 - Almost Like Being In Love


Wednesday, November 9, 2011

Charlie Rouse - Yeah!

Bitrate: 320K/s
Time: 57:12
Size: 131.0 MB
Label: Columbia
Styles: Saxophone jazz, Hard Bop
Year: 1961/2010
Art: Front

[6:26] 1. You Don't Know What Love Is
[5:59] 2. Lil Rousin'
[6:14] 3. Stella By Starlight
[8:39] 4. Billy's Blues
[4:41] 5. Rouse's Point
[6:21] 6. (There Is) No Greater Love
[5:48] 7. When Sunny Gets Blue
[5:49] 8. Quarter Moon
[7:11] 9. I Should Care

Tenor saxophonist Charlie Rouse is best known for his work with Thelonious Monk, playing with the enigmatic pianist and composer during Monk's Columbia years from 1959 until 1970.

Rouse's sound with Monk was so fluid and smooth that's it's easy to forget how many eccentric, jagged turns he had to navigate night after night, and that Rouse did it with quiet, steady grace is a testament both to his sax playing and to the space Monk built into his puzzle box compositions. Rouse headed up few sessions on his own as a bandleader, but as this calm, workmanlike set, recorded in 1960 and originally released in 1961 on Epic Records, clearly shows, he could rise to the occasion. Working with a rhythm section of Dave Bailey on drums, Peck Morrison on bass, and Billy Gardner on piano (this was actually Gardner's debut in a recording studio), Rouse's sax lines seem to float effortlessly over the top of things, feeling less urgent and angular than his work with Monk. Highlights include the opener, "You Don't Know What Love Is," the Gardner composition "Billy's Blues," and the pretty ballad, "(There Is No) Greater Love," that closes things out. It's all very pleasant, falling to the easy side of the hard bop spectrum with very few rough edges or surprises. Rouse arguably was at his best as a solid supporting player, but this session has its moments, and it shows a more romantic, gliding side to Rouse than was usually on display with Monk. Everything here on this Japanese reissue was included in Epic's Unsung Hero release, which also added three additional tracks, making it a marginally better purchase than this one. ~Steve Leggett

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quinta-feira, 22 de dezembro de 2011


Quinta - feira, 22
AC (saxofone e EWI - Instrumento Eletrônico de Sopro), Marco Tommaso (teclado), Andre Rodrigues (baixo) e Mac William (bateria)

O saxofonista é bacharel em Performance na Berklee College of Music, mestre em saxofone pela California Institute of the Arts e doutor em Música (Praticas Interpretativas) pela UNIRIO. Em Boston recebeu o prêmio Berklee Performance Achievement Award e na Califórnia teve uma composição lançada pela Capitol Records no CD Calarts Jazz-93. Foi aluno de Mauro Senise, Ernie Watts, George Garzone, Hal Crook e Charlie Haden. Durante a estada de sete anos nos EUA, trabalhou com Matt Johnson, Thom Teresi, Alejandro Santos e a banda Soul Twisters, entre outros.

Proeminente no cenário de jazz carioca AC já trabalhou no Brasil com Zimbo Trio, Severino Araújo, Robertinho Silva, Paulinho Braga, Nivaldo Ornellas, Marcio Montarroyos, Idriss Boudrioua, Widor Santiago, Paulinho Trompete, Hamleto Stamato, Cliff Korman, Paulo Moura, Marco Lobo, Jessé Sadock, etc.

No momento ele desenvolve um projeto em parceria com o baixista André Rodrigues, oAtelier Jazz. Músico, professor e produtor de igual talento e competência, AC conquistou uma posição de singular destaque no Brasil como o primeiro saxofonista a obter um PhD na área e a ocupar plenamente seu espaço artístico nos palcos e sua posição acadêmica na universidade.
às 18h30 – Couvert artístico: R$ 10


Sexta-feira, 23

O saxofonista americano Tom Bergeron é o convidado do pianista Marvio Ciribelli para uma bela noite com muito jazz. Com quase 50 anos de carreira, Tom vem atuando nos Estados Unidos, Europa e Costa Rica ao lado de nomes como Ella Fitzgerald, Anthony Braxton, Natalie Cole, Robert Cray, The Temptations e outros. Tom é uma das maiores autoridades do mundo em multifonia, técnica esotérica de produzir várias notas de só uma vez no saxofone. Ele também é professor de música da Western Oregon University, nos Estados Unidos.
No repertório, Straight no Chaser e Well You Needn't (Thelonious Monk), La Fiesta (Chick Corea), Nardis (Miles Davis), Apanhei-te Cavaquinho (Ernesto Nazareth) e Tico Tico no Fubá (Zequinha de Abreu)
às 20h30 – Couvert artístico: R$ 10



Gala de honor a Rollins transmitida por CBS.
Tal como informamos en este blog a comienzos de diciembre, el "coloso" del saxo tenor, Sonny Rollins, fue uno de los agraciados con los honores anuales del Centro Kennedy en Washington, con la presencia del Presidente Barack Obama, ex-Presidente Bill Clinton y altas personalidades del mundo artístico. La ceremonia de dos horas será transmitida en su totalidad al país (y al mundo por cable) por la cadena CBS el 27 de este mes. Rollins ha recibido innumerables galardones y premios en su carrera y este, uno de los de mayor prestigio en EEUU, ha sido el último. También lo recibieron Meryl Streep, Barbara Cook, Neil Diamond y Yo-Yo Ma. En la transmisión se podrá escuchar y ver el discurso de Bill Clinton dedicado a Rollins, así como el acto musical organizado por Christian McBride con algunos "gigantes" del jazz, tales como Benny Golson, Roy Hargrove, Jim Hall, Joe Lovano, Herbie Hancock, Jack DeJohnette, Ravi Coltrane y otros.