sexta-feira, 27 de abril de 2012


Johnny Griffin - you leave me breathless

I seem to be on a bit of a Black Lion roll lately. Well maybe not from where you're standing but here around chez hook it's been relentless.
But, goddam, what a bunch of records! I grabbed them when I could and never found disappointment.

Here's another that completely rocks my little world.

Griffin was one of those guys that seems to leave the tune behind, working on chords and shit I don't even understand. Sure 'trane did the same thing but I seemed to have always been able to wrap my head around Trane. Perhaps it was because of the early exposure.

Negotiating chord changes - I have no idea what that means. I think Griffin rolled out some muscular versions of these songs and has kept my interest. I think these ex-patriots were having a blast relishing in the accolades showered on them in Europe at the time and the bonus has been these great recordings.

There are some fine romps here, but it is the 12 minute, subtlety menacing ballad "Old Folks" that has always captured my imagination.

Johnny Griffin
you leave me breathless

1. rhythm-a-ning
2. old folks
3. wee
4. you leave me breathless
5. leave me alone blues

johnny griffin - tenor sax
kenny drew - piano
nils henning orsted - bass
albert heath - drums

march 30/31 - 1967
monmatre jazzhuis, copenhagen


quinta-feira, 26 de abril de 2012


(26 ABRIL) DESPEGA FESTIVAL DE JAZZ EN NUEVA ORLEANS. Mañana 27 de abril se da comienzo al 43 New Orleans Jazz & Heritage Festival 2012, una verdadera fiesta que se toma las calles y lugares de entretenimiento de esa ciudad hasta el 6 de mayo. Este es el mayor y más importante evento festivo-cultural de Nueva Orleans, seguido por el famoso y picaresco Mardi Gras. En esta ocasión tomarán parte alrededor de mil músicos y entre los nombres más destacados están los de Herbie Hancock, Esperanza Spalding, Ellis Marsalis, Poncho Sánchez, Terence Blanchard, Terri Lyne Carrington, Allen Toussaint, Donald Harrison, Trombone Shorty, Dr. John, Pete Fountain, Dianne Reeves, David Sanborn, Joey DeFrancesco, etc. Como en años anteriores habrá también invitados famosos de otros géneros, tales como The Beach Boys y Bruce Springsteen, incluyendo de esta forma pop, latin, rap y blues. Quienes asistan al festival se encontrarán con mucho más que música: restaurantes con todo tipo de comidas (Nueva Orleans ha adquirido fama también por sus célebres chefs), bares, galerías de arte, teatro, cafés, artesanías, actuaciones callejeras de todo tipo de expresiones artísticas, exposiciones variadas, charlas, talleres, actividades para niños y muchas otras. Los lugares para escuchar jazz van desde la calle a solemnes salas de teatro y de conciertos, pasando por clubes de jazz, bares, escuelas y aulas universitarias.

terça-feira, 24 de abril de 2012


Hoy reunen fondos para Clark Terry.Como anunciamos hace algunos días, hoy, en la St. Peter´s Church de Manhattan, N.Y., se realiza el concierto para ir en ayuda de los gastos de salud del legendario trompetista Clark Terry, quien sufre de una avanzada diabetes, que le ha significado ya costosas operaciones quirúrgicas. El evento es organizado por su esposa, Gwen Terry, la Sociedad Duke Ellington, la organización "Mujeres internacionales en el jazz", la Jazz Foundation Of America, y el "Ministerio de jazz" de la St. Peter´s Church. Toman parte grandes personalidades del jazz, entre otras, Paquito D´Rivera, Ron Carter, Jimmy Cobb, Lee Daniels, Lou Donaldson, Don Freeman, Louis Hayes, Jimmy Heath, Conrad Herwig, Russell Malone, Junior Mance, Mulgrew Miller, Jeremy Pelt, Rufus Reid, Lew Soloff, Frank Wess y decenas de otros músicos famosos. Clark Terry --uno de los grandes trompetistas en la historia del jazz-- anunció una aparición en el evento via Skype.

Eddie Gómez lanza nuevo álbum con quinteto italiano.

segunda-feira, 23 de abril de 2012


Randy Johnston - In-A-Chord (1994)

The title's a bit hokey, and the cover is too – but the record's a really great batch of tenor, organ, and guitar lines – served up with guitarist Randy Johnston at the helm, and featuring great contributions from Eric Alexander and Joey DeFrancesco! Drummer Mickey Roker completes the quartet – kicking things along with his classic sound – and Joey's strong ability to handle basslines with the organ gives the record a nice rumbling feel up from the bottom. Alexander's tenor is perhaps a bit less pointed than on other albums of the 90s, but his presence is always a welcome one – and titles include "Minor Mystery", "Sunday In New York", "The Philadelphians", "Wonder Why", and "Blues For The New One". (Out of print.)

    1    Sunday In New York          
    2    Philadelphians          
    3    Smoke Gets In Your Eyes          
    4    Wonder Why          
    5    Blues For the New One          
    6    One For My Baby          
    7    Minor Mystery          
    8    Temptation

Personnel includes: Randy Johnston (guitar); Eric Alexander (tenor saxophone); Joey DeFrancesco (organ); Mickey Roker (drums).


Gene Ammons & Sonny Stitt - Boss Tenors in Orbit!

Though Gene Ammons and Sonny Stitt were the premier twin towers of jazz tenor sax bar none, they also had great mutual respect for their distinctly different styles. The soulful Ammons and the bop-oriented Stitt meshed well whether playing standards, jamming on familiar melodies, or in ballad form. This recording sees them a bit restrained, teamed with the brilliant organist Don Patterson, the totally obscure guitarist Paul Weeden, and the great drummer Billy James. There's a schism in terms of the stereo separation as each saxophonist gets his own channel, but on occasion they do play together, just not all that much. Some longer cuts allow Patterson to loosen up and take charge, but he is in the main an accompanist on this date from 1962. There's no real battling for turf here, while one-upmanship is redacted as the two take turns with nary a hint of egotism. Stitt switches to alto in contrast, and the two saxophonists play together on the good swinger "Walkin'," always a jam vehicle but shortened here, with the basic melody played only one time through, with Ammons adding a bit of harmony to the proceedings. They trade shorter phrases on "Why Was I Born?," as Stitt goes off on a flurry of bebop notes. Where "John Brown's Body" is quintessential soul-jazz at its primal best, they stretch out on the ten-minute jam "Bye Bye Blackbird," with Stitt first out of the batters' box and Ammons hitting for extra bases to drive his bandmate home. Where programming doesn't really matter on a CD (you can do that on your own), the leadoff track -- strangely enough -- is downtempo, hardly something to send anyone into orbit. "Long Ago and Far Away" is a ballad feature, first for Ammons and then Stitt, where the stereo effect is in full flight as the two go back and forth, with Patterson's sweet, swinging, and soulful B-3 languishing in the background. While not an out-and-out knock-down, drag-out event like their other recordings, this is still one of too few magical efforts with Ammons and Stitt together. Those who crave the live cutting sessions that made jazz very exciting in the early '60s might also consider this tamer studio effort. - by Michael G. Nastos, AMG

Artist: Gene Ammons & Sonny Stitt
Album: Boss Tenors in Orbit!
Year: 1962
Quality: eac-flac,cue,log,artw.
Label: Verve (Master Edition, 24 bit dig. transfer, 2002)
Runtime: 37:30

1.  Long Ago And Far Away (Ira Gerschwin/Jerome Kern) 6:18
2.  Walkin' (Jimmy Mundy) 5:24
3.  Why Was I Born? (Oscar Hammerstein II/Jerome Kern) 8:23
4.  John Brown's Body (Traditonal)  7:25
5.  Bye-Bye, Blackbird (Ray Henderson/Mort Dixon) 9:57

Gene Ammons (Tenor Saxophone)
Sonny Stitt (Tenor Saxophone)
Don Patterson (Organ)
Paul Weeden (Guitar)
Billy James (Drums)   


Tuesday, January 18, 2011

Stan Getz Quartet

Award Winner reunites Stan Getz with his mid-'50s right-hand men pianist Lou Levy and bassist Leroy Vinnegar, plus drummer Stan Levey, who sat in with the trio on 1956's The Steamer. Not surprisingly, it's quite similar to that effort, as the quartet keeps thing alternately cool, swinging ballads, and simmering, low-key grooves. It's the sound that made Getz' reputation and brought him popularity, a fact alluded to in the set's title. In retrospect, that can make Award Winner seem like standard-issue Getz, since it is straight-up Stan, with no surprises. Still, that's a very good thing, since few other tenor saxophonists had such a deft touch with laid-back, sensual cool jazz. Each cut on the six-track album feels sensual, even when the tempo is fleet on the side-closers "Smiles" and "This Can't Be Love." Everyone involved sounds as if they're enjoying themselves, and that results in a solid record that may have a few outstanding moments here and there -- a nice turn of phrase by Getz, a good solo from Levy, supple support from Vinnegar and Levey -- but is more distinguished by its overall strength and consistency of mood. Not necessarily a knockout, then, but certainly a record any true Getz fan would want in their collection. [Award Winner was released as a Verve Master Edition in 2000, containing nine bonus tracks, including four false starts and a track's worth of inserts. The real treat are the non-LP cuts from the same session, "All God's Chillun Got Rhythm" and "But Beautiful," which live up to the standard of the original LP, plus alternate takes of "Woody N You" and "Time after Time." All of this music is also available on the three-disc set, East of the Sun: The West Coast Sessions.]
Stephen Thomas Erlewine
Source :
Stan GetzAward Winner

1 Where or When (Hart, Rodgers) 7:11
2 Woody 'n You [Master Take] (Gillespie) 7:08
3 Smiles (Callahan, Roberts) 4:48
4 Three Little Words (Kalmar, Ruby) 6:59
5 Time After Time (Cahn, Styne) 6:45
6 This Can't Be Love (Hart, Rodgers) 9:19
7 All God's Chillun Got Rhythm (Jurman, Kahn, Kaper) 7:42
8 But Beautiful (Burke, VanHeusen) 5:31
9 Woody 'N You [Alt. Take] (Gillespie) 7:10
10 Time After Time [Alt. Take] (Cahn, Styne) 6:57
11 All God's Chillun Got Rhythm [False Start] (Jurman, Kahn, Kaper) 0:34
12 Samiles [False Start] (Callahan, Callahn, Roberts, Roberts) 0:20
13 Time After Time [False Start #2] (Cahn, Styne) 0:42
14 Woody 'n You [False Start] (Gillespie) 0:27
15 Woody 'n You [Inserts] (Gillespie) 2:43

Stan Getz - ts
Lou Levy - p
Leroy Vinnegar - b
Stan Levey - dr

Recorded at Capitol Studios, Hollywood ; August 2, 1957


Eddie Gómez lanza nuevo álbum con quinteto italiano.
Dentro de dos semanas el sello BFM pondrá en el mercado musical el álbum "Per Sempre", grabado por el legendario contrabajista Eddie Gómez y su quinteto, en Boloña, durante una gira italiana en el invierno de 2009. El disco trae composiciones originales de Gómez y de miembros del quinteto, pero además algunas extraordinarias y frescas re-creaciones de temas standard, tales como Stella By Starlight. Eddie Gómez todavía goza de su reciente triunfo musical, junto con Chick Corea y el fallecido Paul Motian, "Explorations", que fue un tributo al genio de Bill Evans. La fama de Eddie Gómez comenzó en los años 60 y desde entonces ha grabado más de 20 álbumes bajo su nombre y decenas de otros como integrante de otros conjuntos, entre ellos los de Gerry Mulligan, Miles Davis, Dizzy Gillespie, Bill Evans, Benny Goodman, McCoy Tyner, Hank Jones, Freddie Hubbard, Chick Corea y muchos otros. Según los comentarios de la crítica, "Per Sempre" es un álbum maduro, inventivo y lleno de geniales matices. Los otros integrantes del quinteto son Marco Pignataro, saxofón; Matt Marvuglio, flauta; Teo Ciavarella, piano, y Massimo Manzi, batería.


sexta-feira, 20 de abril de 2012


Muere vibrafonista Teddy Charles.
Teddy Charles, músico que saltó a la fama tocando con Charlie Parker, Miles Davis, Charles Mingus y otros gigantes de la era del Be-bop, murió en Long Island a la edad de 83 años. Este vibrafonista ha alternado parcialmente la música con otra actividad, desde hace algunas décadas, para transformarse en el capitán de un barco en el Caribe. A fines de los años 40 y en los 50, Teddy Charles estaba considerado a la altura de sus pares Milt Jackson y Terry Gibbs, por lo que se piensa que, de no haberse dedicado a la navegación, habría gozado de una carrera más sólida como músico de jazz en las décadas posteriores. No obstante, Charles jamás abandonó la música totalmente y continuó tocando hasta hace poco. Dirigió distintos conjuntos, uno de 10 músicos, un sexteto y más recientememnte un quinteto con músicos de generaciones más jóvenes. Dejó una media docena de álbumes grabados bajo su nombre, pero también se le encuentra en discografías de Parker, Davis, Mingus y otros

terça-feira, 17 de abril de 2012


Chick Corea conquista mais um Grammy com CD ‘Forever’ 

Jornal do BrasilLuiz Orlando Carneiro 

Pois foi este disco que conquistou, no último domingo, o 54º Grammy (ano–base setembro de 2010–outubro de 2011) na categoria melhor álbum de jazz instrumental, à frente dos outros quatro discos também muito relevantes que estavam na disputa: Road shows, vol. 2 (Doxy), registro parcial do concerto dos 80 anos do saxofonista-maior Sonny Rollins, em outubro de 2010, no Beacon Theatre de Nova York; The Paris sessions (Emarcy), do trio do ascendente pianista Gerald Clayton; Alone at The Vanguard (Palmetto), iguaria fina, sem acompanhamento, do mestre-pianista Fred Hersch; Bird songs (Blue Note), com o quinteto Us Five do saxofonista Joe Lovano (Esperanza Spalding no baixo, James Weidman ao piano e os bateristas Francisco Mela e Otis Brown III).

Virtuose do piano lança outros dois álbuns duplos neste início de ano
Virtuose do piano lança outros dois álbuns duplos neste início de ano
Há três anos, Chick Corea levou para casa o Grammy da mesma categoria, por conta do volume 2 do duplo The new Crystal Silence (Concord), que documentou sublimes duetos com o vibrafonista Gary Burton, em 2007, na excursão europeia comemorativa do 35º aniversário do primeiro encontro dessa dupla que permanece como uma entidade criativa única.
No volume 1 de Forever, o trio acústico de Corea recria quatro dos oito temas tratados no Grammy winner de 2008-9: Bud Powell (7m05), No mystery (10m50) e Señor Mouse (12m), peças do pianista, e Waltz for Debby (9m50), de Bill Evans. Há ainda a valsinha Windows (8m50), que Corea lançou no antológico LP Now he sings, now he sobs (Blue Note, 1968); Hackensack (7m25), de Thelonious Monk; La canción de Sofia, do baixista Clarke; e On Green Dolphin Street (8m40), o inesgotável standard de Bronislav Kaper (1902-83).
Daqui a um ano, é bem provável que o irrequieto, camaleônico e prolífico Chick Corea seja novamente indicado para o Grammy. É que ele vem de lançar dois álbuns – ambos também duplos – de concepções bem distintas, que já recebem aplausos calorosos da maior parte dos reviwers: Further explorations (Concord) e The Continents (Deustche Grammophon).
O primeiro foi gravado em maio de 2010, em vários sets, no clube Blue Note, em trio com Paul Motian (bateria) e Eddie Gomez (baixo), e foi inspirado na música dos inesquecíveis trios de Bill Evans, integrados em épocas diferentes por Motian e Gomez. São ao todo 19 faixas, entre as quais reinterpretações de temas marcantes de Evans, como Very early, Turn out the stars, Laurie e Peri’s scope. Corea não se esquece também de Gloria’s step, de Scott LaFaro. E ainda oferece uma versão surpreendente de Little Rootie Tootie (Thelonious Monk).
Já o primeiro volume de The Continents é uma composição na linha da Third stream music: um concerto para quinteto de jazz e orquestra de câmera, de seis partes (África, Europa, Austrália, América, Ásia, Antártica). O quinteto é formado por Corea, Tim Garland (sax, clarinete baixo, flauta), Steve Davis (trombone), Hans Glawischnig (baixo) e Marcus Gilmore (bateria). A orquestra é conduzida por Steve Mercurio, e inclui o Harlem String Quartet e o conjunto de sopros Imani Winds. O segundo volume do álbum, também gravado em junho de 2011, apresenta o jazz combo em quatro temas (dois de Kenny Dorham, um de Corea e Just friends), e o grande pianista numa série de 11 solos, variando entre um e sete minutos.


Jimmy Cobb recibirá honores en San Sebastián.
Este año el legendario baterista Jimmy Cobb será el recipiente del premio "Donostiako Jazzlandia", en el festival de jazz de San Sebastián, en julio, conocido como el Heineken Jazz Festival. Jimmy Cobb tocará en el teatro Victoria Eugenia de esa ciudad, el 20 de ese mes, momento en que recibirá el galardón. Cobb es el único sobreviviente del legendario grupo de Miles Davis que grabó "Kind Of Blue" en 1959, álbum que marcó un hito y cambió la historia del jazz. Un respetado baterista, Jimmy Cobb ha tocado con innumerables "gigantes" del jazz, entre ellos Stan Getz, Dizzy Gillespie y Cannonball Adderley. Algunos de los ganadores anteriores del premio mencionado han sido Chick Corea, Toots Thelemans, Wayne Shorter, Ahmad Jamal y Herbie Hancock.


Jazz en tres ciudades españolas.Se esta realizando, hasta el 26 de abril, el XVII Ciclo de Jazz "Jazzbarrie-2012", en tres ciudades gallegas: A Coruña, Lugo y Vigo. El festival contempla una serie de conciertos en cada una de las ciudades, además de otras actividades relacionadas con el jazz, así como jam sessions. Participa una gran cantidad de músicos y entre aquellos internacionales se destacan Robert Glasper, con jazz de vanguardia; el destacado pianista Steve Kuhn, el saxofonista Chico Freeman y la voz de Patti Austin, quien estará cantando un repertorio de Ella Fitzgerald.


segunda-feira, 16 de abril de 2012


Sunday, 26 February 2012

Bill Charlap - I'm Old Fashioned

A recent beauty of a release by Venus this. The maestro on piano, Peter Bernstein on guitar and Peter Washington on bass. Absolutely stunning sound - listen to it on a good stereo and Charlap could be playing the piano in your living room.
As it's name suggests, its just a good honest 60-odd minutes of a swinging trio playing standards. Charlap just seems to get better, his playing on the title track is sublime. As a piano player myself, I don't think anyone voices block-chords in quite the way that he does. Enjoy.
Link in comments.


Wednesday, 11 April 2012

Eddie Higgins with Scott Hamilton - My Funny Valentine

Another classy Venus outing for this perfectly matched pair. Higgins is sort of the perfect partner for Scott - completely in the pocket, a safe pair of hands.
By now you'll know what to expect - there are no surprises, just standards played with a classy touch. The opening 'You'd Be So Nice To Come Home To' swings nicely and 'I'm a Fool To Want You' is done as a gentle bossa. The title track opens with a nice piano intro that has an almost classical symmetry, when the melody enters you can hear the air blow through Hamilton's tenor. All nice stuff. Enjoy.
Link in comments.


"Nuevo" super trío de Chick Corea.
Los organizadores del Festival de Jazz de Londres, que se realiza todos los meses de noviembre, anunciaron la participación este año de un super-trío de Chick Corea, con Christian McBride, en contrabajo, y Brian Blade en batería. Esto luego de haber ganado dos premios Grammy por su álbum Forever, el año pasado, con el trío integrado por Stanley Clarke y Lenny White. Anteriormente, poco antes de la muerte de Paul Motian, Corea alcanzó a grabar y ofrecer conciertos con ese célebre baterista y con el legendario Eddie Gómez, con quienes grabó Further Explorations. En ambos casos se trató de reuniones geniales después de muchos años de haber hecho historia. En el caso del nuevo trío con McBride y Blade, se trata de una agrupación fresca y llena de promesas debido al calibre personal de cada uno de sus integrantes. Hay que agregar que estos tres músicos ya habían tocado juntos antes, en 2009, por un período relativamente breve.


domingo, 15 de abril de 2012


Fiesta de big-bands este fin de semana.En funciones dobles hoy viernes y mañana sábado, los célebres directores Toshiko Akiyoshi y Vince Giordano compartirán el escenario dirigiendo dos big bands de distinto caracter en el Lincoln Center de Nueva York. En la primera mitad de las presentaciones Giordano reproducirá la tradición de las big-bands de los años 20 y 30. Toshiko interpretará en la segunda parte composiciones originales y arreglos contemporáneos para la obra de Duke Ellington Black And Tan Fantasy, que el "Duque" compuso en 1927, años antes de que naciera la famosa directora, arreglista, compositora y pianista, Toshiko Akiyoshi. "El tema es antíguo --declaró Toshiko-- pero le he hecho un arreglo nuevo, es como ponerle un vestido nuevo, mantentiendo el cuerpo y alma originales". Esta directora es hoy una leyenda en vivo en el mundo del jazz, habiendo desarrollado una exitosa carrera con sus big-bands a través de los años, algunas de ellas co-dirigidas con su ex-esposo, el saxofonista y flautista Lew Tabackin. Vince Giordano es también un nombre de prestigio que recientemente ganó un premio Grammy por su trabajo en música para medios audiovisuales.


Familia de Amy Winehouse ayuda a orquesta de jazz.

La New Orleans Jazz Orchestra recibirá una donación de 10 mil dólares de la Fundación Amy Winehouse, creada en EEUU por la familia de la desaparecida cantante. Sus padres lanzaron oficialmente dicha fundación en el Joe´s Pub, de Nueva York, donde la cantante debutó hace cinco años. Esta fundación tiene como objetivo ayudar a jóvenes de bajos recursos económicos. La fundación, ya existente en el Reino Unido, logró juntar un millón de dólares en la Gran Bretaña y los fondos están destinados a la educación musical y terapias musicales para jóvenes que no pueden pagarse los estudios. Mitch Winehouse, el padre de Amy, dijo que en EEUU la fundación dedicará sus fondos a lo mismo. La New Orleans Jazz Orchestra es una institución musical dedicada a inspirar social y culturalmente a los jóvenes "celebrando los orígenes del jazz para transformar el futuro del jazz". Esta agrupación orquestal ofrecerá un concierto en el Carnegie Hall de Nueva York, el 8 de octubre.

sexta-feira, 13 de abril de 2012


Saturday, November 26, 2011

Kai Winding & J.J. Johnson - The Great Kai & J.J

Kai Winding/J.J. Johnson
The Great Kai And J.J.
ABC/Impulse! 9000 series A 1

Rudy Van Gelder Studio, Englewood Cliffs, NJ, October 3, 1960
J.J. Johnson, Kai Winding (tb)
Bill Evans (p)
Paul Chambers (b)
Roy Haynes (d)

This Could Be The Start Of Something Big
Rudy Van Gelder Studio,Englewood Cliffs,NJ,November 2, 1960
J.J. Johnson, Kai Winding (tb)
Bill Evans (p)
Paul Chambers (b)
Roy Haynes (d)

Blue Monk
Side By Side
I Concentrate On You
Rudy Van Gelder Studio,Englewood Cliffs,NJ,November 4, 1960
J.J. Johnson, Kai Winding (tb)
Bill Evans (p)
Tommy Williams (b)
Art Taylor (d)

Alone Together
Theme From "Picnic"
Going, Going, Gone!
Just For A Thrill
Rudy Van Gelder Studio,Englewood Cliffs,NJ,November 8, 1960
J.J. Johnson, Kai Winding (tb)
Bill Evans (p)
Tommy Williams (b)
Art Taylor (d)

Georgia On My Mind
1. This Could Be the Start of Something Big [Allen] 3:13
2. Georgia on My Mind [Carmichael/Gorrell] 3:52
3. Blue Monk [Monk] 4:31
4. Judy [Johnson] 4:06
5. Alone Together [Dietz/Schwartz] 3:36
6. Side by Side [Woods] 3:06
7. I Concentrate on You [Porter] 4:03
8. Theme from Picnic [Allen/Duning] 4:05
9. Trixie [Johnson] 5:10
10. Going, Going, Gong! [Winding] 3:11
11. Just for a Thrill [Armstrong/Armstrong/Raye] 3:19

Review by Scott Yanow
This Impulse set (which was given the catalog number of A-1 when it first came out) was the first recorded reunion of trombonists J.J. Johnson and Kai Winding and the music still sounds fresh and lively. With pianist Bill Evans, either Paul Chambers or Tommy Williams on bass and Roy Haynes or Art Taylor on drums, the two trombonists are in melodic and witty form on such tunes as "This Could Be the Start of Something Big," "Blue Monk," "Side by Side" and the "Theme from Picnic." Recommended.


Saturday, April 23, 2011

Miles Davis - Walkin'

Miles Davis
PRLP 7076 [also issued on Prestige PR 7608]

Rudy Van Gelder Studio, Hackensack, NJ, April 3, 1954
Miles Davis (tp)
Dave Schildkraut (as)
Horace Silver (p)
Percy Heath (b)
Kenny Clarke (d)

559 Solar
560 You Don't Know What Love Is
561 Love Me Or Leave Me

Rudy Van Gelder Studio, Hackensack, NJ, April 29, 1954
Miles Davis (tp)
J.J. Johnson (tb)
Lucky Thompson (ts)
Horace Silver (p)
Percy Heath (b)
Kenny Clarke (d)

568 Blue 'N' Boogie
569 Walkin'
1. Walkin' [Carpenter] 13:28
2. Blue 'N' Boogie [Gillespie/Paparelli] 8:20
3. Solar [Davis] 4:45
4. You Don't Know What Love Is [DePaul/Raye] 4:24
5. Love Me or Leave Me [Donaldson/Kahn] 6:56

Review by Lindsay Planer
The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music — as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie." The improvisation yields some truly memorable solos and exchanges between Davis and Johnson — who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning." "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort.

Review by Doug Payne
This bop-era classic finds trumpeter Miles Davis (1926-91) leading two groups from two sessions in April 1954: a superb sextet and a compelling quintet. Both groups center on a blue-chip rhythm section consisting of pianist Horace Silver, bassist Percy Heath and drummer Kenny Clarke. But despite the rock solid foundation and substantial decoration these three provide, Walkin' is all about the horn players. Trombonist J.J. Johnson and tenor saxophonist Lucky Thompson (returning to music after the first of one of his absences) help Davis helm the sextet for Richard Carpenter's title song - a 12-bar blues that turned into a genuine jazz standard after its first reading here - and Dizzy Gillespie's "Blue 'N' Boogie." The quintet, featuring the Bird-like alto of the little known Dave Schildkraut, takes leave of the blues for some of Davis's craftiest playing — interestingly, hereafter, with his trumpet muted. Starting with "Solar," the group seems to be able to handle whatever trick Davis plays any quirk he pursues. This is most apparent on the lovely, but rather spiky version of "You Don't Know What Love Is" and the set's closer, the surprisingly sprite "Love Me Or Leave Me." Throughout, Davis sounds grand: comfortable, authoritative and well within his gamely element. His partners seem well teamed with him too, ready to walk - or run — to Davis's beat. Walkin ' offers at least two jazz essentials ("Walkin'," "Solar") and it serves as an excellent place to begin — or continue — appreciating the trumpeter's bop significance, shortly before he contributed greatly elsewhere.

quarta-feira, 11 de abril de 2012



Idealizada pelo trompetista Altair Martins e pelo saxofonista João Batista Morais, a big band dispõe de uma formação de artistas experientes, do município de Nova Iguaçu, que manifestam um importante papel no cenário musical. De qualidade, o repertório é composto pela alta nata jazzística americana com refinados arranjos, com clássicos de Thad Jones, Bill Hollman, Sammy Nestico, Henri Mancini, Tom Jobim e Don Sebeski, entre outros.


Quinta-feira, 12 de abril às 18h30
Kiko Continentino (piano), Jefferson lescowich (baixo) e Victor Bertrami (bateria)

O pianista e arranjador de Milton Nascimento prepara uma super JAM ao lado de duas grandes revelações em seus instrumentos. Jefferson já tocou com o Hermeto Pascoal, Chico Buarque, Dori Caymmi e outros artistas. Victor é filho de Zé Roberto Bertrami (Azimuth) e já acompanhou João Donato, Márcio Montarroyos e Danilo Caymmi. A junção desses três feras se deu com o propósito de retomar uma linha instrumental calçada no samba-jazz dos anos 60, porém com um som contemporâneo, experimental, utilizando timbres vintage como os do Fender Rhodes e do Hammond Organ. Instrumentos da década de 60 e 70 conhecidos por seus registros abandonados nos anos 80 e hoje "redescobertos". No repertório, standards de jazz, samba-jazz, choros e temas próprios de Kiko Continentino.
Couvert artístico: R$ 10


Sexta-feira, 13 de abril às 20h30
MIKE TUCKER (EUA)Mike Tucker (sax), Dudu Viana (piano) e Bruno Repsold (baixo)
Elogiado por críticos da Downbeat e do Boston Herald, as palavras da lenda do sax Michel Brecker resumem bem o talento de Mike Tucker: “Mike é um grande saxofonista jovem com uma abordagem madura, som quente e uma técnica esplendida”. Acompanhado de experientes músicos brasileiros ele apresenta standard de jazz e temas próprios.
Couvert artístico: R$ 10


Sábado, 14 de abril (em cartaz dia 28/4) às 21h30
Jesrael Gelson (cornet e trompete), Libni (trombone), Charles Kocerginskis (clarinete), Lulu Martin (teclado), João Mário (baixo acústico), Adilson Werneck (bateria)

A banda é a mais antiga do Rio de Janeiro especializada no Hot Jazz, estilo vibrante de New Orleans. Nesse novo show, a banda traz, além da música, curiosidades sobre essa agitada dança de origem africana. O Charleston virou uma "febre'' entre a juventude americana, e se espalhou pelo mundo a partir de 1923. Nessa época foi quando surgiram as "Melindrosas'', jovens ''moderninhas'' da época que adotaram a moda dos cabelos muito curtos, com os vestidos acima dos joelhos e exibindo as ligas das meias quando dançavam o Charleston balançando enormes colares de cristal ou de pérolas.

Os EUA passavam por uma década de imensa prosperidade, gerando um clima de euforia e extrema liberalidade, incentivando todo tipo de comportamento exagerado, sendo assim, o Charleston, com o seu ritmo frenético, foi a trilha sonora perfeita para as loucuras dessa época, em que a desenfreada busca da Sociedade Americana por prazeres e diversões fizeram com que esse período fosse chamado de "Os loucos anos vinte.''

A banda apresenta uma seleção dos maiores sucessos da Era do Charleston com arranjos originais que transmitem toda a vibração desse período inesquecível da história do Jazz. No repertório estão, entre outras: The Original Charleston, Yes Sir! That's My Baby, Baby Face, My Baby Just Care for Me, Ain't She Sweet e outras.
Couvert artístico: R$ 10


segunda-feira, 9 de abril de 2012


Tributo alemán a Oscar Peterson, en Canadá.
Para la próxima semana, Matthias Brunner-Schwer, hijo del fundador del sello alemán MPS, ha organizado dos conciertos en Canadá con el fin de celebrar la amistad entre su padre y el legendario pianista de jazz canadiense Oscar Peterson, quien tocó innumerables veces en suelo alemán y grabó algunas de sus mejores interpretaciones en para el sello MPS, en ese país. Brunner-Schwer tiene filmaciones y fotografías de esas sesiones de grabación en su pequeño pueblo natal de Villingen, en el norte de Alemania, algunas de las cuales serán proyectadas en los conciertos de la próxima semana. La música estará a cargo del trío canadiense de Dave Young, que re-creará muchas de las composiciones del repertorio de Peterson. Los conciertos fueron organizados por el Consulado de Alemania en Montreal. Se llevarán a efecto en Ottawa, el miércoles, y en Toronto, el jueves.

domingo, 8 de abril de 2012


Tuesday, March 9, 2010

Ed Thigpen

Drummer Ed Thigpen's first album as a leader (recorded a year after he left the Oscar Peterson Trio) was reissued as a CD in 1998. Although not soloing much, Thigpen wrote three of the seven selections and occasionally played tuned drums, which sound a little bit like timbales. In addition to the leader, the main star is Clark Terry (on flugelhorn and trumpet), who plays quite freely on two numbers utilizing only a trumpet mouthpiece in spots. Guitarist Kenny Burrell gets in a few good solos and is showcased on "Struttin' With Some Barbeque" while bassist Ron Carter and pianist Herbie Hancock also make strong contributions. Unfortunately, there are only 32 minutes of music on this CD (which is highlighted by "Cielito Lindo"), so its brevity keeps it from being too essential, but the performances are enjoyable.
Scott Yanow
Source :

Ed Thigpen

Out of the Storm

1 Cielito Lindo (Fernández) 4:41
2 Cloud Break (Up Blues) (Thigpen) 1:14
3 Out of the Storm (Thigpen) 7:27
4 Harper [From the Film Haper] (Mandel) 2:36
5 Elbow and Mouth (Burrell) 6:14
6 Heritage (Thigpen) 5:15
7 Struttin' With Some Barbecue (Armstrong, Armstrong, Hardin) 4:22
Ed Thigpen - dr
Clark Terry - tp, flgh & voc [# 6 only]
Herbie Hancock - p [except # 6]
Kenny Burrell - g
Ron Carter - b
Recorded April 1966 at Van Gelder Recording Studio, Englewood Cliffs, New Jersey ; [#3 & 4] April 18 ; [#1, 6 & 7], April 19 ; [# 2 & 5] April 20.


Tuesday, December 23, 2008

Ella Fitzgerald

Ella Fitzgerald
Royal Roost Sessions


1 Ool-Ya-Koo (Fuller, Gillespie) 2:50
2 Love That Boy (DePaul, Raye) 2:32
3 Mr. Paganini (Coslow, Lambert, Richard) 3:27
4 It's Too Soon to Know (Chessler) 1:52
5 I Never Knew (Fiorio, Kahn) 3:16
6 How High the Moon (Hamilton, Lewis) 7:20
7 Heat Wave (Berlin, Brown) 2:15
8 Old Mother Hubbard (Traditional) 1:58
9 Bop Goes the Weasel (Traditional) 2:20
10 Ool-Ya-Koo (Fuller, Gillespie) 2:26
11 Flying Home (Goodman, Hampton) 4:18
12 Old Mother (Hubbard Traditional) 1:53
13 Mr. Paganini (Coslow, Lambert, Richard) 4:20
14 There's a Small Hotel (Hart, Rodgers) 3:35
15 How High the Moon (Hamilton, Lewis) 3:33
16 Robbins' Nest (Jacquet, Thompson) 2:23
17 As You Desire Me (Erubel) 2:42
18 Thou Swell (Hart, Rodgers) 2:03
19 Fltin' Home (Goodman, Hampton) 4:36
20 Someone Like You (Blane, Waren) 1:34
21 Again (Cochran, Newman) 2:55
22 In a Mellotone (Ellington) 2:16
23 Lemon Drop (Wallington) 1:50
Feat. Hank Jones, Ray Brown, Charlie Smith, Lester Young, Kai Winding, Flip Phillips, Howard McGhee, Brew Moore, Machito, etc

Rec. between November 27, 1948 & April 30, 1949.
See the complete artwork for all details.