domingo, 21 de septiembre de 2014

RONALDO ALBENZIO: JAZZ by JAZZ


Nueva y sublime edición aportada por RONALDO ALBENZIO


ESCUCHEN Y DISFRUTEN!!!

JAZZ by JAZZ

de la mano de

RONALDO ALBENZIO


sábado, 20 de septiembre de 2014

Gianni Basso – Guy Lafitte – Jazz Live Trio With Guests (2011)

Front

TRACKLIST
1.Easy Living (9:04)
2.Groovin' High (7:26)
3.Lush Life (8:26)
4.La Valle Dell'Amore (10:33)
5.Climb Every Mountain (7:54)
6.Tinto Time (8:53)
7.Cherokee (6:48)
8.Days Of Wine And Roses (7:10)


LINEUPS
#1-4
Gianni Basso(ts), 
Klaus Koenig(p), 
Peter Frei(b), 
Peter Schmidlin(ds), 
Live At Radio Studio 2,Zurich 10.10.1981


#5-8
Guy Lafitte(ts)
Klaus Koenig(p), 
Peter Frei(b), 
Pierre Favre(ds), 
Live At Radio Studio 2,Zurich 07.10.1982



TCB Records (02242)
Vol. 24-Swiss Radio Days




RAZ

Richie Kamuca's - Charlie (1979)


Beautiful Silver Label All Analogue 2nd Issue. Features Blue Mitchell, Jimmy Rowles, Ray Brown And Donald Bailey. “Richie Kamuca's Death From Cancer At Age 47 Just Months After This Final Session Was A Major Loss To Jazz. One Of The Top Proponents Of The Four Brothers Sound On Tenor, Kamuca Always Swung And His Tone Was Quite Attractive. This Particular Set Is A Tribute To Charlie Parker Featuring Kamuca's Quintet (Which Includes Trumpeter Blue Mitchell, Pianist Jimmy Rowles, Bassist Ray Brown And Drummer Donald Bailey). Most Unusual Is The Fact That Kamuca Decided To Play Alto Instead Of Tenor Throughout This Set And, Although This Was Clearly Not His Strongest Ax, He Solos Quite Well On This Date. The Music (Bop Standards And Blues) Receives Favorable And Swinging Treatment From The Talented Veterans.” Scott Yanow, AMG.

Bass – Ray Brown
Drums – Donald Bailey
Engineer [Remix Engineer] – Phil Edwards
Liner Notes – Leonard Feather
Piano – Jimmy Rowles
Saxophone, Producer – Richie Kamuca
Trumpet – Blue Mitchell

1. Dizzy Atmosphere 4:30
2. If You Could See Me Now 5:28
3. Chi Chi 4:46
4. Barbados 4:54
5. Confirmation 5:09
6. Blues In B Flat 4:51
7. Medley - Willow Weep For Me/Everything Happens To Me 6:38
8. Hot House 4:20

BUY THIS ALBUM!!!

QUIQUE

Richie Kamuca - Drop Me Off In Harlem (1977)


RICHIE KAMUCA Drop Me Off In Harlem (1977) US 8-track LP featuring Richie's amazing Tenor playing, ably supported by Dave Frishberg on piano, Ray Brown on bass & Herb Ellis guitar.


1. Drop Me Off In Harlem
2. I Didn't Know About You
3. All Alone
4. Dear Bix
5. Three Little Words
6. It Must Be True
7. With The Wind & The Rain In Your Hair
8. Harlem Butterfly


QUIQUE

The Richie Kamuca Quartet- Richie



Kamuca was born in Philadelphia, and, like many players associated with West Coast jazz, grew up in the East before moving West around the time that bebop changed the prevailing style of jazz. His early playing, in what is generally considered the Lester Young style, was done on tour with the big bands of Stan Kenton and Woody Herman, where he became a member of the later line-ups of Herman's Four Brothers saxophone section with Al Cohn and Bill Perkins.

Kamuca stayed on the West Coast, playing with the smaller groups of Chet Baker, Maynard Ferguson, Shorty Rogers, and others. He was one of the Lighthouse All-Stars in 1957 and 1958, and recorded with Perkins, Art Pepper, Jimmy Rowles, Cy Touff and many others in those years, as well as leading recording sessions in his own right.

Kamuca was a member of the group Shelly Manne and His Men from 1959 through 1962, when he returned East and settled in New York. Here he worked with Gerry Mulligan, Gary McFarland, and Roy Eldridge before returning to the West Coast in 1972, where he recorded in the studios and performed with local groups.

Less well known to the general public than saxophonists, like Stan Getz, who played in a similar Lester Young-derived style, Kamuca died of cancer, in Los Angeles, just before his 47th birthday.

Richard Kamuca (tenor saxophone, vocals)
Mundell Lowe (guitar)
Monty Budwig (bass)
Nick Ceroli (drums)

1. I Concentrate On You
2. If I Love Again
3. Some Other Spring
4. Say It Isn't So
5. Symphony
6. Flying Down To Rio
7. When Day Is Done
8. 'Tis Autumn

BUY THIS ALBUM!!!

QUIQUE

Reggie Padilla - Almost Home (2012)


Source: Teenjazz
Label: Pass Out Records

If you’ve happened across videos of a saxophonist playing while surfing on Youtube (or even here on Teen Jazz), you’ve already had an introduction to the talented, up and coming musician that is Reggie Padilla.
Having become a tour de force on the Hawaii jazz scene as a sideman and bandleader over the past few years, Reggie decided in 2013 that he was ready to take his career to the next level with his debut release, Almost Home (Pass Out Records).
And in (early) celebration of his upcoming Spring 2014 release, we’d like to share his debut project with you.
Almost Home was released March 1, 2013 and serves as an excellent representation of the next generation of jazz musicians staking their claim in the genre. The compositions on the project reflect both Reggie Padilla’s diversity and expertise as a composer and saxophonist with twelve full length pieces. The album was recorded live in two days.
While the album in its entirety showcases the talents of Reggie and his band, the stand out tracks for us were, without a doubt, “It Never Occurred to Me” and “Outside In.” “It Never Occurred to Me” is a bit funky and upbeat while “Outside In” is laid-back, bluesy, and has a hint of gospel influence to it and the track is one that I can just play on repeat.
Almost Home features the talents of some of Honolulu’s finest musicians such as Jim Howard (piano), Dean Taba (bass) and Abe Lagrimas, Jr. (drums).

01 Green Room, Gray Room
02 Portrait
03 Almost Home
04 Stand Aside Please
05 Too Heavy
06 One Year
07 Stella Bean
08 It Never Occurred to Me
09 For Dani
10 Nothing Left to Say
11 Hub Caps
12 Outside In 


Reggie Padilla (saxophone)
Jim Howard (piano), Dean Taba (bass) and Abe Lagrimas, Jr. (drums). - See more at: http://teenjazz.com/2014/03/review-of-reggie-padillas-album-almost-home/#!prettyPhoto
  Jim Howard (piano)
 Dean Taba (bass)
Abe Lagrimas, Jr. (drums)


"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 



GAB
 


01 Green Room, Gray Room
02 Portrait
03 Almost Home
04 Stand Aside Please
05 Too Heavy
06 One Year
07 Stella Bean
08 It Never Occurred to Me
09 For Dani
10 Nothing Left to Say
11 Hub Caps
12 Outside In - See more at: http://teenjazz.com/2014/03/review-of-reggie-padillas-album-almost-home/#!prettyPhoto
If you’ve happened across videos of a saxophonist playing while surfing on Youtube (or even here on Teen Jazz), you’ve already had an introduction to the talented, up and coming musician that is Reggie Padilla.
Having become a tour de force on the Hawaii jazz scene as a sideman and bandleader over the past few years, Reggie decided in 2013 that he was ready to take his career to the next level with his debut release, Almost Home (Pass Out Records).
And in (early) celebration of his upcoming Spring 2014 release, we’d like to share his debut project with you.
Almost Home was released March 1, 2013 and serves as an excellent representation of the next generation of jazz musicians staking their claim in the genre. The compositions on the project reflect both Reggie Padilla’s diversity and expertise as a composer and saxophonist with twelve full length pieces. The album was recorded live in two days.
While the album in its entirety showcases the talents of Reggie and his band, the stand out tracks for us were, without a doubt, “It Never Occurred to Me” and “Outside In.” “It Never Occurred to Me” is a bit funky and upbeat while “Outside In” is laid-back, bluesy, and has a hint of gospel influence to it and the track is one that I can just play on repeat.
Almost Home features the talents of some of Honolulu’s finest musicians such as Jim Howard (piano), Dean Taba (bass) and Abe Lagrimas, Jr. (drums).
Reggie Padilla was born and raised in Long Island, New York. He began playing the saxophone at the age of nine and classical piano at the age of seven. He earned his BM in Classical Piano Performance from Long Island University at CW Post and his Master’s of Music Education from New York University. He relocated to Hawaii in 2007 where he has collaborated with artists and groups including Eric Miyashiro, Yasuko Hayakawa, Dan Hill, Stephen Bishop, and Bop Tribal.
- See more at: http://teenjazz.com/2014/03/review-of-reggie-padillas-album-almost-home/#!prettyPhoto

Brice Winston - Child's Play (2014)


On his Criss Cross debut, tenor saxophonist Brice Winston, an integral member of Terence Blanchard's ensembles since 1998, follows his long-time employer's policy of convening a band from the best and brightest of the generation following his, and giving them ample room to feed his imagination through their personal creativity.

Guitarist Mike Moreno, pianist David Virelles, bassist Joe Sanders and drummer Marcus Gilmore join Winston for a stimulating program, comprising five originals notable for their harmonic depth and melodic orientation, as well as two freshly reimagined Wayne Shorter classics, and the standard "I Thought About You".

Brice Winston (Ts)
Mike Moreno (G)
David Virelles (P)
Joe Sanders (B)
Marcus Gilmore (D)

1. Child's Play (Brice Winston)
2. The Beauty Within (Brice Winston)
3. JuJu (Wayne Shorter)
4. Harold's View (Brice Winston)
5. Fall (Wayne Shorter)
6. Spur Of The Moment (Brice Winston)
7. I Thought About You (Johnny Mercer / Jimmy Van Heusen)
8. Pangaea (Brice Winston)

Recorded January 31, 2014 in Brooklyn, NY, USA by Michael Marciano

"Hearing is Everything" Peter Watkins


Domi

viernes, 19 de septiembre de 2014

Bebe Buchanan Tagel - Gone (2014)


Label: Out Here Music
Source: Søren Bebe

Dette usædvanligt lange bandnavn dækker over et møde mellem 5 musikere i foråret 2013. Tre fra Danmark, en fra Norge og en fra England. Musikken er skrevet af Bebe, Buchanan og Tagel med udgangspunkt i en lyrisk nordisk tone.
Udover 3 koncerter i Jylland blev der i foråret fokuseret på at indspille en cd som nu er ved at blive færdigmixet, og som udkommer 6. oktober 2014.
I forbindelse med udgivelsen har vi igen inviteret Norbakken og Arguelles til Danmark for at fejre cd udgivelsen. (Sorry, no other reviews founded).




"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 



GAB
 

BOBBY AVEY - AUTHORITY MELTS FROM ME (2014)


Source: Allaboutjazz


Former Thelonious Monk competition winner, pianist Bobby Avey has been creating a buzz in the jazz community based on the strengths of his three previous solo outings. Yet Authority Melts From Me is his first quintet led outing, inspired by his respect for the people of Haiti and the slave revolt, leading to the country's independence from France in 1804. Here, Avey aligns with a mega-talented supporting cast who respectively add their distinctive voices to his intricately designed oeuvres via numerous spellbinding motifs, simmering solo excursions and astute compositional approach.

The 17-minute "Louverture" is a mini epic-like work that showcases Avey's dense fabrications and multi-purposed thought processes. He launches the piece with fleet-fingered voicings amid a faint Caribbean theme, subsequently forming a nucleus with bassist Thomson Kneeland and drummer Jordan Perlson. Here, the trio dishes out a contrapuntal, odd-metered groove followed by saxophonist Miguel Zenon's jaw-dropping flurries and whirling choruses. However, the tide turns and Avey's subtle phrasings allude to an interminable void, where guitarist Ben Monder uses shadowy electronics effects, signaling a interstellar journey of sorts. But the quintet takes action and rebuilds the previous scenario with more fireworks, amplified by Monder's distortion guitar techniques and Zenon's spiraling sax lines, all executed within the heat of passion. Hence, Avey hits his stride and permeates a musical persona that rockets into the outlying regions of progressive jazz.


1. Kalfou
2. Piano Interlude
3. Louverture
4. Drum Interlude
5. Cost

Bobby Avey - Piano
Miguel Zenón - Alto Saxophone
Ben Monder - Guitar
Thomson Kneeland - Double Bass
Jordan Perlson - Drums


"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 








GAB

Laura Dreyer - Vida. Arte. Amor. (2014)


Source & Label: Mayimba Music


Laura Dreyer, a native of the San Francisco Bay Area, has established herself as a vital member of the New York jazz scene. Always drawn to Brazilian music, the composer, educator and multi-instrumentalist created a fusion, incorporating elements of jazz, funk, and rock in past compositions. Laura has been studying and composing in the Brazilian idiom for over 25 years, Vida. Arte. Amor is her 3rd Brazilian Jazz album.
Dreyer was a founding member and contributing arranger for the big band DIVA. In this capacity, she worked with luminaries Dave Brubeck, Rosemary Clooney, Dee Dee Bridgewater, Slide Hampton, Clark Terry and Brazilian pianist Dom Salvador, among others. Additionally she has performed with Dr. Billy Taylor, Mel Lewis, Robert Palmer, Nnenna Freelon, Lea Delaria, Leny Andrade, and Portinho. She was a band member for the award-winning musicals "Hot and Sweet" and the Duke Ellington tribute, "Hit Me With A Hot Note."
The National Endowment for the Arts awarded Dreyer grants in performance and professional jazz study/composition. She participated in the BMI Jazz Composer's Workshop and four of her songs have received an honorable mention in Billboard Magazine's songwriting contests.
Dreyer has been active as an educator, and continues to write for music publications.
Of her current work she says, "I discovered an intrinsic emotional quality in Brazilian music that helped me find a deeper level of self-expression. After having performed many times with Brazilian jazz artists throughout the years in New York City and Brazil, I began to envision recording my newest album in Rio de Janeiro. I had worked with world-class Rio-based jazz artists in Brazil, and realized that I had found the perfect group of musicians to perform my music and complete my vision."
In the spirit of creating a multi-cultural recording, vocalist and music educator Professor Roger Wesby wrote lyrics in Spanish for one of Dreyerʼs compositions. Brazilian vocalist Débora Watts adapted these lyrics to Portuguese, and penned lyrics to another one of Dreyerʼs songs. Vocalist Teri Koide contributed her vocal talents and English lyrics to another piece, and Karen Rodriguez helped with further Spanish lyrics and stellar vocals. The repertoire was completed with the addition of two arrangements of a composition by the legendary Romeo Santos.
The CD contains 14 songs in the styles of samba, bossa nova, maracatu, baião, samba-funk, and bolero. They were recorded in Rio's historic neighborhood of Santa Teresa with engineer Carlos Fuchs at his state of the art studio.
Dreyer concludes, "I am grateful that the magic I felt during the recording session, and my passion for the fascinating sounds of Brazil, are captured on Vida. Arte. Amor."  - Zoyla Silvester -
Zoila Sylvester
Zoila Sylvester


Caminhos Novos           
Beauty & The Beast           
Ping Pong           
Vale La Pena El Placer Portuguese Version           
Beijo Do Sol See All 2 Rio Version           
Spring St.           
Vale La Pena El Placer           
O Outro Lado De Seu Amor           
Perdendo Voce           
Samba Se Foi           
Until Daybreak           
Arcade           
Danca Dos Cachorros            
Perdiendote

Laura Dreyer: alto saxophone, soprano saxophone, flute, alto flute
Itamar Assiere: piano
Davy Mooney: guitar (6, 10, 12)
Bernardo Bososio: guitar (2, 4, 7)
Jefferson Lescowich: bass
Marcio Amaro: drums
Mila Schiavo: percussion
Aldivas Ayres: trombone
Debora Watts: vocals
Karen Rodriguez: vocals (7, 14)
Teri Koide: vocals (11)


"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 








GAB
Laura Dreyer, a native of the San Francisco Bay Area, has established herself as a vital member of the New York jazz scene. Always drawn to Brazilian music, the composer, educator and multi-instrumentalist created a fusion, incorporating elements of jazz, funk, and rock in past compositions. Laura has been studying and composing in the Brazilian idiom for over 25 years, Vida. Arte. Amor is her 3rd Brazilian Jazz album.
Dreyer was a founding member and contributing arranger for the big band DIVA. In this capacity, she worked with luminaries Dave Brubeck, Rosemary Clooney, Dee Dee Bridgewater, Slide Hampton, Clark Terry and Brazilian pianist Dom Salvador, among others. Additionally she has performed with Dr. Billy Taylor, Mel Lewis, Robert Palmer, Nnenna Freelon, Lea DelariaLeny Andrade, and Portinho. She was a band member for the award-winning musicals "Hot and Sweet" and the Duke Ellington tribute, "Hit Me With A Hot Note."
The National Endowment for the Arts awarded Dreyer grants in performance and professional jazz study/composition. She participated in the BMI Jazz Composer's Workshop and four of her songs have received an honorable mention in Billboard Magazine's songwriting contests.
Dreyer has been active as an educator, and continues to write for music publications.
Of her current work she says, "I discovered an intrinsic emotional quality in Brazilian music that helped me find a deeper level of self-expression. After having performed many times with Brazilian jazz artists throughout the years in New York City and Brazil, I began to envision recording my newest album in Rio de Janeiro. I had worked with world-class Rio-based jazz artists in Brazil, and realized that I had found the perfect group of musicians to perform my music and complete my vision."
In the spirit of creating a multi-cultural recording, vocalist and music educator Professor Roger Wesby wrote lyrics in Spanish for one of Dreyerʼs compositions. Brazilian vocalist Débora Watts adapted these lyrics to Portuguese, and penned lyrics to another one of Dreyerʼs songs. Vocalist Teri Koide contributed her vocal talents and English lyrics to another piece, and Karen Rodriguez helped with further Spanish lyrics and stellar vocals. The repertoire was completed with the addition of two arrangements of a composition by the legendary Romeo Santos.
The CD contains 14 songs in the styles of samba, bossa nova, maracatu, baião, samba-funk, and bolero. They were recorded in Rio's historic neighborhood of Santa Teresa with engineer Carlos Fuchs at his state of the art studio.
Dreyer concludes, "I am grateful that the magic I felt during the recording session, and my passion for the fascinating sounds of Brazil, are captured on Vida. Arte. Amor."
- See more at: http://mayimbamusic.com/post/vida-arte-amor-a-brazilian-journey-with-multi-instrumentalist-laura-dreyer#sthash.jA2x0H06.dpuf
Laura Dreyer, a native of the San Francisco Bay Area, has established herself as a vital member of the New York jazz scene. Always drawn to Brazilian music, the composer, educator and multi-instrumentalist created a fusion, incorporating elements of jazz, funk, and rock in past compositions. Laura has been studying and composing in the Brazilian idiom for over 25 years, Vida. Arte. Amor is her 3rd Brazilian Jazz album.
Dreyer was a founding member and contributing arranger for the big band DIVA. In this capacity, she worked with luminaries Dave Brubeck, Rosemary Clooney, Dee Dee Bridgewater, Slide Hampton, Clark Terry and Brazilian pianist Dom Salvador, among others. Additionally she has performed with Dr. Billy Taylor, Mel Lewis, Robert Palmer, Nnenna Freelon, Lea DelariaLeny Andrade, and Portinho. She was a band member for the award-winning musicals "Hot and Sweet" and the Duke Ellington tribute, "Hit Me With A Hot Note."
The National Endowment for the Arts awarded Dreyer grants in performance and professional jazz study/composition. She participated in the BMI Jazz Composer's Workshop and four of her songs have received an honorable mention in Billboard Magazine's songwriting contests.
Dreyer has been active as an educator, and continues to write for music publications.
Of her current work she says, "I discovered an intrinsic emotional quality in Brazilian music that helped me find a deeper level of self-expression. After having performed many times with Brazilian jazz artists throughout the years in New York City and Brazil, I began to envision recording my newest album in Rio de Janeiro. I had worked with world-class Rio-based jazz artists in Brazil, and realized that I had found the perfect group of musicians to perform my music and complete my vision."
In the spirit of creating a multi-cultural recording, vocalist and music educator Professor Roger Wesby wrote lyrics in Spanish for one of Dreyerʼs compositions. Brazilian vocalist Débora Watts adapted these lyrics to Portuguese, and penned lyrics to another one of Dreyerʼs songs. Vocalist Teri Koide contributed her vocal talents and English lyrics to another piece, and Karen Rodriguez helped with further Spanish lyrics and stellar vocals. The repertoire was completed with the addition of two arrangements of a composition by the legendary Romeo Santos.
The CD contains 14 songs in the styles of samba, bossa nova, maracatu, baião, samba-funk, and bolero. They were recorded in Rio's historic neighborhood of Santa Teresa with engineer Carlos Fuchs at his state of the art studio.
Dreyer concludes, "I am grateful that the magic I felt during the recording session, and my passion for the fascinating sounds of Brazil, are captured on Vida. Arte. Amor."
- See more at: http://mayimbamusic.com/post/vida-arte-amor-a-brazilian-journey-with-multi-instrumentalist-laura-dreyer#sthash.jA2x0H06.dpuf

Afro Bop Alliance - Angel Eyes (2014)


Source: zohomusic

Groove is the universal language. Whether it’s a Texas or Chicago blues shuffle, James Brown’s goodfoot funk, a driving guaguanco, percolating rumba, surging samba, infectious second line or insinuating cha-cha-cha, everyone knows what to do when they feel the rhythm in their bones. Indeed, groove is at the heart of this potent Afro Bop Alliance release, the group’s debut on the ZOHO label. While providing exciting Latin-tinged grooves that are tailor-made for dancers, the members of this Washington, DC-based, Art Blakey & the Jazz Messengers-inspired octet keep one foot solidly in the straight ahead jazz camp with their scintillating improvisations and tight three-horn frontline on Angel Eyes.

The secret weapon on this exhilarating outing is newest Afro Bop Alliance member Victor Provost, who brings a new sparkle to the proceedings with his virtuosic steel pans playing on the Latin Grammy-winning group’s fifth release overall. “He’s like the Michael Brecker of the pans,” says drummer and Afro Bop Alliance founder Joe McCarthy. “He’s from St. John’s, Virgin Islands, and he came to study at George Mason University just outside of Washington D.C., where I also teach. Having Victor in the band really changes what we do.”

Aside from offering brilliant solos throughout Angel Eyes, Provost’s steel pans also blend nicely on the frontline with alto saxophonist Vince Norman, tenor saxophonist Luis Hernandez and trumpeter Tim Stanley on these eleven tracks.

They state their rhythmically-charged case very persuasively from the outset on the buoyantly churning, clave-fueled opener, The Jinx, written by the band’s bassist Tom Baldwin and arranged by Vince Norman. Following exhilarating solos by pianist Harry Appelman and saxophonist Hernandez, drummer McCarthy engages in some fiery exchanges with conga player Roberto Quintero over a mesmerizing son montuno groove on this energized number before McCarthy unleashes at the tag. Three for Juju, composed by Hernandez and arranged by Norman, opens with a drum flurry by McCarthy. Note how he keeps a tambourine groove going with his foot as he traverses the kit throughout this intricate piece, which morphs from 3/4 to 6/8 and features some lush harmonies between the horns. “That’s based on a joropo groove from Venezuela,” explains McCarthy,” who studied Latin jazz rhythms with Frankie Malabe and Victor Rendon at the Boys Harbor School in the Bronx and also studied jazz drumming with Ed Soph at the University of North Texas. “I was trying to play a little wider beat, so it seems to float underneath that beautiful melody that Luis wrote. And the way that Roberto is playing maracas on that is a total characteristic of that type of groove.” Appelman and Hernandez both offer inspired solos on this engaging, polyrhythmic number.


Baldwin’s Ziggy the Crooner is a straight-up cha-cha-cha that showcases Provost’s steel pans in unison with Stanley’s muted trumpet. Norman, who also co-arranged the contrapuntal horn lines on this easy-grooving number, turns in a robust alto solo here. The composer adds a nimble upright bass solo on the insinuating cha-cha groove before the rhythm section shifts to 12/8 mode underneath trumpeter Stanley’s bristling solo. And dig the sizzling timbales-conga exchanges between McCarthy and Quintero over the son montuno section at the tag. “Roberto is a magnificent percussionist, a very powerful player and great soloist,” says McCarthy of his Afro Bop Alliance rhythm mate.

Pianist-arranger Appelman puts an inventive Latin jazz spin on Horace Silver’s lovely 5/4 tune Barbara (from his 1975 Silver ‘n Brass album) which features a heroic tenor solo from Hernandez (catch his sly quote from “Fascinating Rhythm” along the way). Provost’s Homenaje which features some lively call-and-response exchanges with special guest Paquito D’Rivera on clarinet, also has Quintero elevating the proceedings with his fiery conga work.

Vocalist Sara Jones delivers a darkly evocative reading of “Nature Boy,” which is given a 3/4 treatment by Norman and is enhanced by the lush strings of violinist (and Joe McCarthy’s wife) Paula McCarthy and principal cellist Suzanne Orban with the St. Claire Chamber Strings. The octet next tackles Joe Henderson’s challenging Inner Urge which is given a percolating new clave-fueled arrangement by Norman. McCarthy explodes with a drums salvo at the intro while Hernandez and Provost contribute outstanding solos on this decidedly Latinized rendition of a jazz classic. 

Provost’s Fete Antilles has the gifted steel pans player doubling the melody with trumpeter Stanley upfront before the other horns join in. Stanley, Provost and Appelman contribute stirring solos on this polyrhythmic groover. Appelman’s clave-fueled reworking of the evocative jazz standard Angel Eyes features brilliant solo contributions from trumpeter Stanley and tenor saxophonist Hernandez and builds to another spirited McCarthy-Quintero face-off against an invigorating son montuno groove set up by Appelman’s piano. 

Dan Cavanagh’s Latin spin on Wayne Shorter’s This Is For Albert, a classic Jazz Messengers tune introduced on 1963‘s Caravan, has McCarthy deftly shifting from alternating measures of 12/8 and 9/8 to 3/4 on the bridge throughout the course of the piece. “I envisioned a compound time signature on that because it allows it to breathe and go in a different direction than if it had stayed in four all the time,” says groovemeister McCarthy. Stanley turns in another forcefully swinging trumpet solo on this number and is followed in succession by Norman, who effortlessly soars over the entrancing groove on alto sax.

The album closes on a vibrant note with Provost’s upbeat, soca flavored Minor Details which features both Sara Jones and the composer on wordless vocals and has Appelman switching to electric piano for a fresh texture. Norman and Provost each stretch out considerably on this buoyant vehicle.

With Angel Eyes, McCarthy and his spirited crew continue in the great tradition of cross-fertilization pioneered by Dizzy Gillespie and Chano Pozo and carried on by Latin jazz masters like Machito, Mario Bauza, Tito Puente, Eddie Palmieri, Mongo Santamaria, Ray Barretto, Chico and Arturo O’Farrill, Chucho Valdes, Poncho Sanchez, Jerry and Andy Gonzalez and countless other practitioners of this infectious groove-oriented music. And the key is the chemistry between the band members.

“The combinations of players...that’s where the magic happens,” says McCarthy. “You have guys who are coming from very different places, but everybody understands what’s going on. And that, to me, is what makes this music happen. Everybody knows how everybody in the band plays and also knows what everybody’s into and what they’re listening to, so when we come together there’s usually very little discussion about anything. We just play. Someone will bring in an arrangement and the music will come together very quickly. And that’s what I think makes this music happening.”

That formula has proven successful in four previous outings, including their 2008 Latin Grammy-winning collaboration with Dave Samuels' Caribbean Jazz Project on Afro Bop Alliance - which also received a Grammy nomination that same year. And it fuels this current outing, their most ebullient and rhythmically-charged album to date. - Bill Milkowski


Recorded on October 29 and 30, 2013. Recorded, mixed and mastered at Bias Studios, Springfield, VA, by Bob Dawson and Mike Monseur. Produced by Joe McCarthy and Bob Dawson. Co-produced by Vince Norman. Art direction and package design: Jack Frisch. Executive producer: Joachim "Jochen" Becker.

Joe McCarthy drums, percussion, congas on # 8
Roberto Quintero congas, percussion
Harry Appelman piano
Tom Baldwin bass
Victor Provost steel pans, "engine room" on # 5 and 11, vocals on #11
Luis Hernandez tenor sax
Vince Norman alto sax
Tim Stanley trumpet
Sara Jones vocals on # 6 and 11
Paula McCarthy violin/concertmaster, and
Suzanne Orban principal cello, with The St. Claire Chamber Strings on # 6

with special guest
Paquito D'Rivera clarinet on # 5

01. The Jinx 5:23
02. Three for Juju 6:34
03. Ziggy the Crooner 6:49
04. Barbara 7:37
05. Homenaje 7:54
06. Nature Boy 6:36
07. Inner Urge 6:11
08. Fete Antilles 7:15
09. Angel Eyes 6:39
10. This is for Albert 5:16
11. Minor Details 5:07


JAVI

jueves, 18 de septiembre de 2014

Arturo O'Farrill & The Afro Latin Jazz Orchestra - The Offense Of The Drum (2014)


Source: Allaboutjazz
Label: Motema

The Offense Of The Drum may be the least cohesive record in Arturo O'Farrill's discography, but that's largely by design. Here, O'Farrill firmly adheres to his stated "artistic vision"—"to bend what the world knows as Afro Latin jazz over the acoustic horizon"—better than anywhere else in his discography. Guests galore and a belief in Afro Latin camaraderie help him realize that goal, resulting in the most intriguing and expansive offering that he's ever released.

In some ways this album is simply a documentation of O'Farrill's work at New York's Symphony Space. It was there that he broke new ground with pianist Vijay Iyer, DJ Logic, Colombian harpist Edmar Castaneda, spoken word artist Christopher "Chilo" Cajigas, saxophonist Donald Harrison, and percussionist Samuel Torres. The relationship between each of those artists and O'Farrill's Afro Latin Jazz Orchestra is spotlighted on this album. "Cuarto De Colores"—the title track of Castaneda's debut album—is fleshed out to good effect, thanks in large part to the pen of Torres; DJ Logic and the band lay the groundwork for Cajigas' Puerto Rican pride preaching on "They Came"; Iyer simultaneously toys with the concepts of stasis and development on his ode to O'Farrill—"The Mad Hatter"; and a straight line is drawn from NOLA to Cuba when Harrison shows up for "Iko Iko." Each of those pieces stand apart from the others in many respects, yet they stand in solidarity as firm examples of the evolving definition of Afro Latin jazz. Read more...


1. Cuarto de Colores
2. They Came
3. On the Corner of Malecón
4. Mercado en Domingo
5. Gnossienne 3
6. The Mad Hatter
7. The Offense of the Drum
8. Alma Vacía
9. Iko Iko
 

Arturo O'Farrill: piano; Ivan Renta: tenor saxophone; Peter Brainin: tenor saxophone; Bobby Porcelli: alto saxophone; David DeJesus:alto saxophone; Jason Marshall: baritone saxophone; Seneca Black: trumpet; Jim Seeley: trumpet; John Bailey: trumpet; Jonathan Powell: trumpet; Tokunori Kajiwara: trombone; Rafi Malkiel: trombone, euphonium; Frank Cohen: trombone; Earl McIntyre: bass trombone, tuba; Gregg August: bass; Vince Cherico: drums; Roland Guerrero: congas; Joe Gonzalez: bongos, bell; Pablo O Bilbraut: percussion (8); Miguel Blanco: conductor (5, 8); Christopher "Chilo" Cajigas: spoken word (2); Edmar Castaneda: harp (1); Ayanda Clarke: djembe (7); DJ Logic: turntables (2); Jonathan Gomez: percussion (4); Nestor Gomez: percussion (4); Donald Harrison: vocals (9), alto saxophone (9); Vijay Iyer: piano (6); Hiro Kurashima: taiko drum (7); Chad Lefkowitz-Brown: tenor saxophone (7); Jason Lindner: conductor (2); Antonio Lizana: vocals (5), alto saxophone (5); Pablo Mayor: conductor (4), maracas: (4); Uri Sharlin: accordion (5); Samuel Torres: conductor (1), cajon (1). 



"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 



GAB

Art Pepper - Saturday Night At The Village Vanguard (1979)

Cover



TRACKLIST:
01.You Go To My Head Written-By – Haven Gillespie, J. Fred Coots 11:35 
02.The Trip Written-By – Art Peppe 12:25 
03.Cherokee Written-By – Ray Noble 16:13
04.For Freddie Bonus Track




Line Up:
Art Pepper Alto Saxophone, 
George Mraz Bass
Elvin Jones Drums
George Cables Piano

The Vanguard sessions (Thursday Night, Friday Night and Saturday Night at The Village Vanguard, 
Contemporary 7642, 7643, and 7644) were recorded July 28, 29 and 30 1977 at The Village Vanguard, New York City.





Review by Scott Yanow
The CD reissue of this release, the third of four single sets that document Art Pepper's well-received engagement at the Village Vanguard, adds "For Freddie" to the original three-song program. The other selections, which feature pianist George Cables, bassist George Mraz and drummer Elvin Jones in addition to the altoist/leader, are intense interpretations of "You Go to My Head," Pepper's "The Trip" and a 16-minute version of "Cherokee." The altoist was entering his peak period and the entire gig has also been fully documented on a massive nine-CD box set.



RAZ

Shelly Mane - Shelly Mane & His Men Volume 1 (The West Coast Sound 1953-55)







01.- Grasshopper
02.- La mucura
03.- Summer night
04.- Afrodesia
05.- You and the night and the  music
06.- Gazelle
07.- Sweets
08.- Spring is here
09.- Mallets
10.- You’re getting to be a habit with me
11.- You’re my thill
12.- Fugue

Shelly Manne : drums
Bob Enevolsen : valve trombone
Art Pepper :  alto sax
Bud Shank : alto sax
Joe Maini : alto sax
Bob Cooper : tenor sax
Bill Holman : Tenor sax
Jimmy Giuffre :  baritone sax
Marty Paich : piano
Russ Freeman :  piano
Curtis Counce : bass
Joe Mondragon : bass
Ralph Pena : bass


JR

Wynton Marsalis ‎– Marsalis Standard Time Vol. 1 (1986)










JR