viernes, 1 de agosto de 2014

Review: Ayal Tsubery - Decisions (2014)

Ayal Tsubery was born in Jerusalem, Israel.
He started to play at age 14 and influenced by Hendrix , 
Led Zeppelin, Miles Davis and Jaco Pastoriuos.
Later on he got deeper into music and decided to take a step further
and went abroad to Berklee College of Music near Boston, USA (2007).
During his time at Berklee, Ayal focused on Jazz performance, arranging, and composing music, 
while studying with world-class musicians and teachers. Most significantly - he established the 
social circle that eventually turned into his band – Ayal Tsubery's Group.
Currently residing in Brooklyn, NY, Ayal is rapidly emerging as a significant voice in the music community, regularly performing in and out of NYC both as band leader and side man. After having his debut album released, an East Coast tour will take place in the fall of 2014, right after a summer tour with Tipsy Oxcart. 

Ayal's Debut album "Decisions" was recorded and mixed throughout 2013, and officially released in March 2014.

The group sound is a blend of contemporary jazz, middle east/Israeli folk spices, some african vibes and heavy slow rock feel (Track 7).

Review of the album by Raz Sekeles.

I have my own way of writing review and it all starts with the melodies.
Ayal's melodic sense is wonderful. his lines are fluent and gives the listener good vibes.
The feeling i got from the beginning is that the melodies were written from the heart but also combines lots of understanding
of composition and arranging. I can feel the inner search that Ayal had while composing his 8 originals.
The 1st melody, Decisions is very optimistic and starts with with a cool groove (i love the bass line!). the sax plays the melody with
nice sound and feel and the rhythmic line before the solo is so cool. 
The 2nd melody, Six Floor starts with "kinda" children song line. very simple and melodic. after the line ends, the drums starts a great groove
and the melody starts with wonderful vibe, kinda rhythmic story that works great.
The 3rd melody, Lullaby For Broken Land  is mixing Israeli folk, very mellow (even sad) lines with jazz harmony and it catches the ear immediately.
The 4th melody, A Dream I Had About You is beautiful and catchy to my ears. the melodic lines are nice and have cool rhythmic ideas by the bass.
The 5the melody, Hasin' have some lines that reminds Israeli folk music (and the drums helps getting it) but the harmony is far from the middle east.
The 6th melody, Blue Nights starts with Tabla (Indian drums) the sax plays the melody which is kinda catchy to the ear. i love the bass line here 
because it works out great for the melody and the drums+bass do a great rhythm section work.
The 7th melody, In Motion-Now is a down tempo nice melody with intro by the organ and drums. the saxes plays the melody wonderful and the rockish slow atmosphere is just amazing and leading to another part of the melody. alto and tenor sounds great together also when playing unison. this tune goes wild later on with avantgardish shouts of both saxes. so cool.
The 8th melody, Parts Come Together starts with cool atmosphere made by the bass, percussions+flute and sax. the melody by both instruments, each have line and the other answers, really nice built of the melody and nice development to B part or so. the drums play like a slow rock ballad. no solos at all....interesting concept :-)

so i listened to those melodies a few times and later on i listened to full tracks.

for concluding,
Ayal is a good composer and arranger and his music communicates with the listener.
the musicians playing very well (rhythm section and solos) and it is a very nice debut album.

Recommended listening at Bandcamp (support the musicians and buy the album....)


Lionel Cole & The Family Business - Chicagoland (2014)

The year is 1994 I run a small Music jingle company with a few of my Frat brothers from Northwestern. I have started to carve my own little corner of the all powerful Cole Business. All my fathers brothers and my father are board members (Eddie, Ike, Nat, & Freddy) my cousin Natalie is the Ceo. After years of sending tunes to Babylon (Los Angeles) I get approached by a publisher... Read more: cdbaby

Lionel Cole, vocals

01. All Of Me (2:13)
02. Lullaby Of Broadway (3:39)
03. The Late Late Show (2:23)
04. In A Sentimental Mood (3:03)
05. The Blues Don't Care (2:09)
06. Save Some Time For Me (4:11)
07. Steal Away (4:51)
08. My Lady (4:11)
09. Let's Do It (4:46)
10. Smile Again (5:29)
11. The Golden Hour (5:55)
12. Cool Blue Mountain Stream (5:22)

"Hearing is Everything" Peter Watkins


jueves, 31 de julio de 2014

Emil Viklický & George Mraz - Mraz & Viklický Duo Art: Together Again (2014)

George Mraz and Emil Viklický - two of the leading Czech jazz musicians united again. George Mraz is one of the most profiled bass players in the world and Emil Viklický is the "patriarch of Czech jazz piano"(the London Evening Standard). They perform a new Czech way of jazz, fresh ideas on traditional foundations and no least of all two of the most remarkable voices of jazz can be discovered on "Together Again".

Emil Viklický, piano
George Mraz, acoustic bass

01. Dear Lover
02. Poem
03. Theme From 5th Part of Sinfonietta
04. A Bird Flew By
05. U Dunaja u Prešpurka
06. Austerlitz
07. Moon, Sleeping In A Cradle
08. Thank You, Laca
09. Up On A Fir Tree
10. I Saw Grey Pidgeon
11. In Holomóc Town

"Hearing is Everything" Peter Watkins


Jive Ass Sleepers - Funk Factor (2011)

Very groovy funky fusion latin album :-)

01. Funk Factor (4:53)
02. Bump Funk (5:43)
03. Remember In Rio (7:35)
04. Once In A Lifetime (5:18)
05. Joyful Girl (4:44)
06. Lowdown (5:00)
07. Electro Jazz (3:56)
08. Quietly Yearning (1:43)
09. Into You (5:11)
10. Gimme Strength (5:24)
11. Life In The Slow Lane (3:48)
12. California Groovin (4:32)

Jive Ass Sleepers is the music of Stuart Moore, a keyboard player/composer/producer based in Sacramento, CA. He developed a love of funk, jazz and dance music during the 90s upon hearing Jamiroquai's debut album 'Emergency On Planet Earth.' This led him to explore the roots of this style of music, discovering along the way - Herbie Hancock, Jeff Lorber, Roy Ayers, The Crusaders, Average White Band and many others.

Growing up in the UK he also had an interest in many forms of dance music, especially House, where he became influenced by Basement Jaxx, Masters at Work and Daft Punk. Stuart started writing music in the late 90s and quickly developed his own funky, laidback sound. 'Gettin Down To Business' is an album that draws from all of his influences fusing 70s jazz funk with modern drum programming and a twist of Latin on the side.

Jazz Funk lovers rejoice, album is packed full of more laid back funk grooves and soulful jazzy moods. Blending a retro seventies vibe with a modern twist, infectious melodies on guitar, horns and keyboards are served over toe tapping rhythm sections. Tight production with a gritty edge this is the perfect album for all Acid Jazz fans who dig music from artists such as The Crusaders, Brand New Heavies, Ronny Jordan, George Benson and Jeff Lorber to name a few. 


Matt Pavolka The Horns Band (2014)

When bassist Matt Pavolka had a gig and his keyboard and guitar players couldn’t make it, he hired a bunch of horn players… and the Horns Band was born. With Mark Ferber - drums, Jacob Garchik - trombone, and Loren Stillman - alto. This band features Pavolka’s great arrangement of his original music; and the arrangements remind me of Booker Little at times-really great writing and amazing players!  We recorded the group in June 2013 for a Fresh Sound Records release in early 2014, stay tuned!

Matt Pavolka, bass, trombone
Kirk Knuffke, cornet
Loren Stillman, alto sax
Jacob Garchik, trombone
Mark Ferber, drums 

01. Acid Metacognition 7:09
02. The Evening Redness in the West 11:11
03. Lullaby 5:15
04. That Night the Blind Man Dreamt That He Want Blind 7:42
05. The Evolution of Artificial Light 4:52
06. Guermo 8:18
07. Vheissu 5:18
08. Recollected Forward 6:55
09. Anti-Green Plate Gives Mr. More Power 6:28

"Hearing is Everything" Peter Watkins


Fabio Torres - Pra Esquecer Das Coisas Úteis (2009)

Magnífico primer disco como protagonista principal del refinado pianista y compositor paulistano Fabio Torres (São Paulo, 1971).

Ya conocido internacionalmente por su colaboración con la cantante Rosa Passos, destaca aquí su faceta autoral, en la tradición de más sofisticada de la música popular brasileña: choro, samba y MPB, con influencias del jazz, de la música latina y de la música erudita en la que se formó (en el conservatorio y en la facultad) (él mismo cita como sus referencias a Tom Jobim, Edu Lobo o Guinga). Un CD acústico, meticulosamente elaborado en lo armónico como en lo melódico.

Fabio Torres (piano, piano eléctrico)
Teco Cardoso (flautas, saxo soprano)
Vinicius Dorin (saxo)
Daniel d'Alcântara (trompeta)
Rodrigo Y Castro (flauta)
Heloisa Torres Meirelles (cello)
Chico Pinheiro (guitarras)
Marcus Teixeira (guitarras)
Paulo Paulelli (contrabajo)
Edu Ribeiro o Celso de Almeida (batería)
Serginho Machado (batería)
Zeli (contrabajo)

Participación especial de: Luciana Alves, Tatiana Parra, Fabiana Cozza, Gianna Viscardi y Renato Braz

01. Lilyá
02. Legítima defesa
03. Teu nome
04. Sol de inverno
05. Rosa
06. Inefável
07. Lívia
08. Pra esquecer das coisas úteis
09. O jardim
10. Janaína
11. Gentileza
12. Marília
13. Noturno
14. Samba de Almeida
15. Epílogo

"Hearing is Everything" Peter Watkins

(Faxineiro de LP's)

miércoles, 30 de julio de 2014

Trio Esperança - Doce França (2013)

Trio Esperança is a Brazilian vocal trio, formed in the city of Rio de Janeiro in 1958, by the siblings Mário, Regina and Evinha Correia José Maria. They had several hits in Brazil, such as "Festa do Bolinha" and "Filme Triste" - a version of the pop song Sad Movies (Make Me Cry), released as a single in 1962 - and released albums through Polygram Records, EMI, Universal Music and Philips Records.

After releasing 4 albums in France, the Trio Esperança took a break from the music business in 2002. The band returned on stage in 2008. In 2010, the Trio Esperança, composed by Evinha, Regina and Mariza, released a new album De Bach a Jobim on French label Dreyfus Jazz. The disc featured covers of music by The Beatles, Bach, Antonio Carlos Jobim, in addition to original material.

In 2013, almost 20 years after the release of "A Capela do Brasil", the first album they released in France, the Trio Esperança decided to pay tribute to French music, with their personal take on 14 songs by emblematic French artists, releasing a new album "Doce França".

01. Les Copains D'abord (2:38)
02. Quelques Mots D'amour (3:40)
03. Ce N'est Rien (3:01)
04. La Chanson Des Vieux Amants (Cançao Dos Velhos Amantes) (3:26)
05. Lily (Lily A Somali) (3:18)
06. Et Maintenant (2:54)
07. Chaque Jour De Plus (2:53)
08. La Boheme (Uma Bela Historia) (4:17)
09. Sob O Ceu De Paris (3:02)
10. Que Reste-t-il De Nos Amours (Bem Mais Que Tudo) (2:25)
11. Bancs Publics (Os Amantes Dos Bancos Publicos) (3:19)
12. La Vie En Rose (2:33)
13. Message Personnel (2:52)
14. Tendresse (2:18)

Direction artistique & Arrangements: Gérard Gambus
Enregistré par Gérard Gambus – GEMM
Mixé par Guillaume Thomas – Gyomsound
Masterisé par Sébastien Lorho – Passage à niveaux
Photos: Neyla Barreto

"Hearing is Everything" Peter Watkins



Vince Jones - The Monash Sessions (2014)

Source: jazzhead

Jazzhead is thrilled to announce the new release by Vince Jones: The Monash Sessions.

Vince Jones' Artist in Residence joins the esteemed list of artists who have recorded with the Sir Zelman Cowan School of Music at Monash University. Jones is an Australian musical icon and features one of the most recognisable voices and distinctive phrasing he has influenced legions of singers across the nation. 

The recording plays host to live and studio recordings of the elite music students collaborating with Vince and includes guest performances from Sam Keevers and Rob Burke. The majority of compositions are penned by Vince, spanning 30 years of recordings and includes two tunes from The Great American Songbook; always a staple in Vince’s repertoire. Vince’s compositions include fan favourites such as Jettison, This is The Woman, Union Man and Wonder World.Jones’ lyrics are at times commentaries on social issues with a meaning and relevance to the Vince Jones narrative; a story that is now influencing a new generation of young musicians.

Leading Australian jazz vocalist, Vince Jones, is renowned for his subtle, heartfelt style combining jazz phrasing with soul-derived moves, much as his repertoire combines jazz, blues, soul, folk and pop influences. This concert presents a new and exciting collaboration.

Vince (vocals, flugelhorn) will be joined by a larger ensemble, comprising students and faculty members from the jazz course at Monash University, including Rob Burke (saxophone) and Paul Grabowsky (piano). They will perform music from Vince's latest album Monash Sessions (Jazzhead), written while undertaking a teaching engagement at Monash University in 2013.

Vince Jones: The Monash Sessions; a real joy to hear. In stores June 6.


This is the Woman - arranged by James Mustafa

Union Man - arranged by Jordan Murray


Budgie,  Jettison

Bass - Joshua Manusama

Drums - Keiran Rafferty

Piano - Joel Trigg

Guitar - Tom Biffin

Tenor Sax - Paul Cornelius

Alto Sax - Liam Werrett

Blame It On My Youth, This Is The Woman, Union Man

Bass - Jordan Tarento

Drums - Rohan Moore

Piano - Daniel Mougerman

Guitar - Jonathan Skourletos

Alto Sax - Joe McEvily

Trumpet - Niran Dasika

Monash University Vocal Ensemble - Directed by Jacqueline Gawler

Paloma Ellis-Vega, Christina Serafy, Stephanie Macetta, Ella Patinson, Lauren 

Irwin-Ray, Jack Foy, Amber Ferraro, Tanya George, Alex Vella-Horne, Luke 

Stevenson, Imy Dale, Rebecca Barbie, Mikaela Brownley, Lizzie Anne, Dominique 

Garrard, Yu Lin, Katani La Rocca, Grace Cordell, Sarah Turner, Stephanie Abbott, 

Siobhan Louise Barry, Merrily Hansen, Sebastian Smart, Clary Riven, Andrew 

Masutti, Rachel Fegan, Ethan Brivik, Sarah Aarons, Tiffany Leung, Ido Zamir, 

Claire Howells, Elizabeth Miller, Lillian Albazi, Heidi Lupprian,  Marceau 

Camille, Lily Zhang, Jonathan Wright.

Wonderworld, Betweeen Your Eyes, Rainbow Cake

Bass - Oscar Neyland

Drums - Chris Cameron

Piano - Sam Keevers

Guitar - Tom Mansfield

Trumpet - Brae Grimes

Alto Sax - Josh Kelly

Tenor Sax - Steven Byth


Piano - Sam Keevers

Tenor Sax - Robert Burke

Just in Time

Duet with Sam Keevers - piano

01. Budgie (feat. Joshua Manusama, Keiran Rafferty, Joel Trigg, Tom Biffin, Paul Cornelius & Liam Werrett) 3:58

02. This Is the Woman (feat. Jordan Tarento, Rohan Moore, Daniel Mougerman, Jonathan Skourletos, Joe McEvily, Niran Dasika & Monash University Vocal Ensemble) 5:23

03. Rainbow Cake (feat. Oscar Neyland, Chris Cameron, Sam Keevers, Tom Mansfield, Brae Grimes, Josh Kelly & Steven Byth) 4:16

04. Blame It on My Youth (feat. Jordan Tarento, Rohan Moore, Daniel Mougerman, Jonathan Skourletos, Joe McEvily, Niran Dasika & Monash University Vocal Ensemble) 5:09

05. Jettison (feat. Joshua Manusama, Keiran Rafferty, Joel Trigg, Tom Biffin, Paul Cornelius & Liam Werrett) 5:18

06. Between Your Eyes (feat. Oscar Neyland, Chris Cameron, Sam Keevers, Tom Mansfield, Brae Grimes, Josh Kelly & Steven Byth) 4:23

07. Blue (feat. Sam Keevers & Robert Burke) 6:05

08. Union Man (feat. Jordan Tarento, Rohan Moore, Daniel Mougerman, Jonathan  Skourletos, Joe McEvily, Niran Dasika & Monash University Vocal Ensemble) 5:18

09. Just in Time (feat. Sam Keevers) 4:09

10. Wonderworld (feat. Oscar Neyland, Chris Cameron, Sam Keevers, Tom Mansfield,  Brae Grimes, Josh Kelly & Steven Byth) 5:26

"Hearing is Everything" Peter Watkins


Lost Tribe - Lost Tribe (1992)


01. Mythology
02. Dick Tracy
03. Procession
04. Letter to the Editor
05. Eargasm
06. Rhinoceros
07. Mofungo
08. Space
09. Four Directions
10. Fool for Thought
11. T.A. The W. (Tender as the Wind)
12. Cause and Effect


David Gilmore: Guitars
Adam Rogers: Guitars
Fima Ephrom: Bass
Ben Perowsky: Drums
David Binney: Sax

This is what modern fusion is at it's best. This group combines multiple genre's into something fresh and original. The playing is first rate. All of the musicians are in demand session men. They combine to create something really fresh and interesting. David Gilmore, Ben Perowsky, David Binney, Fima Ephrom and Adam Rogers combine here to create a fine blend of jazz, rock, funk and hip-hop. It's been a long time since there has been something as interesting as this. Dick Tracy, Procession, Letter to the Editor, Mofungo and Fool for Thought are real highpoints. These musicians play with skill and with the pieces in mind. The virtuosity is there but not at the expense of the compositions.
From the opening sax punctuations and eclectic guitar pulloffs of "Mythology" I was hooked. Being a bass player also drew me into Fima Ephrom's kinetic bass lines with all it's pops,snaps,slurs and machine gun fills. The odd time signatures did it for me as well. Who can argue with the funky 4/4-6/4 groove in the solo section of "Dick Tracy"? One of the best tracks on the album. But these guys can lay back and be beautiful as a waterfall as well.the swelling chords and understated drums of "Procession" cascade over your senses like honey on a tangerine. Fusion is truly a term which defines this band.Not convinced? How about some soulful rap for the unbeliever? "Open Letter To The Editor" does just that, complete with additude and streetwise rhyme. Rock? No problem."Eargasm" should do the trick.Still not convinced? Check out the Heavy Metal-esque,in your face crunch of "T.A. The W." "Four Directions" finds Lost Tribe at their best with lush layers of guitar and sax high-jinx. The cool slap bass and funk drums lay dowmn a bad-ass back beat that demands a standing ovation ( and a little James Brown dance move,if you please). The bass solo establishes Fima as a world class player with serious chops."Fool For Thought" revisits the themes established in "Four Directions" but leaves room for the guitars to do some serious fretwork. The rest of the album boasts some serious moments of pure fusion frenzy and shinning moments of musical genious.Too bad these guys are no longer together.


Ginger Baker's Jazz Confusion - Why? (2014)

Source: motema

Ginger Baker was once considered the musician least likely to survive the ‘60s. And yet, in 2014, he finds himself on the ascent. The award-winning 2012 documentary Beware of Mr. Baker brought renewed attention to his singular music, fiery and self-destructive personality, and dramatic life story. Ironically, his extreme adventurousness and impulsivity—evidenced, for example, by his leaving England and moving to Nigeria in 1970 to play and record music—are the same qualities that helped make him such a versatile and continually evolving musician. Baker has long ranked among the world’s greatest drummers, and critics have deemed his recent live shows with his quartet, Jazz Confusion, some of the best work of his career. On June 24, Motéma Music releases Why?, his first new recording in 16 years, coinciding with a thirteen-date North American tour with Jazz Confusion June 14-30.

For his time with the Rock and Roll Hall of Fame-inducted band Cream, Baker is often credited with revolutionizing rock drumming and influencing countless other rock drummers. But he has always been, first and foremost, a jazz musician. What distinguished his playing in Cream, Blind Faith and other bands, aside from his stunning virtuosity and dramatic flair, was the fact that he was essentially the first “jazz-rock fusion” drummer. He brought to rock the jazz technique he learned from his deep study of music by the likes of Baby Dodds,Max Roach, Elvin Jones and Art Blakey. Baker’s setup (two bass drums instead of one) and style (improvised drum breaks and solos) made him unique amongst his peers.

Baker’s love of jazz also cannot be decoupled from his deep appreciation for African music, introduced to him in the early ‘60s by his idol and friend Phil Seamen, which Ginger manifested in own his playing through the heavy use of toms, introducing an oft-imitated tribal sound to rock. This influence has been an essential part of Baker’s style throughout his career. It is no surprise then that African rhythm is a key ingredient on Why?

The inclusion of Abass Dodoo in Jazz Confusion accentuates the African feel of the album and hearkens back to Baker’s friendship with another Ghanaian percussionist, the master drummer Guy Warren. While visiting Warren in 1970, Baker became fascinated with the music he heard on a Nigerian radio station, contacted his friend Fela Kuti, went to Lagos, and decided to build a recording studio, Batakota (ARC). During construction, Baker and Kuti recorded Fela Ransome-Kuti and Africa 70 with Ginger Baker: Live at Abbey Road and London. Baker still considers that album one of the high points of his career. (Once ARC opened, in 1973, Paul McCartney and Wings recorded part of Band on the Run there.)

Baker continued to reveal his jazz chops in the Ginger Baker Trio (with Charlie Haden and Bill Frisell) and DJQ20 (with Ron Miles, Artie Moore and others), with whom he recorded his last album, Coward of the County in 1998. Why? is the next step in Baker’s return to his jazz roots, a culmination of his storied career and an amalgamation of his jazz and African music influences.

Why? features material Baker has explored while performing live over the last two years with Jazz Confusion. The music ranges from Wayne Shorter’s “Footprints” and Sonny Rollins’ “St. Thomas,” to “Aiko,” which adapts a Nigerian folk tune. The album’s title track echoes Baker’s early music with the Graham Bond Organisation, and represents Baker reflecting on his life: on the personal loss he’s experienced, the dreams he’s had fulfilled and destroyed, asking the question “why?” The tune starts with a prison work song about a man who killed his wife, and also includes “Wade in the Water” as a remembrance of Graham Bond, who died tragically in 1974.

Reviewing Baker and Jazz Confusion at Iridium last fall—Baker’s first New York City club gig since 1997—Ben Ratliff wrote in The New York Times that the band “comes to jazz sideways or through very old roots…Mr. Baker’s sound is so imposing and broad, slow and confident. It’s not loud with ambition, but with spirit and intent.”

About Ginger Baker

Ginger Baker’s recognition as a drummer began during his time in the Graham Bond Organisation, a band that toured with The Who, The Troggs, The Moody Blues and Chuck Berry in the early 1960s, attracting press interest for their outrageous behavior and riotous fun. By 1964, Melody Maker journalist Chris Welch had deemed Baker “one of Britain’s great drummers.”

Baker met Eric Clapton in 1966. The two were mutually impressed with each other’s playing after jamming together,  leading to Baker inviting Clapton to join his band. They soon added bass player Jack Bruce to form Cream. In Baker’s own words, they created “instant magic” and as a touring act broke box office records previously held by The Beatles.

After Cream came Blind Faith, in which Steve Winwood and Rick Grech joined Baker and Clapton. The band made just one album. When Clapton and Winwood left to pursue their own projects, the remaining members went on to form the jazz-rock fusion group Ginger Baker’s Airforce, which added sax, flute, organ and extra percussion.

During a trip to Africa Baker found himself inspired by Nigerian radio. Although there was a war going on, he was adamant about visiting Nigeria, and pushed to set up Batakota Studios in Lagos. Music aside, Africa afforded Baker a wonderful climate and a healthier lifestyle than that of rock n’ roll and touring. He discovered his love for polo and rally driving there, too.

Baker’s work with Airforce and his friendship with Fela Kuti paved the way for Baker’s next musical project: to work with African musicians. With his friend Fela Kuti, at Abbey Road, he recorded the landmark Fela Ransome-Kuti and Africa 70 with Ginger Baker.

Baker then went on to form the British band The Baker Gurvitz Army. Baker provided “extra sounds” on the debut album, such as wheel spins from his Jensen FF on the song “Mad Jack.” He also rode a wheeled swivel chair backwards down a flight of stairs for the LP’s second track.

After setting up a second recording studio, in North London, Baker formed Energy. Since then he has performed at various live events, such as Verona’s Percussion Summit and his own 70th birthday party, with special guest Steve Winwood, at Camden’s Jazz Café.

Ginger Baker’s Jazz Confusion made a sold-out four-night debut in 2012 at Ronnie Scott’s Club in London.

Ginger Baker - drums
Pee Wee Ellis - saxophone
Alec Dankworth - bass
Abass Dodoo - percussion

1. Ginger Spice (Ron Miles) 6:18
2. 12+ More Blues (Alfred 'Pee Wee' Ellis) 7:25
3. Cyril Davis (Ginger Baker) 6:44
4. Footprints (Wayne Shorter) 6:56
5. Aïn Témouchent (Ginger Baker) 6:46
6. St. Thomas (Sonny Rollins) 6:04
7. Aiko Biaye (Nigerian traditional, arr. Ginger Baker) 7:28
8. Why? (Ginger Baker) 4:45

"Hearing is Everything" Peter Watkins


Cyrus Chestnut - Midnight Melodies (2014)

THIS NEARLY PERFECT PIANO TRIO SET BY CYRUS CHESTNUT, captured at Smoke Jazz & Supper Club in New York, is his first live recording date. It retains all of the feeling and power of his thrilling live performances but also benefits from Smoke’s Steinway B that Cyrus claims is the best piano in the city. “It’s just my ticket. We connect. It’s warm and it’s sharp at the same time with a lot of earth in it. I like clubs like the Jazz Standard or Smoke, where you can sit down at the piano and get down-home, because that’s the kind of audience they attract.” Joining Cyrus are bassist Curtis Lundy and drummer Victor Lewis who both worked with the late John Hicks who was an important mentor and friend to Chestnut. Together, they take listeners on a musical odyssey that includes the music by Billy Strayhorn, John Coltrane, and, of course, John Hicks. There are also originals by Victor Lewis and Cyrus culminating in an impressive extended version of “Naima’s Love Song.” Cyrus is one of the great piano voices of his generation—or any generation—as he proves again with this rewarding live debut. Midnight Melodies is available for purchase as an 8-panel CD-Deluxe Album complete with liner notes, interview and additional photos or as a high resolution download mastered for iTunes.

Cyrus Chestnut: Piano
Curtis Lundy: Bass
Victor Lewis: Drums

01. Two Heartbeats
02. Pocket Full Of Blues
03. To Be Determined
04. Bag's Groove
05. Hey, It's Me You're Talkin' To
06. Chelsea Bridge
07. U.M.M.G.Upper Manhattan Medical Group
08. I Wanted To Say
09. Giant Steps
10. Naima's Love Song
11. The Theme

"Hearing is Everything" Peter Watkins


martes, 29 de julio de 2014

Vincent Nilsson Quartet - Jazz Trombone Spirituals (2000)

Vincent Nilsson's Jazz Trombone Spirituals is devoted to sacred tunes. That's part of the problem: spirituals have boring lines and monotonous changes. That might explain Nilsson's lachrymose tone-a sound that finds its best justification in "Sometimes I Feel Like a Motherless Child," a track on which the only non-Scandinavian, drummer Ed Thigpen, lays down a pleasing three-against-four on brushes. Pianist Jan Lundgren provides some color variety occasionally switching to Fender Rhodes. Highlight is Oliver Nelson's old chart on "Down By the Riverside." Elsewhere the material weights everything down. Even the Saints don't go marching in; they merely saunter.

Vincent Nilsson (trombone)
Jan Lundgren (acoustic & Fender Rhodes pianos, celeste)
Bo Stief, Mads Vinding (bass)
Ed Thigpen (drums, tambourine)

01. Go Down Moses [05:17]
02. Standin' In The Need Of Prayer [04:18]
03. Joshua Fit The Battle Of Jericho [04:44]
04. Were You There [05:41]
05. Nobody Knows [06:50]
06. Sometimes I Feel Like A Motherless Child [06:00]
07. Little David Play On Your Harp [05:18]
08. Lord, I Want To Be A Christian In My Heart [05:43]
09. When The Saints Go Marching In [06:54]
10. Down By The Riverside [03:33]
11. Going To Shout All Over God's Heaven [04:03]

"Hearing is Everything" Peter Watkins


Dave O'Higgins - Standars (2014)

Dave is a popular & well known figure on the international jazz scene, having recorded 14 albums as leader with various lineups. He cut his teeth with NYJO, Cleo Laine, Roadside Picnic and Mezzoforte and went on to work with Jim Mullen, Ray Charles, Martin Taylor, Itchy Fingers, Frank Sinatra, Salif Keita, Jimmy Smith, Joe Locke, Kyle Eastwood, Jamie Cullum, Stan Tracey, Matthew Herbert, Chico Chagas and the BBC Big Band to name only a few.

Dave has just recorded a new cd, Standards (JVG Productions) due for release Feb 2014. The tunes are instrumental versions of some of the Sinatra repertoire, of which Dave had first hand experience playing in his band at the last London shows in May 1992.

2013’s critically acclaimed CD release, Got The Real Note (Jazzizit) by the Gascoyne/O’Higgins Quartet with Sebastiaan de Krom on drums, Graham Harvey on piano and co-led with bassist, Geoff Gascoyne comprises a selection of “contrafacts” (new tunes written to changes of favourite standards) and the CD was recorded, mixed and mastered at Dave’s new specialist jazz recording studio (JVG). “Real Note Vol 2” is due out March 2014 and the band will be on tour in April and May.

Another recent collaborative project - The Two Minds Big Band, is co-led with long time associate, Pete Wraight. Pete has been the MD an arranger of Matthew Herbert’s Big Band for 10 years, and this had been a project under discussion for a while. The Two Minds Big Band (JVG Productions) is an album of originals - 5 tunes written and arranged by each leader with the same title as it’s inspiration. 

Dave has recorded two CDs with US sax legend, Eric Alexander. These are 2-tenors and piano trio (led by Danish drummer, Kristian Leth) in the hard blowing time honoured tradition of Griff/Lockjaw, Stitt/Ammons and Hayes/Scott.He also teaches saxophone, harmony and improvisation at the London Centre for Contemporary Music, benefitting swathes of up and coming young musicians with his experience!

In his home city, London, Dave is a regular guest with the house band at Ronnie Scott’s and plays every month at the 606 Club in Chelsea with his quartet.

To celebrate Dave Brubeck’s  90th birthday Dave teamed up with Darius (piano), Chris (bass & trombone) and Dan Brubeck (drums) and toured as Brubecks Play Brubeck in the UK. The tour proved immensely popular. Since Dave Brubeck passed last year this is the “official” legacy band and will be playing in New York at Dizzy’s, Lincoln Centre, in April 2014.

Dave O'Higgins: tenor sax
Robin Aspland: piano
Jeremy Brown: bass
Sebastiaan De Krom: drums

01. I Can't Believe You're in Love With Me
02. Devil May Care
03. My Ideal
04. Witchcraft
05. Guess I'll Hang My Tears out to Dry
06. Let's Face the Music and Dance
07. Wives and Lovers
08. Close Your Eyes
09. Autumn in New York
10. Brazil

"Hearing is Everything" Peter Watkins


The Gascoyne / O'Higgins Quartet - The Real Note Vol.2 (2014)

Source: propermusic

Following on from the acclaimed 2012 Jazzizit release 'Got the Real Note' bassist Geoff Gascoyne and saxophonist Dave O'Higgins join forces again for another collection of catchy contrafacts (new compositions based on well known standards). Once again they are joined by Graham Harvey on piano and Sebastiaan de Krom on drums.

The CD opens with the burning minor blues, "Darkness" written by Gascoyne with a sound reminiscent of the Branford Marsalis Quartet. Other songs include the O'Higgins' composition "Shark Avenue", a new contrafact written on the jazz standard "Green Dolphin Street" that showcases O'Higgins' elegant soprano playing. There is a traditional rendition of Duke Ellington's "Sophisticated Lady" plus a lightning fast "Broadway". Other highlights include the contrafacts "Embrace" (Embracable You) and "Autopsy" (Topsy). Gascoyne's beautiful composition "Dedication" displays the delicate touch of pianist Graham Harvey and swinging drummer Sebastiaan de Krom flexes his jazz-chops on the O'Higgins composition "RSVP" (based on "Invitation").

The album was recorded totally live at Dave's own JVG studio in Brixton, London, all in one afternoon.

Geoff Gascoyne (bass)
Dave O'Higgins (tenor and soprano saxophone)
Graham Harvey (piano)
Sebastiaan de Krom (drums)

01. Darkness
02. Shark Avenue
03. Five Moods
04. Vision
05. I Got Arrythmia
06. Sophisticated Lady
07. Rsvp
08. Embrace
09. Autopsy
10. Dedication
11. Broadway

"Hearing is Everything" Peter Watkins


The Gascoyne / O'Higgins Quartet - Got the Real Note (2012)

Putting a couple of seasoned pros like saxophonist Dave O’Higgins and bassist Geoff Gascoyne together in a quartet session might seem like the same old thing but not so. The two main protagonists, ably supported by Graham Harvey on piano and drummer Seb DeKrom, composed a special series of contrafacts for the album – that’s the posh word for creating originals from familiar harmonic structures – which allied to the standards, blues and other pieces which round it out help to make this an out-of-the-ordinary get-together.

The album’s title track, written by Gascoyne, hardly hints at its origins in ‘Alone Together’, DeKrom’s ticking rhythm underpinning a stop-start motif, with Harvey’s piano in reflective mode, ahead of O’Higgins' engagingly sinuous tenor and Gascoyne’s supple bass solo. ‘Lady Face’ by O’Higgins, based on Dameron’s ‘Lady Bird’, has the requisite Blue Note feeling and moves well, the quartet feel-good at its best, as the composer sets out on a stirring exploration before Harvey’s nimble, boppish solo scores, emphasising his emerging status as a soloist of real consequence.

The album standout, ‘You’re Nicked’ is a tricky blues with ‘a New Orleans 2nd-line groove’ as the notes have it and they’re right. This is an infectiously danceable thing, soprano in for tenor and all the better for it with DeKrom’s street beat in step with Harvey’s classy groove. Its equal is Gascoyne’s ‘Will There Ever Be’, another reinvention with a zigzag shape that inspires everyone. And so it goes, with plenty to bite on in this endlessly varied assembly of performances. Just to hear Gascoyne’s swinging line on ‘You’re Nicked’ is a joy in itself. ((Jazzizit JITCD1258. CD Review by Peter Vacher)

Geoff Gascoyne: bass
Dave O'Higgins: saxophones
Graham Harvey: piano
Sebastiaan De Krom: drums

01. Got the Real Note
02. Lady Face
03. Earth Changing Colour
04. You’re Nicked
05. Will There Ever Be
06. Everything I Love
07. LPs Groove
08. I’m a Fool to Want You
09. One of Those Days
10. It Turned Out Nice Again
11. What Was That?
12. Far East Ferry

"Hearing is Everything" Peter Watkins


Hal Galper - Speak With A Single Voice (1978)

01 Waiting for Chet
02 Now Hear This
03 I Can't Get Started
04 Speak with a Single Voice
05 Blue in Green (bonus track)

Michael Brecker - flute, tenor sax 
Randy Brecker - trumpet 
Hal Galper - piano 
Wayne Dockery - bass 
Bob Moses - drums. 

Recorded: Live at Rosy's in New Orleans in Feb. 1978
Label: ENJA [enja-4006] LP 1982; ENJA/Solid Records [CDSOL-6506] CD (RE, RM Jp) 201 
Genre: Jazz, Post Bop


Thanks to Oldhippierick :-)


Two Jims And Zoot (1964)

Recommended album *****

01 Hold Me 2:47
02 A Primera Vez 4:24
03 Presente De Natal 3:05
04 Morning Of The Carnival 4:30
05 Este Seu Olhar 4:34
06 Betaminus 3:17
07 Move It 4:27
08 All Across The City 4:45
09 Coisa Mais Linda 4:15
10 How About You 3:55

Jim Raney and Jim Hall, Guitar; 
Zoot Sims, Tenor Saxophone; 
Steve Swallow, Bass; 
Osie Johnson, Drums. 

Recorded: NYC, March 11 & 12, 1964

Read review