jueves, 17 de abril de 2014

Noel Jewkes - Chasin' the Pres (Tribute to Lester Young) 2013

A tribute to Lester Young is the natural catalyst for this wonderful CD from the brilliant, masterful saxophonist Noel Jewkes. A legend among legends, Lester Young was one of the greatest figures in the history of jazz whose power and spirit transcended the tenor saxophone idiom, affecting the entire sound of jazz. Despite Young's pervasive effect, there has been a shortage of special tributes honoring his contributions to the birth of modern jazz.

Jewkes is an original musician, a premier tenor saxophonist, and an alto, soprano, clarinet and flute player, based in the San Francisco Bay Area. This recording, leading a band of top-ranked jazz musicians, has been long overdue and is both a tribute to Lester Young and a jazz celebration of Noel Jewkes.
The “Young Effect” prompted Young to be nicknamed “The President” or just “Pres.” As this CD demonstrates, Jewkes' ability to subtly unfurl nuances of jazz harmony and improvisation qualifies him as a member of Young's “Presidential cabinet.” The release of this CD fortifies Jewkes' solid reputation and will be welcomed by dedicated fellow musicians and enthusiastic fans alike.

Noel Jewkes was born in Utah on June 18, 1940. His mother, father, and uncles were all musicians: they formed the Jewkes Orchestra swing band, playing cowboy and country-western music for locals at church, school and other social functions. Jewkes joined the band at age 12, playing both clarinet and saxophone. Immersed in a deep musical environment, he became adept at a variety of instruments. He later attended college and studied music privately.

Jewkes moved to the San Francisco Bay Area and continued his musical growth and development, soon becoming one of San Francisco's bright lights, playing and recording on a very high level. He worked with Jon Hendricks and Jimmy Witherspoon, appearing in “Evolution of the Blues” production. He also worked with Mel Torme, Rosemary Clooney, Billy Eckstine, Mary Stallings, Jerry Hahn, Akira Tana, Jack DeJohnette, Weslia Whitfield, Mimi Fox, Larry Vuckovich, and Dave Ellis among others. Jewkes is an in-demand player.

Akira Tana, producer of this CD, suggested the liner notes include the story of the first time the teenaged Jewkes saw Pres perform. Likewise, Tana urged me to share my boyhood encounters with Pres.

Jewkes' first Pres experience was in 1954. Jewkes recalls: “Basie's Band was headlining, with Pres as the featured player. It was the band that included Frank Foster, Frank Wess, and Joe Williams. This Basie package came through Salt Lake City and played at a dance pavilion. Pianist Bud Powell's trio was part of the tour package, too.”

For my part, I was hotly in pursuit of Pres beginning at age 13, when I stood outside the entrance of “Jack's of Sutter Street” in San Francisco, catching the great sounds of Pres' tenor saxophone. After Pres noticed me hanging out at several of his dates, he asked me why I was there, I replied, “In your words, I have eyes for your sounds.”

My most memorable encounter with Pres occurred in Oakland's Chinatown. I had noticed a poster advertising a one-night stand featuring Pres and Billie Holiday at a beer joint named “Hamburger Gus's.” The entrance to Gus’s had swinging doors, open at the top about 18 inches. I had to check out this super gig, so I found a box to stand on and peered over the doors seeing the heads of Pres and Lady and digging the music. After the first set, Pres exited with a lady on each arm. Seeing me, he dropped the ladies, led me into the smoky joint, sat me on a stool by the stage and said, “The music will wind-up shortly... so dig it!” It was thrilling and unbelievable!

Back to Noel Jewkes and his song selection for this CD: “Some of the tunes I chose I think Pres would liked to have recorded, but never did.” Jewkes has always been a great fan of Pres. He explains: “Lester was the first modernist tenor player. Before Lester, I had devoted a lot of attention to Coleman Hawkins whose playing was more linear, more smooth and subtle. I was very fond of an album when I was still in high school. It was Oscar Peterson's quartet, featuring Pres with Oscar, Ray Brown, Barney Kessel, and J. C. Heard. The album on Verve Records is rightly named “Mr. President” and is a source of inspiration. I listened to it with intensity. That recording was one of the best things Lester ever did and I'm still impressed with it. That record fits the theme of a tribute to Pres. The standout jumping selection is “Tea for Two.” We came close to the same tempo.”

Jewkes showered praise on the exceptional musicians on this Pres tribute CD: “The rhythm section was vital and I tip my hat to them. Pianist Benny Green plays with total absorption - his conceptual consonance was unpredictable. Marcus Shelby's bass playing was sheer beauty. On guitar, Josh Workman has a great sense of swing and feeling. Drummer Harold Jones has perfect time conception and execution. The band members were fully in sync with each other - they were loose and elastic.”

Some comments about the selections on this CD might provide an insight into Jewkes' taste and ideas: Jewkes took the intros for “I Never Knew” and “I'll Never Be the Same” from original Pres recordings. The latter tune calls to mind the early recordings of pianist Teddy Wilson and Billie Holiday. On “If You Were Mine” Jewkes says: “I can hear Pres playing it in my head. Lester might have played it but he did not record it. Ditto for “Fine and Dandy,” which starts off as a slow ballad, then moves up to a medium swing tempo.” The derivation of “Moten Swing” is “You're Driving Me Crazy,” and it kicks off with the primary tune then segues into “Moten.” “D. B. Blues” has an uncommon structure - a bridge in a blues tune. The “D.B.” stands for the army detention barracks where Pres spent a year prior to his dishonorable discharge, and was a memory of the mistreatment he suffered in the U. S. Army. By the way, Jewkes' intro is different from Pres' on the same tune. “Lover Man” is associated with Billie Holiday. “I felt good playing it,” said Jewkes. Lester Young's classic signature tune, “Lester Leaps In” is played with a loose feel.

Marcus Shelby's insightful comment about Noel Jewkes is a potent wrap-up: “His harmonic and melodic concept leaves delicious melodies in your mind long after the song has ended.”

Hail Lester Young and Noel Jewkes! - Dr. Herb Wong

Noel Jewkes (ts)
Benny Green (p)
Marcus Shelby (b)
Josh Workman (g)
Harold Jones (ds)

01. I Never Knew
02. If You Were Mine
03. Db Blues
04. Fine and Dandy
05. Moten Swing
06. Tea for Two
07. I'll Never Be the Same
08. If Dreams Come True
09. Lover Man
10. Lester Leaps In



Joe Beck - Get Me (2014)

It would be something of an understatement to say that the late Joe Beck was a fine guitarist. In truth, he was one of the most multifaceted players to wield the instrument during his lifetime. Beck was hailed for his funky fusion work, both as an individual and in combination with saxophonist David Sanborn, he was an ace studio musician, working with everybody from Miles Davis to Paul Simon to Gloria Gaynor, and he was a brilliant and daring interpreter of standards. It's that last aspect of his playing that shines brightly on this posthumously released live date. 

If this is truly Beck's final recording, it's a great way to cap a recording career. This album was recorded in 2006, two years before lung cancer took his life, and it's a shame that it took this long for it to reach the marketplace; it's a beauty, and one that almost never came to be. Anna de Leon, the proprietor of Anna's Jazz Island in Berkeley, California, had Beck at her club for two nights in September of 2006. Beck asked her to pick out a rhythm section, which is always a risky proposition, but she obliged. Little did anybody know that the combination of Beck, bassist Peter Barshay, and drummer David Rokeach would turn out to be such a winning combination. After the first night, de Leon realized that this music was too good not to preserve, so she arranged to have night two recorded. 

It's really hard to fathom that these three men had no history together prior to those two nights. All parties combine sensitivity and a daredevil attitude to create something special. Hearing the way Beck and Barshay dovetail and overlap on "Stella By Starlight," for example, is hearing, to quote writer Whitney Balliett, "the sound of surprise." Other highlights include a not-too-tender "Tenderly," "You And The Night And The Music," and a "Manha De Carnaval" for the ages. 

Beck and company are respectful of the music, but never excessively reverential. These men are willing to go off on tangents a bit, making these oft-performed pieces that much more interesting. Almost every number starts off with a Beck introduction, alone worth the price of admission. What follows—fluid chordal pathways, unexpected harmonics, ripping single note lines, swinging passages, and quiet scenarios—is the real show. Bits of banter are interspersed throughout the album, giving Beck a chance to share recollections of Antonio Carlos Jobim, praise his musical partners of the moment, discuss drinking, and liken the guitar to a six-piece band. 

Anna de Leon's instincts about these Beck shows were spot-on; it's a shame that night one never got recorded, but it's a good thing night two was preserved for posterity. Beck may be gone, but he still has much to offer. (DAN BILAWSKY, AAJ)

Joe Beck: guitar
Peter Barshay: bass
David Rokeach: drums

01. Stella by Starlight
02. Manha de Carnaval
03. The Guitar Is A Six Piece Band (Spoken)
04. Georgia On My Mind
05. Alone Together
06. Trio Interlude (Spoken)
07. Tenderly
08. On Ballads and Drinking (Spoken)
09. I Can't Get Started
10. You and the Night and the Music
11. Jobim (Spoken)
12. Corcovado
13. Georgia On My Mind (Reprise)



Michael Musillami Trio - Dachau (2005)

The cult of youth has poisoned the world of music. Pop culture would have "instant artists shine momentarily, and then disappear quietly into the "where are they now category before they lose their baby teeth. In spite of this, seasoned musicians continue to move forward, breaking boundaries and defying the international fetishism of youth.

Michael Musillami is one such visionary musician. On Dachau, his veteran trio, augmented on several tracks to a quartet, quintet or sextet, fuses a warm traditional sound with highly modern playing into a seamless whole, stating unequivocally that the world of improvised music need not enslave itself to pop culture's obsession with disposable art(ists).

The realm of jazz guitar is fettered with a duality of possibilities: the classic tradition of Wes Montgomery and Jim Hall or the anything-goes realm of Bill Frisell. The jaunty melody of "Dresden" reveals the dichotomy that is Michael Musillami: a traditional jazz guitar sound coupled with a penchant for freely improvised lines, odd meters, and a conjuring of otherworldly soundscapes. This unlikely union creates a unique moment in jazz history: highly listenable free jazz guitar playing.

Throughout the record, Joe Fonda's warm bass tone anchors the movements of both Michael Musillami and drummer George Schuller. Like Scott LaFaro, he uses the entire register of the instrument for highly interactive and contrapuntal basslines. With music that exists on the fringes of jazz, maintaining group cohesion can be difficult. On the title track, "Dachau," Joe Fonda's playing serves to unite the frenetic drumming of George Schuller and the jaunty lines of Michael Musillami into a unified whole. Like Charlie Haden in Ornette Coleman's groups, Joe Fonda gives the music a completeness through strong melodic bass parts and intuitive interaction with the ensemble.

Veteran jazz drummer George Schuller is the MVP of Dachau. His clever and rambunctious playing keeps the record grooving continually, showing that freer music need not be devoid of feel. Moving seamlessly from the frenetic "Archives" to the melismatic "Dachau" with aplomb, Schuller is part of a rare breed of drummers who are capable of making the drums whisper, roar, groove or swing without sounding schizophrenic. Bringing to the table a dark cymbal texture and round drum tone that complement the ensemble perfectly, he is johnny-on-the-spot, catching everything everyone does and raising the musical bar continually.

Free improvisation can be a no man's land. The fainthearted need not apply. Over the years many carpetbagger musicians have seen fit to approach the daunting task of musical coherence in a freer setting without the ability to do so, effectively souring many ears to what can be highly imaginative and kinetic music. With Dachau, Michael Musillami demonstrates all that free music wants to live up to but often doesn't. Armed with a renegade ensemble of daring musicians with a classic jazz sound, Dachau is a work of surprising musical cohesion and inventiveness. (RENATO WARDLE, AAJ)

Michael Musillami: guitar
Joe Fonda: bass
George Schuller: drums, bells, shaker, toy hammer whistle

Peter Madsen: piano
Tom Christensen: tenor sax
Dave Ballou: trumpet

1. Dresden
2. Archives
3. Dachau
4. Part Pitbull
5. Rottweil
6. Today the Angels
7. Metaphor 3.4.5.



Michael Musillami - Beijing (2003)

On the highflying Beijing, Michael Musillami sets up shop with a swinging team of sprightly improvisers in bassist Joe Fonda and drummer George Schuller. Musillami gets into an adventuresome mode on this set, and the others enlist for the fun-loving trip. They play mostly original compositions by Musillami or by band members collectively.

The music cooks in a stream of relaxed waves. Musillami’s delivery has lyrical leanings, but his improvising leaves convention behind to seek haven in more exotic realms. His output peaks with clear sound devoid of electronic fuzziness. Musillami sends out an unadulterated message that is very palatable while maintaining a challenging environment. He excels on the title cut with long, ringing choruses that dance in the air as flickering filaments of light.

Fonda and Schuller run with him on this very fast track. They open the set with a short percussive display of freeform interaction and then glide unerringly into their group role. Fonda gets into a consistently motivating groove with a solid, throbbing message; yet he also deviates off course with atypical contributions, particularly in the arco mode. Schuller similarly stirs the pot with a range of rhythmic cadence that maintains a degree of balance countered by off-balance, arrhythmic spurts to push the music in unpredictable directions.

For most of this charged session, it appears these musicians are having fun on this joy ride. They jab and poke at each other with playful teasing on “Pivot” and generally exude a sense of delight on most of the spirited tunes. The one exception is the haunting Thomas Chapin piece “The Present,” where the mood changes to pensive and the tempo to ballad pace. It offers the chance for Musillami to become an eloquent improviser with tender phraseology and softened interpretations.

Moodiness aside, the session sustains the perception of three artists cutting loose with invigorating songs that permit a large dose of self-expression to emerge from the tight group activity. It is a vehicle for improvisers to kick things into a higher gear with enthusiastic, interconnected playing. Musillami, Fonda, and Schuller do just that on this performance that dares you to remain still while the disc is spinning. ( FRANK RUBOLINO, AAJ)

Michael Musillami: guitar
Joe Fonda: bass, kalimba
George Schuller: drums, bells, shaker, toy hammer, whistle

01. Jade Welcoming (1:35)
02. Beijing (8:40)
03. Dazu (1:25)
04. Swedish Fish (5:38)
05. Fragile Forms (5:02)
06. Op-Ed (7:20)
07. Mogao (0:36)
08. Icons (3:43)
09. Pivot (4:10)
10. The Present (4:05)
11. Caterpillar (2:10)



Paul Gonsalves - Ellingtonia Moods & Blues (1960)

One of tenorman Paul Gonsalves' earliest leader dates, Ellingtonia Moods & Blues was recorded in New York in February 1960. Produced by Stanley Dance for release on French RCA, it boasts a fuller sounding personnel than is heard on the earlier German LP and gives us an opportunity to hear how Gonsalves sounded when playing in a typical Ellingtonian combo of the sort popular in the 1930s and later. For this session, Dance surrounded the leader with hornmen of comparable tonal strength and improvisatory skills, including altoman Johnny Hodges, trumpeter Ray Nance and trombonist Mitchell "Booty" Wood, one of the best of Tricky Sam Nanton's stylistic beneficiaries. Not only did Dance make certain that there were sufficient arrangements and new compositions to frame the solos of these men, but he also secured the talents of more than compatible rhythmic accompanists, namely pianist Jimmy Jones, bassist Al Hall and drummer Oliver Jackson. The tunes include Hodges' "It's Something That You Ought to Know," "Way, Way Back" and the achingly slow "D. A. Blues," a three-way line that poses the alto lead against fills by the tenor over a subtly stated brass background; Gonsalves' "Chocataw" and "The Line-Up;" and the Ellington standards "Daydream," with Gonsalves offering a personal interpretation of the classic Hodges solo on a theme by Strayhorn and Duke, and "I'm Beginning to See the Light," a piece traditionally credited to a combine involving, among others, Harry James. Despite its brevity, this is an excellent and little-known session. (Jack Sohmer, JazzTimes)

1. It’s Something That You Ought To Know
2. Chokataw
3. The Line-Up
4. Way, Way Back
5. Daydreams
6. I’m Beginning To See The Light
7. D.A.Blues

Ray Nance: trumpet
Micel”Bootie” Wood: trombone
Johnny Hodges: alto sax
Paul Gonsalves: tenor sax
Jimmy Jones: piano
Al Hall: bass
Oliver Jackson: drums

Recorded (NYC) February 29, 1960



miércoles, 16 de abril de 2014

Alegre Corrêa - Leme (2013)

O violonista brasileiro Alegre Corrêa está lançando o seu décimo-terceiro disco. Leme, que foi gravado em Budapeste e em Viena, traz sete composições e tem a participação de músicos europeus e brasileiros.

Alegre Corrêa começou sua vida profissional tocando em bailes em Passo Fundo, sul do Brasil, no início dos anos setenta. Em 1988, decidiu ir trabalhar em Viena, onde permaneceu até 2009. Nesses 21 anos, construiu uma sólida carreira como guitarrista, compositor e arranjador. Em 2002, seu disco Mauve recebeu o Prêmio Hans Koller de Melhor Álbum Instrumental lançado na Áustria. No ano seguinte, foi o primeiro estrangeiro eleito Músico do Ano na Áustria, premiação entregue pelo secretário de Cultura daquele país. Depois de ter sido guitarrista titular da Vienna Art Orchestra durante vários anos, ingressou, em 2004, no Joe Zawinul Syndicate.

Neste novo disco, constam cinco peças que Alegre Corrêa compôs inspirado na obra de Darius Milhaud, compositor francês nascido em 1892, e que viveu no Brasil de 1917 a 1919, exercendo as funções de secretário do embaixador da França no Brasil, o poeta Paul Claudel. Milhaud foi muito influenciado pelos ritmos brasileiros e se reunia com a elite musical carioca, convivendo com Heitor Villa-Lobos, Alberto Nepomuceno, Oswaldo Guerra e Luciano Gallet. Em 1920, já de volta à França, escreveu Saudades do Brasil. Essa obra, escrita originalmente para piano, foi mais tarde orquestrada. Trata-se de uma coletânea de doze músicas, cada uma com o nome de um bairro carioca.

O interesse de Alegre Corrêa por Milhaud se deu a partir da proposta do maestro austríaco Christian Muthspiel, que sugeriu  que o brasileiro criasse “reflexões” sobre a obra Saudades do Brasil. Depois de dois meses de intensa pesquisa e introjeção na música de Milhaud, Alegre reinventou as músicas Sorocaba, Laranjeiras, Sumaré, Gávea, Corcovado e Leme, que foram apresentadas em três concertos, cujo programa consistia na apresentação das músicas originais de Darius seguida das reflexões escritas por Alegre. Os concertos aconteceram em março de 2001, na cidade de Linz (Áustria), com a Bruckner Orquestra; em outubro de 2004, em Viena, com a Camerata Salzszburg; e em dezembro de 2007, na Ópera de Hannover (Alemanha), com a Orquestra de Hannover. Em 2012, novos concertos foram realizados. Mas, diferentemente das apresentações anteriores, em que a orquestra tocava as obras de Millaud e a seguir o grupo de Alegre apresentava as reflexões, agora, orquestra e grupo, conjuntamente, tocavam apenas as reflexões e outras composições de Alegre Corrêa. Esses concertos foram realizados em 2013, no Festspielhaus, em St. Pölten, e na Grosser Saal do Musikverein de Viena.

Leme, o novo disco, traz cinco reflexões (Leme, Sumaré, Laranjeiras, Sorocaba e Corcovado) e outros dois temas (Encontro Marcado e Quiromante). As reflexões foram gravadas em Budapeste, em 2009, pelo Alegre Corrêa Group, formado pelos europeus Thomas Kugi (saxofones), Bertl Mayer (harmônica), Raphael Preuschl (baixo), Paul Urbanek (piano), Lana Cencic (vozes) e pelos brasileiros Márcio Tubino (flauta) e Fernando Paiva (bateria). Encontro marcado e Quiromante foram gravadas em Viena, no Jazzclub Porgy & Bess, em 2004, com  Elias Meiri (piano), Ronaldo Saggiorato (baixo) e Endrigo Bettega (bateria). Alegre Corrêa toca violão em todas as faixas.

01 - Leme
02 - Sumaré
03 - Laranjeiras
04 - Encontro Marcado
05 - Sorocaba
06 - Quiromante
07 - Corcovado

Para saber mais sobre Alegre Corrêa, visite www.alegrecorrea.com.br

O disco está à venda por R$ 20,00, no site www.cafemaestro.com.br



Thelonious Monk Quartet (feat. Johnny Griffin) - Complete Live At The Five Spot 1958 (2 CD's)


-Thelonious Monk In Action

"Although the contents of the original Thelonious in Action vinyl comes from the August 7, 1958 show, the CD reissue, which was released three decades later, incorporates over 20 minutes of extras from a July 9 gig that had been previously rejected by the artist. While in exceptional form, Monk is far from casting the only or even the brightest light during these unforgettable sides. Joining him on-stage at the legendary Five Spot club are: Johnny Griffin (tenor sax), Ahmed Abdul-Malik (bass), and Roy Haynes. It's unfortunate that this unit did not remain together for any length of time as they are able to launch Monk's compositions into some fairly significant places. Johnny Griffin's aggressive performance style incorporates a lyrical and melodic undertone perfectly complementing Monk's sporadic inflections. "Coming On the Hudson" features Griffin weaving his magic around the melody while providing a decisive Coltrane-esque counterpoint to which Monk precariously locates his responses. The intensity of "Rhythm-A-Ning" lifts the whole combo after quickly developing the chorus. Griffin builds line upon melodic line, after which Monk responds in kind by adding distinct punctuations of his own. So powerful is Griffin's onslaught, Monk can be heard indicating more than once that Griffin should indulge in another verse. After a ragged but right beginning, "Evidence" becomes transcendental with Griffin, Monk, Malik, and Haynes -- who is frenetically brilliant throughout -- diving into solos which envelop the melody and ultimately expand the unique patterns and motivations."


"This is the second long-player to be taken from the same August 1958 Five Spot recordings that had yielded the similarly brilliant Thelonious in Action The quartet heard on these sets includes Monk (piano), Johnny Griffin (tenor sax), Roy Haynes (drums), and Ahmed Abdul-Malik (bass). Their overwhelming and instinctual capacities directly contribute to the powerful swingin' and cohesive sound they could continually reinvent. While these are Monk's tunes, arrangements, and band, it is Griffin who consistently liberates the performances. During "Nutty," his flurry of activity — which adeptly incorporates several lines from "Surrey With the Fringe on Top" — has a maniacal swing that is highlighted by some definitive counterplay from both Haynes and Monk. Additionally, the transition between Haynes and Monk is organic and seemingly psychic. "Blues Five Spot" — a 12-bar blues homage to their current residence — features solos from each band member. Griffin and Monk again display the seemingly innate ability to instantly recalculate chord structures as well as transmute melodies. The show-stopping solo vamp from Griffin hurls the rhythm along while simultaneously dropping in quotes from other tunes — such as the theme for the animated Popeye cinematic shorts. Malik's brief solo, like his band interaction, is underrated yet precisely executed. The title track is given an exploratory performance. While Griffin aptly seizes the reins to blow his bop onslaught, Haynes' natural and subdued agility perfectly supports the extended tenor solo, creating some unique passages. Ironically, the one Monk solo performance, "Just a Gigolo," is the only composition not by Monk." Both by Lindsay Planer -All Music Guide

CD 1:
01. LIGHT BLUE (5:15)
03. RHYTHM-A-NING (9:28)
04. JUST A GIGOLO (2:09)
05. BLUE MONK (8:29)
06. EVIDENCE (8:45)
07. EPISTROPHY [Theme] (1:08)
08. NUTTY (5:22)
09. BLUES FIVE SPOT (8:12)
10. LET’S COOL ONE (9:15)
11. IN WALKED BUD (11:20)

Total time: 74:51 min.

CD 2:
01. MISTERIOSO (10:47)
02. EPISTROPHY [Theme] (1:04)
03. EVIDENCE (10:16)
04. BLUES FIVE SPOT (9:56)
05. IN WALKED BUD/EPISTROPHY [Theme] (10:57)
07. ‘ROUND MIDNIGHT (6:18)
08. BYA-YA/EPISTROPHY [Theme] (11:55)
09. COMING ON THE HUDSON (6:04) (*) Bonus Track

Total time: 69:15 min.

CD 1 & CD 2 [tracks #1-8] from the 12" LPs "Thelonious Monk in Action" (Riverside R-262) and "Misterioso" (Riverside R-279), including additional and not originally issued material.

Personnel: Thelonious Monk (p), Johnny Griffin (ts), Ahmed-Abdul Malik (b) and Roy Haynes (d). Recorded live at the Five Spot Club, New York City, on August 7 [CD 1 & CD 2, #1-2] and on July 9 [CD 2, #3-8].

The bonus track features: Thelonious Monk (p), Johnny Griffin (ts), Donald Byrd (tp), Pepper Adams (bs), Wilbur Ware (b) and Philly Joe Jones (d). Recorded in New York City, on February 25, 1958.

Note: Art Blakey replaces Roy Haynes on CD 2, track#8 only. Monk plays solo piano on "Just A Gigolo" and "Sweet Stranger".



David Hazeltine - For All We Know (2014)

David Hazeltine é conhecido por sua sofisticação harmônica e pianismo elegante, traços que também eram características de jogo de Cedar Walton. Quando Hazeltine inicialmente estabelecido fazer o que se tornaria seu Sessões de fumaça de lançamento, pelo que sabemos, fazer um disco tributo era a coisa mais distante de sua mente e deve ser salientado que, pelo que sabemos não é, definitivamente, um registro tributo. No entanto, é difícil ignorar a importância do legado de Cedar Walton a ele. Hazeltine é um dos herdeiros importantes para a tradição do piano de Walton, por isso é natural que a sua gratidão e afeto seria temas dominantes nesta gravação. É também um registro especial porque documenta o que é essencialmente a primeira colaboração entre Hazeltine e saxofonista tenor Seamus Blake.

Foi uma parceria que ambos apreciamos imensamente e que funcionou muito bem com o resto do quarteto, o baixista David "Happy" Williams eo baterista Joe Farnsworth. O álbum abre com um dos originais inventivas do Hazeltine, "Et Cedra", que é também aquele que foi abertamente escrito com Walton em mente. Em sua torce melódicas e mais voltas e é harmonias sutis ainda inesperados, é rapidamente aparente porque Hazeltine tem um forte apoio tal. Outros destaques incluem Kurt Weill "My Ship" e turbulento "Eddie Harris" do Hazeltine que dá Blake a oportunidade de pagar alguns aspectos de sua autoria, desta vez para o mestre saxofone descolados. Quando For All We Know conclui com "AD Bossa," a realização em conjuntos que, apesar de jazz perdeu alguns de seus maiores talentos, há uma outra geração que é dedicado a manter a forma de arte vital e vivo.

Pianist David Hazeltine, a musician’s musician known for his harmonic sophistication and elegant pianism, delivers a thoroughly beautiful recording with his latest For All We Know. His rich sound and comping is often reminiscent of the late, great Cedar Walton and Hazeltine honors the piano master with several original compositions including “Et Cedra,” “Lord Walton,” and “Pooh,” as well as Kurt Weill’s “My Ship.” For All We Know also captures the first meeting between tenor saxophone sensation Seamus Blake and Hazeltine. It is abundantly clear on tracks like Charlie Parker’s “Cheryl” and Hazeltine’s “Eddie Harris,” that this collaboration is one worth returning to again and again. For All We Knowis available for purchase as a 8-panel CD-Deluxe Album complete with liner notes, interview and additional photos or as a high resolution download mastered for iTunes.

David Hazeltine: piano
Seamus Blake: tenor sax
David Williams: bass
Joe Farnsworth: drums

1. Et Cedra 6:12
2. My Ship 8:58
3. Pooh 8:21
4. Lord Walton 6:58
5. For All We Know 11:45
6. Eddie Harris 7:29
7. Cheryl 9:39
8. Imagination 7:10
9. A.D. Bossa 5:53



lunes, 14 de abril de 2014

SUN SPEAK - LIGHT BLUE LIGHT 2014 Presentation


Chicago-based SUN SPEAK (Matt Gold - guitars; Nate Friedman - drums and percussion) releases its debut album Light Blue Light on April 15th, 2014. The album was composed and recorded during a month-long artist residency in August 2013. Light Blue Light embodies SUN SPEAK’s diverse influences, from jazz to folk to contemporary classical music, and keeps at its core the rural quiet in which the album was made.

Matt Gold // Nate Friedman



Republic of Jazz Team

domingo, 13 de abril de 2014

Ronado Albenzio: JAZZ by JAZZ

En esta entrega RONALDO ALBENZIO nos ofrece, como siempre, un repertorio musical de alta calidad. Contarán con la presencia del fantástico Art Pepper, el barón Jean-Baptiste Frédéric Isidor "Toots" Thielemans, entre otros grandes músicos.

También cuenta con un bloque dedicado a canciones de The Beatles interpretadas por Count Basie, George Benson o John Pizzarelli.

Escucharemos a un excelente trompetista brasileño, Barrosinho (1940-2009). José Carlos Barroso "Barrosinho" participó en prácticamente todas las iniciativas relacionadas con el jazz y el jazz fusión surgidas en Rio de Janeiro.

 Especialmente, fue miembro destacado de la banda Black Rio, que, con gran éxito, cultivó este tipo de música durante una década y que todavía hoy es punto de referencia para los jazzistas brasileños.

Con su característico timbre aterciopelado (casi parece que toca el fluegelhorn) presenta su innovadora propuesta que el mismo bautizó como "Maracatamba", una original y poderosa fusión rítmica de maracatú y samba dentro de la amplía via del jazz fusión.


Todos los Domingos a las 19:00h. (hora Brasil)

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sábado, 12 de abril de 2014

JAZZ EN ESPAÑOL: Derivas Hispanoamericanas (2014)

Estimad@s amig@s,

Este libro que os presentamos, “Jazz en español”, muestra, por primera vez, un extenso mapa del jazz que se hace en los países de habla española. Cada capítulo se ocupa del jazz de un país y está escrito por un especialista de ese país. Se presentan las escenas nacionales y sus precedentes históricos alejándose de lo publicado hasta ahora: el jazz de los músicos latinoamericanos que viven y trabajan en EE.UU. y cuyos trabajos circulan globalmente a través de las discográficas transnacionales. 

El jazz de nuestros países es mucho más extenso, diversificado y rico. Sobre todo es de mucho más interés: está incrustado en la cultura contemporánea de cada país. “Jazz en español” muestra como músicos y audiencias han hecho del jazz lo que es, de que maneras forma parte y se desarrolla en la cultura urbana. El jazz es una música global llena de miradas, matices y acentos locales.

El libro está editado por el Servicio de Publicaciones de la Universidad Veracruzana de Xalapa, México y dirigido por Julián Ruesga.

arte-facto, Cultura Contemporánea

Pueden adquirir el libro en:

y solicitarlo en el correo de la editorial:

Recomendado por Republic of Jazz Team

viernes, 11 de abril de 2014


Hola, les cuento que el 11 de Abril vamos a estar presentando nuestro nuevo trabajo discográfico en Onyx Club.
VIERNES 11-04-2014
Los esperamos en Pueyrredón 2476, 1113 Buenos Aires a las 22hs. 

Somos: Iván Viaggio + Sebastián Groshaus + Francisco Salgado + Enrique Norris de invitado.

Como somos una mafia generosa, los primeros 15 en llegar se llevan el disco nuevo de regalo y...

les dejo el link de descarga del disco anterior,  "2013" en la página web.

Que lo disfruten y nos vemos allá.

Francisco Salgado

jueves, 10 de abril de 2014

David White Jazz Orchestra - The Chase (2014)

Some of the same high school kids that we're jamming with composer/arranger/trombonist David White more than fifteen years ago still occupy a space alongside newer faces in his New York based jazz orchestra. Tradition and transition are very much at the core of White's approach to progressive swing. White continues to express his unique style of progressive swing on his sophomore release The Chase. Like his debut Flashpoint (Self-Produced, 2007), The Chase pushes instrumental boundaries while paying just enough respect to convention. 

White's democratic process allows his band mates plenty of spotlight time. The traditional swing opening of "Mister Shepherd's Misadventures" is quickly possessed by blistering solos from saxophonist Sam Dillon and trumpeter Miki Hirose. "And The People Could Fly" incorporates a bluesy element and standout work from pianist Nick Consol and trumpeter Pablo Masis. "The Sweetest Bite of Cherry" slows the pace down initially while saxophonist Sam Taylor and drummer Ryan Cavanaugh create a palpable tension, agitating for greater acceleration. 

White himself takes a rare turn at soloing on the cinematic "Persistence," serving a reminder that his skills include being a fine player. White is one among five trombonists in the ensemble and another, David Reitz, gets to show his chops on "The Shakedown." Alto player Andrew Gould offers prominent performances on both of the aforementioned pieces. Yet another trombonist, Rick Parker, and alto saxophonist Omar Daniels get their chance to shine on the mid-tempo closer "Blues for Sally Draper." 

While White deliberately places the solos in these tightly arranged pieces, they unfold spontaneously and have an organic improvisational feel. This seamless integration of swing and improvisation give White's original compositions a captivating quality. The rejuvenated condition and status of big band music has been intimately tied to a handful of modern-day composers among which White is prominent. He is a musical activist encouraging risk without tormenting the music to accomplish the task. White continues to grow as a ground-breaking composer and a forceful orchestrator. (KARL ACKERMANN, AAJ)

David White: music director, composer, trombone
Andrew Gould: alto saxophone
Omar Daniels: alto saxophone
Sam Taylor: tenor saxophone
Sam Dillon: tenor saxophone
Tim Stocker: baritone saxophone
Miki Hirose: trumpet
Colin Brigstocke: trumpet
Alicia Rau: trumpet
Pablo Masis: trumpet
Rick Parker: trombone
Dan Reitz: trombone
Aliana Alster: trombone
Rob Stattel: bass trombone
Nick Consol: piano
Phil Rowan: bass
Ryan Cavan: drums

1. Mister Shepherd’s Misadventures
2. And The People Can Fly
3. The Sweetest Bite of Cherry
4. Persistence
5. The Shakedown
6. Blues for Sally Draper



Ademir Junior - Camaleão I (2012)

Ao longo da minha carreira como músico, agreguei a minha formação diversos estilos e gostos musicais. Música erudita, choro, Bebop, Cool-Jazz, Post Bop, Hard Bop e o Freejazz. Pop, samba, funk, bolero, salsa, fusion e música eletrônica em geral. Todos esses estilos me influenciaram e me ajudaram a entender as belezas que a música produz em nossa vida interior e como influencia em nossa vida cotidiana.

O espetáculo Camaleão traz um pouco dessas influências e do que absorvi nesses 25 anos de carreira. Considero que no contexto mundial todos esses estilos agregados apontam para um caminho que ainda não sabemos onde vai dar, mas que não é a volta de nenhum desses e sim algo que ainda não vivemos, pois tudo isso se chama evolução.

Hi Ademir, thank you for the nice music I enjoyed playing on your tune. You and everyone Played beautifully! I hope you like what I Played on the track. Best, Bob

Bob Mintzer

"Escutei o Ademir tocando no Youtube por acaso e fiquei muito bem impressionado com a sonoridade que remetia aos grandes saxofonistas dos anos 70 como Hadley Caliman, Billy Harper,Tyrone Washington, etc. 

Ele tem a informação também da fraseologia moderna do jazz, o que adiciona ainda mais força. E ainda é compositor, arranjador. Abre alas Planeta Terra, um grande artista e seu disco Camaleão!"

Ed Motta

O que dizer do Ademir Junior? Acho melhor ouvir.  Poderia parar por aqui e só escutar, mas escuto e aproveito pra escrever. Como instrumentista, impecável, cada vez mais. Suas ideias como compositor estão frescas, e pelo seu conhecimento sobre harmonia,  pode nos passar o sentimento que quer,  através dos acordes, escalas e rítmos, principalmente pelo espírito livre e jazzístico. Além disso, está em excelente companhia, Não tem erro. Realmente, o melhor é ouvir e curtir.

Hamilton de Holanda

Gravar com o Ademir foi mais do que um honra, porque além de ele ser esse músico incomparável, ele é também um grande ser humano que por onde passa espalha além da música, alegria e prazer. Assim que o conheci em Brasília quando tinha apenas 13 anos, eu já soube que a trajetória dele seria essa dádiva, por ser um virtuoso ele faz parecer tudo fácil, mas nós músicos que participaram do cd, cortamos um dobrado! É isso aí, desejo que esse cd tão incrível receba tudo o que merece.Meu abraço.

Idriss Boudrioua

Ademir Junior - sax
Jessé Sadoc - trompete
Lula Galvão - Guitarra
Vitor Gonçalves - Piano
Jefferson Lescowich - Baixo
Rafael Barata - Bateria

Participações especiais
Bob Mintzer
Idriss Boudrioua
Alexandre Carvalho

01. Melhor De 8
02. A Prata e o Ouro
03. Entre Amigos (feat. Idriss Boudrioua)
04. Camaleão
05. Feelings
06. Livre Acesso
07. Jc (feat. Bob Mintzer & Alexandre Carvalho)
08. Elegia Pro Freddie
09. Pro Jt



miércoles, 9 de abril de 2014


Mañana a las 13:00h en Argentina (y todos los jueves) tienen una cita con la GUAGUA de cuya dirección se encarga con maestría JOSÉ LUIS AJZENMESSER.

Espacio de 5 horas de duración dedicado al Jazz, Blues, Música de raíz de distintos paises, etc., la variedad es impresionante. Recuerden, a las 13:00h Argentina (18:00h. española) y todos los jueves, sintonicen con JOSÉ LUIS JOSÉ LUIS AJZENMESSER, imposible que queden defraudados.

(clicke aquí)