martes, 2 de septiembre de 2014

Roscoe Mitchell and The Sound Ensemble - 3 x 4 Eye (1981)

Roscoe Mitchell And The Sound Ensemble: Roscoe Mitchell (alto & soprano saxophones), Hugh Ragin (piccolo trumpet, trumpet, flugelhorn), A. Spencer Barefield (guitar), Jaribu Shahid (bass, congas), Tani Tabbal (percussion). Roscoe Mitchell heads his Sound Ensemble, and this 1981 session presents them doing two extensive numbers and two shorter pieces. The longer works have fiery solos and intricate unison sections, while "JoJar" features Mitchell's group in a looser, more relaxed posture, and "Variations On A Folk Song" alternates between jagged, flamboyant solos and simple statements. This isn't among his most intense or combative dates, but Mitchell and the Sound Ensemble are still well worth hearing. ~ Ron Wynn

Bass, Congas – Jaribu Shahid
Engineer – Giancarlo Barigozzi
Guitar – A. Spencer Barefield
Percussion – Tani Tabbal
Photography By [Cover] – Lucio Maggio
Producer – Giovanni Bonandrini
Soprano Saxophone, Alto Saxophone – Roscoe Mitchell
Trumpet, Flugelhorn, Trumpet [Piccolo] – Hugh Ragin

1. Cut Outs For Quintet 17:17
2. Jo Jar 4:40
3. 3 X 4 Eye 12:11
4. Variations On A Folk Song Written In The Sixties 6:44

Recorded 18, 19 February 1981 at Barigozzi Studios, Milano, Italy

"Hearing is Everything" Peter Watkins


The Jimmy McGriff & Hank Crawford Quartet - Right Turn On Blue (1994)

Recorded: Power Station Studio A, Jan. 22-23 1994
Label Telarc [CD-83366] 19994

The New Hammond Organ XB3 at work ~ Rick

This major quartet has worked together since the late '80s. Jimmy McGriff is one of the giants of the Hammond organ and one of the bluesiest players ever to be called a jazz musician. McGriff stakes out a musical territory all his own, somewhere between the jazz of Jimmy Smith and the R&B of Booker T. and the MGs.

Since McGriff reached prominence in 1962 with his smash hit instrumental, I've Got A Woman, he has been revered as "the best blues-playing organist of them all". Though often classified as a jazz organist because he has imprinted his note-bending playing style on some of the best jazz standards, he remains one of the top Hammond B-3ers in the history of R&B, using his own style which is unlike that of his teacher, Jimmy Smith.

Fifty-seven year old McGriff grew up in Philadelphia surrounded by some of the pioneers of modern jazz organ, as well as other instrumentalists who would become top performers -- early musical associates were saxophonist Charles Earland and Archie Shepp, bassist Reggie Workman and drummer Donald Bailey. McGriff left a career in law enforcement to concentrate on music full time.

Since his big break with the Ray Charles band in the late 1950s, alto saxophonist Hank Crawford's searing, well-rounded sound has become one of the more recognizable and distinctive in the jazz world. An all-around player whose style has influenced contemporary saxmen, including David Sanborn, Crawford is also an accomplished leader-arranger who has composed and performed with a variety of pop/blues artists.

Right Turn On Blue is a session reminiscent of the groovin' Hammond B-3 quartets so popular in the Fifties and Sixties. Guitarist Rodney Jones brings his warm, melodic licks to the session and drummer Jesse "Cheese" Hameen II maintains the beat in fine style. Meshing soulfully, these artists take a swinging, finger-snapping, feel-good trip on the down-home road.

01 Next Time You See Me
02 Maggie
03 Red Top
04 Daddy's Home
05 Right Turn On Blue
06 Teach Me Tonight
07 The Masher
08 But On The Other Hand
09 Back At The Chicken Shack

Jimmy McGriff (Hammond Organ XB3)
Hank Crawford (Alto Saxophone)
Rodney Jones (Guitar)
Jesse Hameen (Drums)

"Hearing is Everything" Peter Watkins



Source: Allaboutjazz
Label: ECM

Saxophonist Mark Turner favors quality over quantity. Lathe of Heaven—his first outing as a leader since 2001—is his first on the ECM label. Turner has hardly been absent from the music scene as the intervening years have seen him as a sideman for guitarist Kurt Rosenwinkel and saxophonist David Binney among many others. He's gathered strong praise for his role on trumpeter Enrico Rava's fine New York Days (ECM, 2009) and as one-third of the trio FLY with drummer Jeff Ballard and bassist Larry Grenadier. Read more...

Lathe of Heaven
Year of the Rabbit
Ethan's Line
The Edenist
Sonnet For Stevie
Brother Sister

Mark Turner: tenor saxophone
Avishai Cohen: trumpet
Joe Martin: double bass
Marcus Gilmore: drums

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

Stefano Di Battista - Live At Casa Del Jazz (2009)

01. Rita
02. Valentina
03. Flora
04. Molly
05. Anna
06. Lucy
07. Ella

Stefano Di Battista - alt,soprano sax
Roberto Cecchetto - guitar
Roberto Tarenzi - pianoforte
Rosario Bonaccorso - bass
Roberto Gatto - drums

november 6, 2009


Christian Vuust - Urban Hymn (2014)

Source: Allaboutjazz
Label: DiGiDi

Multi-reedist/composer Christian Vuust has been a mainstay of the Danish jazz scene for close to thirty years. A professor at the Royal Academy of Music in his hometown of Aarhus, Vuust has crafted a significant discography as leader, working with some of Denmark's best jazz musicians. Urban Hyms marks a departure for Vuust, being his first CD recorded outside Denmark. Recorded in a single day in New York, Jeff Ballard, Ben Street and Aaron Parks's sophisticated yet subtle support frames Vuust's original compositions, which draw deeply from European and American wells alike. Read more...

1. Helgenæs 06:32
2. Lærke 05:15
3. Urban Hymn 05:31
4. Rubato NYC 06:34
5. Fjer 05:24
6. Wedding Song 05:13
7. Biking The Big Apple 04:02
8. Tompkins Square Park 05:09
9. Summer Bygone 04:09

   Christian Vuust (tenor sax, composition)
Aaron Parks (piano)
Ben Street (bass)
Jeff Ballard (drums)

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


Art Farmer & Phil Woods Together - What Happens?... (1968)

WHAT HAPPENS? ART FARMER & PHIL WOODS TOGETHER features six classic piano and horn jazz tracks including "Blue Bossa" and "Sunrise, Sunset." The individual discographies of both Art Farmer and Phil Woods are sizable, but this 1968 studio session seems to be their only joint recording in a small-group setting. With pianist Martial Solal, bassist Henri Texier, and drummer Daniel Humair (the latter two were members of Phil Woods' European Rhythm Machine at the time), the two completed this recording in three hours, even though there are some minor rough spots. A very snappy take of Michel Legrand's "Watch What Happens" is a perfect opener, with great interplay between Woods' energetic alto sax and Farmers warm flugelhorn. The rhythm section kicks off a furious tempo to Kenny Dorham's "Blue Bossa" and the co-leaders make the most of it. Gigi Gryce's stimulating blues "Blue Lights" is also full of fire in a brisk arrangement. "Sunrise, Sunset," the famous ballad from Fiddler on the Roof, is unusually fast, with plenty of risk-taking in the solos by Woods, Farmer, and particularly Solal. Oddly enough, the only pure ballad features are the solo tracks by Woods and Farmer; the alto saxophonist delivers an emotional, very dark interpretation of "Chelsea Bridge," while the flugelhornist chooses a less-familiar work, the richly textured "The Day After." Although the final results of this date might have been improved with an extra day of rehearsal, this Italian CD is still well worth purchasing. ~ Ken Dryden Re-Issue of Classic Jazz Recording On The Italian C.a.m. Label From 1968. This Session Features The Great Frontline of Art Farmer (Flugelhorn), Martial Solal (piano) and Phil Woods (Alto Saxophone). On This Recording These Great Players Tackle Well Known Standards Like, 'Watch What Happens' (michel Legrand), 'Blue Bossa' (kenny Dorham) and 'Blue Lights' (Gigi Gryce). A Fine Record Full of Long Extended Solos and Great Playing Throughout.

Alto Saxophone – Phil Woods
Bass – Henri Texier
Drums – Daniel Humair
Flugelhorn – Art Farmer
Piano – Martial Solal

1. Watch What Happens (Composed By – M. Legrand) 8:19
2. Chelsea Bridge (Composed By – B. Strayhorn) 7:40
3. Blue Bossa (Composed By – K. Dorham) 6:12
4. Blue Lights (Composed By – G. Gryce) 7:05
5. The Day After (Composed By – T. McIntosh) 6:30
6. Sunrise Sunset (Composed By – J. Bock, S. Harnick) 7:45

Recorded 12 October, 1968 in Rome
Original Recorded by Campi Records

"Hearing is Everything" Peter Watkins


Leo Parker - Rollin' With Leo (1961)

Label Blue Note Records [50999 2 65140 2 4] CD (RM) RVG Edition 2009 
Genre: Hard Bop, Saxophone Jazz

Leo Parker was the proud owner of a big, beefy baritone sax tone and a fluent technique that struck a great match between the gritty, down-home feeling of R&B and the advanced harmonies of bebop. At first, he studied alto in high school, even recording with Coleman Hawkins' early bebop band at age 18 on that instrument in 1944. But upon joining the legendary Billy Eckstine bop band in 1944-1945 and 1946, Parker switched to baritone and began to garner notice. He worked with Dizzy Gillespie's band on 52nd Street in 1946 and Illinois Jacquet's group in 1947-1948, and recorded with Fats Navarro, J.J. Johnson, Dexter Gordon, and Sir Charles Thompson; he scored a hit with Thompson, "Mad Lad," on the Apollo label. Parker seemed to be on his way, but drug problems -- an epidemic in the bop community -- kept interfering with his career, and he recorded only sporadically in the 1950s. In September and October 1961, Parker began a comeback on the Blue Note label with two lively albums that successfully combined his blues, gospel, and bop backgrounds. But only a few months later, a heart attack felled him at the age of 36. ~ Richard S. Ginell, AMG.

Drugs and addictions defined most of Leo Parker's adult life, finally claiming it entirely in February of 1962 when he was only 36 years old. Only months earlier in 1961, in two sessions held on October 12 and October 20, Parker had played his heart out in what would have been his second album for Blue Note Records that year, and it had appeared that the baritone saxophonist was well on his way to a much deserved career comeback. The sessions, however, weren't released until almost 20 years later. Rollin' with Leo, presented here in remastered form, is a wonderful portrait of this unsung but brilliant player, whose huge, sad, but almost impossibly strong tone always felt like it carried the world on its shoulders. The centerpiece of Rollin' with Leo is the fascinating "Talkin' the Blues," which unfolds, nearly themeless, like a late-night conversation, ebbing and flowing exactly the way a conversation does, with Parker's baritone swinging back to gather notes, but always moving and stretching forward, expanding the conversation until it seems like everything that could be said HAS been said. Parker's death was tragic because he had so much more to say, and that makes this fine set all that more of a treasure. ~ AllMusic

01 The Lion's Roar
02 Bad Girl
03 Rollin' With Leo
04 Music Hall Beat
05 Jumpin' Leo
06 Talkin' The Blues
07 Stuffy
08 Mad Lad Returns

Leo Parker, Baritone Sax
Bill Swindell, Tenor Sax
Blue Mitchell, Dave Burns, Trumpet
Bill Swindell, Tenor Sax
"Johnny" Adriano Acea, Piano
Al Lucas, Stan Conover, Bass
Wilbert Hogan, Purnell Rice, Drums

"Hearing is Everything" Peter Watkins


lunes, 1 de septiembre de 2014

Mark Buselli - Untold Stories (2014)

Source: Jazz Weekly
Label: OA2 Records

Ah! The hard bop quintet! The apotheosis of modern jazz is well represented here under the hands of leader/trumpeter Mark Buselli and his team of Danny Walsh/sax, Steve Allee/p, Jeremy/b and Steve  Houghton/dr. The tunes are composed by either Allee or Buselli, sans a nifty reading of the rarely heard Ellington piece “Angelica.” Allee’s pieces such as “What About Me?” and “Slider” have snapping rhythms and display the composer’s sleek touch on the ivories. Walsh’s tenor on the pulsating “Untold Stories” and the rollicking bluesy “Istanbul” are high cholesterol gems, and Buselli’s trumpet sears on “Claude” while caressing on the gentle “Jetstream.” If this music sounds so easy to make, how come no one seems to get it right very often? A treat!  - George W. Harris -

1 Untold Stories 5:42
2 Slider 5:36
3 Angelica 7:25
4 Claude 9:29
5 Istanbul 8:28
6 What About Me? 6:56
7 Jetstream 8:46

Mark Buselli - trumpet
Danny Walsh - saxophones
Steve Allee - piano
Jeremy Allen - bass
Steve Houghton - drums

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


Roscoe Mitchell Duets With Anthony Braxton (1978)

Continuing with the AACM flood and also responding to a request from Cent, this is a mid-70s recording with two of the AACM veterans, Roscoe Mitchell and Anthony Braxton. No prices for guessing who is who. This was done for the Canadian Sackville label and the notes on the back reveal that both of them made more records for the label at about this time. I do have the Mitchell group record in case there is an interest in that one.

Seven pieces in all, with Mitchell credited with the four on side one and Braxton with the three on side two, the latter with "graphical" titles. Most of the pieces are what one might call minimalist "tone poems" with the players throwing phrases back and forth and demonstrating in the process an amazing rapport with each other and an astounding ability to listen and to respond. The odd one out in this collection is "Composition 40Q" which to me sounds like a warped marching tune for an unspecified furry or feathered creature, demonstrating that there's an underlying sense of humour in Braxton's work, too. And as familiar listeners will expect, they keep switching between a multitude of reeds and woodwinds throughout the set, but leaving out the "little instruments" this time. A record for the long haul, I thought, and one to return to now and then.

A1. Five Twenty One Equals Eight 4:52
A2. Line Fine Lyon Seven 1:15
A3. Seven Behind Nine Ninety-Seven Sixteen Or Seven 2:37
A4. Cards - Three And Open 10:52
B1. Composition One (Comp. 40Q) 6:46
B2. Composition Two (Comp. 74A) 6:35
B3. Composition Three (Comp. 74B) 7:56

Composed By – Anthony Braxton (tracks: B), Roscoe Mitchell (tracks: A)
Producer – John Norris (2)
Recorded By – Phil Sheridan
Reeds – Anthony Braxton, Roscoe Mitchell

Recorded at Thunder Sound, Toronto on December 13, 1977

Braxton's compositions are named as diagrams, labeled with numbers and letters. They are referred as "Composition One to Three" on the label.

"Hearing is Everything" Peter Watkins



Paolo Fresu – Live At Casa Del Jazz (2009)

front 001 (Custom)


01. Eterninna (6:03)
02. Una Frutta E Una Pigna (6:32)
03. Rubens' Waltz (3:43)
04. Crittograph (4:34)
05. Luce D'Autunno (5:21)
06. Fata (7:41)
07. Sono Andati (5:54)
08. Yin E Yang (4:03)
09. Liebeslied (3:16)
10. Canone Ribelle (4:02)
11. Noi Due (3:41)
12. Medley - Ea-Lucania (9:16) 

Paolo Fresu - Trumpet
Tino Tracanna - Tenor Sax
Roberto Cipelli - Piano
Attilio Zanchi - Bass
Ettore Fioravanti - Drums

+Alborada String Quartet

October 27th . 2009



Source: Allaboutjazz
Label: ArtistShare

"After two recordings for Telarc—2004's Gatherign of Spirits, with the late Michael Brecker, and 2008's Seraphic Light, with Ravi Coltrane assuming the position vacated by Brecker following his untimely passing the previous year—Saxophone Summit is back with Visitation. Funded by the (for jazz) early crowd-funding ArtistShare imprint, it demonstrates the difference between recording for a relatively major label and one where the group can, it seems, call all the shots.

Not that the previous recordings were in any way artistic compromises—Seraphic Light was already a more experimental recording than the slightly more centrist Gathering of Spirits—but the differences on Visitation are many, even as the group retains the unmistakable collective sound of its members, in particular the front line that, in addition to Coltrane, also features Dave Liebman and Joe Lovano—a triple threat if ever there was one". Read more...

The Message

Joe Lovano: tenor saxophone (1, 4, 5), G soprano saxophone (2), alto clarinet (3, 6)
Ravi Coltrane: tenor saxophone (1, 2, 4-6)
Dave Liebman: soprano saxophone (1, 2, 4-6), tenor saxophone (3)
Phil Markowitz: piano
Cecil McBee: bass
Billy Hart: drums 

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


domingo, 31 de agosto de 2014

David Costa - Bossa Jazz Piano (2012) 3 CD's

CD 1
01. A felicidade (06:48)
02. Agua de beber (05:05)
03. Aguas de marco (04:15)
04. Berimbau (04:05)
05. Chega de saudade (07:00)
06. Corcovado (06:24)
07. E com esse que eu vou (06:26)

CD 2
01. Desafinado (06:20)
02. Ela e carioca (05:21)
03. Essa moça ta diferente (03:49)
04. Insensatez (06:51)
05. Mas que nada (05:17)
06. Meditacao (05:17)
07. Pais tropical (07:16)

CD 3
01. Samba da minha terra (03:59)
02. Samba de uma nota só (05:15)
03. Samurai (07:10)
04. So danço samba (03:14)
05. Triste (04:52)
06. Voce abusou - Fais comme l'oiseau (05:26)
07. Wave (06:22)
08. Tristeza (04:50)

David Costa: piano
and others

"Hearing is Everything" Peter Watkins


The Ira B. Liss Big Band Jazz Machine - It's About Time (2014)

The Ira B. Liss Big Band Jazz Machine is proud to announce the worldwide release of their 4th CD, “It’s About Time” on August 5, 2013. The CD features internationally famous jazz artists Wayne Bergeron, Gilbert Castellanos, Eric Marienthal, Bernie Dresel, Bill Cantos,and Dean Brown. With stellar compositions by Alan Baylock, Chris Braymen, Bill Cantos, Mike Crotty, Peter Herbolzheimer, Maynard Ferguson, Ray Brown and Rob Vuono.

While the big band era ended nearly seventy years ago, and the number of fulltime jazz orchestras around today can practically be counted on one hand, there are many world class part-time big bands with each major city seeming to have at least a few. The Ira B. Liss Big Band Jazz Machine from San Diego, which was founded in 1979, can hold its own with most of its contemporaries.

Comprised of the standard eight brass (four trumpets and four trombones), five saxophones and three rhythm plus two singers, Liss’ big band also welcomes a few guests on a song or two apiece. Of those, guitarist Dean Brown is impressive on Wes Montgomery’s “Four On Six,” altoist Eric Marienthal plays beautifully on the ballad “Sally ‘O’,” trumpeter Gilbert Castellano is featured on “Softly As In A Morning Sunrise,” and everyone’s favorite lead trumpeter Wayne Bergeron brings back the spirit of Maynard Ferguson on the world premiere of “Glory, Glory,” a piece co-written by Ferguson.

Janet Hammer takes emotional vocals on “Some Other Time” and “When The Sun Comes Out,” Nathan Fry is effective on “That Old Black Magic,” and the two singers interact with each other on “Go ‘Way Moon.”

The core band also has plenty of chances to shine on these arrangements, the majority of which were written by Chris Braymen or Alan Baylock. Several of the musicians have solo space but it is the powerful ensembles and the spirit of the band that are most memorable. Lovers of modern swinging big bands will definitely want to pick up It’s About Time, which is available from CDBaby, Amazon, iTunes and

CD Review by Scott Yanow, February 2014  Los Angeles Jazz Scene Magazine

01. Perdido
02. American Gothic (feat. Steve Steinberg)
03. Some Other Time (feat. Janet Hammer)
04. The Salt Shaker (feat. Dean Brown & Bernie Dresel)
05. Go 'way Moon (feat. Bill Cantos, Janet Hammer & Nathan Fry)
06. Four On Six (feat. Dean Brown)
07. Sally "O" (feat. Eric Marienthal)
08. That Old Black Magic (feat. Nathan Fry)
09. The Epitome of the Ballad
10. Softly as in a Morning Sunrise (feat. Gilbert Castellanos)
11. When the Sun Comes Out (feat. Janet Hammer)
12. Glory, Glory (feat. Wayne Bergeron)

Ira B. Liss: leader
Chris Braymen: composer, arranger
Randy Aviles: trumpet
Mark Nicholson: trumpet
Les Kepics: trumpet (1-4, 8, 9, 11)
John Reynolds: trumpet (5-7, 10, 12)
Ella Steinberg: trumpet, flugelhorn
Dick McGuane: alto, soprano sax, flute, piccolo (1, 2, 4-6, 10, 12)
Glenn Richardson: alto sax, flute (3, 8, 9, 11)
Tyler Richardson: alto sax, flute, clarinet
Steve Steinberg: tenor sax, clarinet, flute
Dave Castel De Oro: tenor sax, clarinet, flute
Ross Rizzo Jr.: baritone sax, bass clarinet
Gary Bucher: trombone
David Murray: trombone
David Barnard: trombone (5-7, 10, 12)
Todd Jobin: trombone (3, 8, 9, 11)
Jordan Morita: trombone (1, 2, 4)
Tim Hall: bass trombone
Steve Sibley: piano
Lance Jeppesen: bass
Charlie “Stix” Mcghee: drums
Janet Hammer: vocals
Nathan Fry: vocals

Special Guest Artists
Wayne Bergeron: trumpet (12)
Dean Brown: guitar (4, 6)
Bill Cantos: piano (5)
Gilbert Castellanos: trumpet (10)
Bernie Dresel: percussion
Eric Marienthal: alto sax (7)

"Hearing is Everything" Peter Watkins


Giovanni Tommaso - Live In Casa Del Jazz, Rome (2007)

1) Illusione Grigio 6:21
2) Tempi Duri 6:54
3) Giro_Vagando 7:43
4) Men at Work 6:25
5) Bambini Salvate la Terra 6:20
6) Planetam Trigeminum 10:04
7) Waltz for Lucca 7:28
8) Maestrada 6:27

Giovanni Tommaso (bass),
Daniele Scannapieco (tenor sax, soprano),
Bebo Ferra (g),
Claudio Filippini (p),
Anthony Pinciotti (drums)

Recorded Live at Casa del Jazz,
Rome 2007, March 21


James Sherlock Trio - Domestic Arts (2010)

Label: Jazzhead

THIS album, Melbourne-based guitarist James Sherlock's third for Jazzhead, doesn't push boundaries or strive to be cutting edge, but it swings gently and is competently played in a style reminiscent of 60s guitar greats Jim Hall or Barney Kessel. Together with Sydney players bassist Brendan Clarke and Tim Firth on drums, Sherlock leads the way through a collection of five lesser-known standards and two of his originals. On the opening track, the original Domestic Arts and Sciences, a pleasantly bouncy theme, Sherlock displays a smart harmonic understanding and an aptitude for full-throttle flourishes. The Cole Porter song You'd Be So Nice to Come Home to, taken at a medium clip - it was also recorded by Hall at a faster tempo in 1975 - works the ballad over professionally, if a little predictably. The piece features an agile bass solo that allows Sherlock to play a subdued accompaniment and grounding chords. Carlos Jobim's lovely 1981 ballad Luiza opens with an out-of-tempo meandering solo guitar expressively played before bass and drums appear in a Latin waltz time. Here Sherlock's interpretative ability is evident, as he spreads big Brazilian chords and races into high-speed runs. Probably the deepest groove and best solo ideas - in an album of conventional professionalism - are on Monks We See. - John McBeath -

1. Domestic Arts And Sciences 05:14
2. Celia 05:47
3. Golden Brown 06:08
4. You'd be So Nice To Come Home To 07:49
5. Luiza 06:53
6. We See 08:26
7. Rock March 07:00    

James Sherlock - Guitar
Brendan Clarke - Double Bass
Tim Firth - Drums 

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


sábado, 30 de agosto de 2014


Una vez más RONALDO ALBENZIO nos invita a subir a su jazzística nube musical. No puedes perderte esta audición, una maravilla!!!



de la mano de


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