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

BUY THIS ALBUM!!!

AGENOR

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


Reviews:

-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."

-Misterioso

"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)
02. COMING ON THE HUDSON (5:23)
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)
06. SWEET STRANGER (1:55)
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".

BUY THIS ALBUM!!!

JAZZZZ61

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

BUY THIS ALBUM!!!

LIRA

lunes, 14 de abril de 2014

SUN SPEAK - LIGHT BLUE LIGHT 2014 Presentation


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
SUN SPEAK

sunspeaksound@gmail.com

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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.

JAZZ by JAZZ

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

(clicke aquí)

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

FRANCISCO SALGADO: PRESENTACIÓN DEL DISCO EN EL ONYX CLUB, BUENOS AIRES (11-04-2014)


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

BUY THIS ALBUM!!!

Domi

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

BUY THIS ALBUM!!!

LIRA

miércoles, 9 de abril de 2014

LA GUAGUA, con JOSÉ LUIS AJZENMESSER


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)

Michael Musillami with Peter Madsen - Part Pitbull (2002)


Guitarist Michael Musillami teams up with pianist Peter Madsen for Part Pitbull, a program of avant-guard duets that explore a wide variety of musical possibilities. From the opening track, "Pitbull," it's apparent that both participants are accomplished musicians with considerable technical and musical abilities. While Musillami uses a clean tone similar to that of many jazz guitarists, in general his vocabulary-with the possible exception of relatively conservative tonal compositions like "Kinship," "Zaragoza" and "Braids"-is vastly different from that of the average jazzer. Rather than being based on a conventional chord progression or melody, the compositions often explore relationships that center on elements like texture and mood. Cases in point include the title track, a quickly moving morass with contrasting sections that periodically shift gears; "Cush," during which both participants utilize extended techniques that find Musillami playing a high pizzicato tremolo while Madsen caresses the guts of his acoustic piano; and "Circus Arts," with its frantic but precise interplay that transpires as the music jumps and jerks though space and time.

Often chaotic, jarring and dissonant, this material is obviously not for the musically faint of heart. If it can be appreciated at all, it takes an open mind, thought, acclimation and, very possibly, a great deal of preexisting experience with similar fare. (Jim Ferguson, JazzTimes)

Michael Musillami (guitar)
Peter Madsen (piano)

01. Part Pitbull
02. Swagger
03. Cush
04. Fragile Forms
05. Kinship
06. Zaragoza
07. Braids
08. Mr. Tiara
09. Circus Arts
10. Restaurant People
11. Heroes

BUY THIS ALBUM!!!

Domi

Michael Musillami - Archives (2000)


Michael Musillami recorded this album back in 1990, and in 2000 it was reissued by the guitarist's own Playscape label as part one of a trilogy. (The trilogy also includes 1992's Mar's Bars and 1994's Groove Teacher.) All three albums are eloquent statements from a fine guitarist and composer, but they're also vital documents in the tragically shortened career of the late alto saxophonist and flutist Thomas Chapin. On part one, Archives, Musillami and Chapin are joined by pianist Kent Hewitt, bassist Nat Reeves, and drummer Steve Johns. The wholly original program kicks off with the title track, its unusual half-time, walking tempo setting a tone that hints at the avant-garde. Musillami's tone is trebly, his attack pointed and well-defined. Chapin's solo is characteristically free jazz in spirit, even as he makes every one of the chord changes. Hewitt brings it back around to a more subdued, hard bop vibe during his solo. Much of the rest of the album is a bit more consonant, or what jazzers call "inside." Chapin's flute is a delight on the brisk waltz "Beijing," the beautiful ballad "Emmett Spencer," and the relaxed Latin piece with the manifesto-like title, "I Still Do It for the Music." Toward the end of the ballad in particular, you can hear Chapin's breath as he pauses between the last few held notes, and this sound is precious indeed. Beginning with a rubato introduction, "The Young Child" then kicks into a fast, driving Latin feel, setting up a soaring, passionate melody played in unison on guitar and alto sax. Another of the more energetic tunes is "Ry-Bop," a swinging event that gets off the ground with a burning solo by Hewitt, followed by Musillami and finally a screaming, riotous round from Chapin. "Mohawk Mountain," an ultra-fast line based on "Cherokee," closes the album; the group plays it down once, making for a concise, 51-second conclusion. ~ David R. Adler Credited with "producing some of today's finest music within a developing group format," by AllAboutJazz-New York, guitarist/composer Michael Musillami is considered one of the most vital figures on today's jazz scene. He has earned critical acclaim for both his work as founder/executive producer at Playscape and his increasingly recognized abilities as a musician and bandleader. Drawing on 20 years of professional experience, his working ensembles (his trio, quartet and octet) feature his unique approach to the guitar, a constant desire to continually evolve and create new music, and a close-knit group of respected veteran musicians he has collaborated with for the last several years.

The first of three early 90's collections of guitarist/composer Michael Musillami's original compositions for larger all-star combos, all featuring the late Thomas Chapin. [Chapin] plays with a beautiful lyricism and respect for the composition. Musillami for his part can burn or play a ballad like 'Emmett Spencer' with complete tranquility. - Mark Corroto, AllAboutJazz

Michael Musillami (guitar)
Thomas Chapin (alto sax, flute)
Kent Hewitt (piano)
Nat Reeves (bass)
Steve Johns (drums)

1. Archives
2. Beijing See
3. Young Child
4. Emmett Spencer
5. I Still Do It For the Music
6. Ry-Bop See
7. Mohawk Mountain

Recorded at Studio Works, New York, New York in December 1990

BUY THIS ALBUM!!!

Domi

Michael Musillami - Mar's Bars (2000)


The expansion to a sextet adds shadings to Musillami’s writing. Brecker can run the voodoo down or play sweet. These tracks feature arrangements that have the feel they could have been written for a much larger band. Besides the tight ensemble sound, solos are taken with economy, keeping them interesting. — Mark Corroto, AllAboutJazz.com

Michael Musillami- guitar
Randy Brecker- trumpet and flugelhorn
Thomas Chapin- alto saxophone and flute
Kent Hewitt- piano
Ray Drummond- bass
Steve Johns- drums

1. Glassart
2. Shoeshine
3. Mar's Bars
4. Out of Balance
5. Cousin Jim
6. The Haberdasher Blues
7. I Wait for the Summertime
8. Grey Cypress

BUY THIS ALBUM!!!

Domi

Michael Musillami - Groove Teacher (1999)


Musillami's band gets bigger with each installment of his Playscape trilogy. On part three, Groove Teacher, the ensemble grows to a septet with the inclusion of tenor saxophonist Ralph Moore. Trumpeter Claudio Roditi replaces Randy Brecker from the previous album, Mar's Bars; bassist Charles (Chip) Jackson also comes on board for the first time. The four who have remained steady throughout are guitarist Musillami, pianist Kent Hewitt, drummer Steve Johns, and alto saxophonist/flutist Thomas Chapin. Hewitt and Chapin are particularly brilliant on this record, having had ample opportunity to absorb Musillami's concept as a composer and bandleader. But, not to be outdone, newcomer Jackson plays a number of showstopping solos during the course of the program. There are quite a few unexpected twists in this batch of original compositions, including the reggae groove of the title track and the shifting meter (6/8 to 4/4) of the high-intensity modal piece "Today the Angels Cry." Other highlights include "Peninsula," a concise suite (four parts in as many minutes) that closes the album, and "The Gift," a fast waltz with the kind of intricate multi-part writing that graced Musillami's previous effort. The scope of Chapin's talent is especially evident in the contrast between his impeccably modern flute solo on "Open Ended" and his pure bop alto escapade on "Big Ears and the Blues." ~ David R. Adler The third of three early 90's collections of guitarist/composer Michael Musillami's original compositions for larger all-star combos, all featuring the late Thomas Chapin.

A credit to his leadership capabilities, this is a creative team effort and the whole they achieve together, enhanced by solo improvs from Musillami and and other fronting musicians (especially Chapin, to whom the album is dedicated), provide stimulating listening. This outing is everything you'd expect from such high-caliber musicians. (Nancy Ann Lee, JazzTimes)

Michael Musillami (guitar)
Thomas Chapin (alto saxophone, flute)
Ralph Moore (tenor saxophone)
Claudio Roditi (trumpet)
Kent Hewitt (piano)
Charles "Chip" Jackson (bass)
Steve Johns (drums)

1. Seven Blend
2. Gift
3. Open Ended
4. Off The Glass
5. Groove Teacher
6. Today the Angels Cry
7. Keko Smile
8. Big Ears and the Blues
9. Peninsula

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martes, 8 de abril de 2014

Stanley Jordan - Cornucopia (1990)


The first half of this CD by the remarkable guitarist Stanley Jordan is so strong that it is a pity that things decline during the latter half. Jordan is quite outstanding on "Impressions" and "Autumn Leaves," emulates B.B. King on "Still Got The Blues", interprets a thoughtful "Willow Weep For Me" and performs a dazzling tour-de-force on the uptempo blues "Fundance"; the latter two are unaccompanied solos that sound like duets or trios. However a couple of funk pieces (including an unimaginative rendition of "What's Going On") and a New Age synthesizer selection are on a lower level. The title cut clocks in at 21:45 and, although it finds Jordan creating "impossible" technical feats on solo guitar, it meanders on indefinitely and gets boring very quickly. This is a frustrating release; get it for the good half if you see it at a budget price. ~ Scott Yanow




Bass – Charnett Moffett, Yossi Fine
Drums – Flare Funston, Jeff "Tain" Watts, Kenwood Dennard, Michael Flythe
Guitar, Bass, Drum Programming – Stanley Jordan
Keyboards, Bass and Drum Programming – Bernard Wright
Piano [Acoustic] – Kenny Kirkland
Producer – Stanley Jordan
Synthesizer, Programming and Performance – Robert Zantay

1. Impressions 7:17
2. Willow Weep For Me 4:39
3. Autumn Leaves 7:55
4. Still Got The Blues 5:07
5. Fundance 7:36
6. What's Goin' On 6:25
7. Always Know 4:32
8. Asteroids 4:44
9. Cornucopia 21:45

Tracks 1-4 recorded live at Manhattan Center Studios, March 21, 1989. Track 5 recorded live at The Rainbow, Denver, Colorado, August 21, 1986

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JAZZZZ61

Della Griffin - Sings (2011 Remastered)


Della was born to William and Mary Gilliam and was the 19th out of 20 children. She was born in Newberry, South Carolina but moved to New York where she grew up. She greatly admired and was influenced by Count Basie, Charlie Barnet, and most specifically Billie Holiday. She began singing when she was 12 and while singing remained her passion she was also proficient on the drums, alto saxophone, and piano. She graduated in 1943 from Jamaica High School in Queens, NY and began singing professionally a few years after.

In 1950, Della Griffin and Frances Kelley decided to form a singing group. The two women knew each other from working together in a factory that manufactured shoulder pads. They then added to the group Pearl Brice, Della's childhood friend, and Rachel Gist, a Harlem club soloist. Their friend Chris Townes became their instructor, arranger, pianist, and songwriter. The group played in small clubs whenever they could for about a year. In 1951, Della invited Jerry Blaine, the owner of Jubilee Records, to hear the group perform. Blaine was so impressed by the group that he signed them the next day. The first songs they recorded include, "Today is Your Birthday," "How Could You Break My Heart," "I've Lost," "Housewife Blues," and "You Know I'm Not in Love With You." In January, 1952 Jubilee released The Enchanters first record. The Enchanters began touring the country and received such a positive response that in 1952 Shaws Artist Corporation signed on to represent them. Also in 1952, Jubilee released the Enchanters second record. Not long after this Rachel Gist and Pearl Brice decided to leave the group.

Della Griffin and Frances Kelley were determined to continue their careers and replaced Rachel Gist and Pearl Brice with Gloria Alleyne and Sherry Gary from the group the Dorsey Sisters. With the new members the group took on a new name, the Dell-Tones, named after Della Griffin because she was the group's lead singer and drummer. Della Griffin was the first female drummer in a well-known group.

Della's first of three husbands, Jimmy Simpson, managed the group and got them a recording deal with Coral's Brunswick subsidiary. There, in 1953, they recorded "Yours Alone" and "My Hearts on Fire". Without much of a response, the Dell-Tones decided to leave Brunswisck and signed on with Eddie Heller's Rainbow records. There they recorded "I'm Not in Love With You" and "Little Short Daddy." The group then went on the "Night Train Tour" with Jimmy Forrest. Frances Kelley, Gloria Alleyne, and Sherry Gary all decided to leave the Dell-Tones and they were replaced by Algie Willie, Shirley Bunnie Foy and Renee Stewart.

With the new members, the Dell-Tones signed with sol Rabinowitz's Baton records and recorded "Don't Be Long," "Baby Say You Love Me," "My Special Love," and "Believe It." In 1955 Stan Pat, previous member Gloria Alleyne's new manager, signed the Dell-Tones. They then did a tour of Canada. Afterwards Gloria Bell and original member Chris Townes left the group. The Dell-Tones merged with Sonny Til and his group The Orioles and the new group contained Della Griffin, Sonny Til, Della's second husband Paul Griffin, Diz Russell, Jerry Holeman, Aaron "Tex" Cornelius, Billy Adams, Shirley "Bunnie" Foy, Renee Stewart, and Algie Willie. 

The new group performed in several New York City clubs and recorded, "Voices of Love" and "I'm so Lonely" in 1957. After this time, The Dell-Tones slowly began to drift apart and Della left to perform on her own.

Della Griffin: voice
and others

1. I'll Be Seeing You
2. Lover Man
3. Don't Explain
4. Standing There
5. But Beautiful
6. You've Changed
7. Traveling Light
8. Gloomy Sunday

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