Organic Picnic • Lesliefied

 

Scene of Jazz • Stars

 

About Akira Ishii (from Jazz in Nanjo, Nanjo City Okinawa):
Akira Ishii is known as Japan's leading pianist, also recognized for his participation in the Terumasa Hino Quintet. After graduation, he started his activities in the Kansai area and moved his base to Tokyo in 1991. Meeting Toshio Osumi (ds), he joined the trio, meeting numerous players and vocalists, performing activities such as playing, composing, arranging and producing. From 1998 he joined the Terumasa Hino (tp) Quintet and was greatly influenced by the late Motohiko Hino (ds). In 2001, he released his first leader album "Voices in the Night" (EWE) with his original trio consisting of Masayuki Tawarayama (b) and Yoshihito Etoh (ds), followed by his solo album "Presence" (EWE) and the duo album "That Early September" (EWE) with Steve Swallow (b), recorded in New York. He released "Synchronicity" (EWE) and "Embrace" (EWE) in 2003 and 2004 with his trio, and has continued vigorous activity since. In 2010, he wrote his first book, "Transcendental Jazz Piano" (Rittor Music). In 2011, he released the solo piano album "a - inspiration from muse" (Studio TLive Records). That same year, Tomokazu Sugimoto (b) was newly welcomed to his trio, developing new ground. He also formed a new quartet, and participates in the piano trio Scene of Jazz (with Daiki Yasukagawa on bass and Masahiko Osaka on drums), as well as Boys Trio (with Hideaki Kanazawa and Shun Ishiwaka). His wide musicality gives a multifaceted impression to listeners, but what is always at the root of it is a serious attitude towards music and a supple life force that overflows. He is sublimated to art through rich expressive power and an excellent sense of balance, attracting many people.
https://tadashiyodakoha.wixsite.com/jin11th-eng/misaki-nishinaka-trio-ran-oshiro

///////

Sobre Akira Ishii (desde Jazz in Nanjo, Nanjo City Okinawa):
Akira Ishii es conocido como uno de los pianistas mas destacados de Japon, tambien reconocido por su participacion en el Terumasa Hino Quintet. Tras graduarse, comenzo sus actividades en la region de Kansai y traslado su base a Tokio en 1991. Al conocer a Toshio Osumi (bateria), se unio al trio, conociendo a numerosos musicos y vocalistas, desarrollando actividades como interpretacion, composicion, arreglos y produccion. Desde 1998 se unio al Terumasa Hino (trompeta) Quintet y recibio una gran influencia del fallecido Motohiko Hino (bateria). En 2001 publico su primer album como lider, "Voices in the Night" (EWE), con su trio original integrado por Masayuki Tawarayama (bajo) y Yoshihito Etoh (bateria), seguido de su album en solitario "Presence" (EWE) y el album en duo "That Early September" (EWE) con Steve Swallow (bajo), grabado en Nueva York. Publico "Synchronicity" (EWE) y "Embrace" (EWE) en 2003 y 2004 con su trio, y ha continuado una actividad vigorosa desde entonces. En 2010 escribio su primer libro, "Transcendental Jazz Piano" (Rittor Music). En 2011 publico el album de piano en solitario "a - inspiration from muse" (Studio TLive Records). Ese mismo ano, Tomokazu Sugimoto (bajo) se incorporo a su trio, desarrollando un nuevo terreno. Tambien formo un nuevo cuarteto, y participa en el trio de piano Scene of Jazz (con Daiki Yasukagawa en bajo y Masahiko Osaka en bateria), asi como en Boys Trio (con Hideaki Kanazawa y Shun Ishiwaka). Su amplia musicalidad ofrece una impresion multifacetica a los oyentes, pero lo que siempre esta en la raiz de ello es una actitud seria hacia la musica y una flexible fuerza vital que rebosa. Se sublima al arte a traves de una rica capacidad expresiva y un excelente sentido del equilibrio, atrayendo a mucha gente.
https://tadashiyodakoha.wixsite.com/jin11th-eng/misaki-nishinaka-trio-ran-oshiro

akiraishii.net ...

Billy Larkin & The Delegates • Dr. Feelgood

 

Organist Billy Larkin and The Delegates immediately came to the attention of the Los Angeles jazz audience when their first record was released, but they also picked up a larger audience when the teenagers discovered they could dance to it. Just as Ramsey Lewis, they had an appeal that far exceeded just the jazz listener.

Basically a jazz trio with heavy emphasis on the blues, Billy Larkin and The Delegates was a versatile and dynamic group that reached into all corners of music to come up with a style and an approach that is both fresh and distinctive.

///////

 

El organista Billy Larkin y The Delegates llamaron inmediatamente la atención del público de jazz de Los Ángeles cuando salió su primer disco, pero también captaron un público más numeroso cuando los adolescentes descubrieron que podían bailarlo. Al igual que Ramsey Lewis, tenían un atractivo que superaba con creces al oyente de jazz.

Básicamente un trío de jazz con gran énfasis en el blues, Billy Larkin y The Delegates fue un grupo versátil y dinámico que llegó a todos los rincones de la música para crear un estilo y un enfoque que es a la vez fresco y distintivo.

Eric Alexander • Second Impression

 

Review from DownBeat (by Yoshi Kato):
Since he began recording under his own name almost 25 years ago, tenor saxophonist Eric Alexander has led at least 15 sessions with double bassist John Webber and drummer Joe Farnsworth -- frequently rounded out by pianist and mentor Harold Mabern (the respected pianist was a teacher for classmates Alexander and Farnsworth at William Paterson University).

Second Impression features Mabern, Farnsworth and, in what was likely his final recording session, bassist Bob Cranshaw, who was name-checked in the spoken-word introduction to the Alexander composition "Blueski For Vonski" on his 2014 Chicago Fire album.

The "second impression" may subconsciously be a nod to a trio of atypical tracks that feature Cranshaw on an electric bass guitar and Mabern on a Fender Rhodes that were both found in the studio, as the liner notes explain. Farnsworth's funky "Jennie's Dance" struts assuredly with an authoritative and somewhat surprising extended solo by the pianist on that cult-worthy keyboard.

Sammy Fain and Paul F. Webster's "Secret Love" is buoyed by the partially electrified rhythm section. Alexander solos with elan while Mabern glides in another expanded exploration just prior to Farnsworth's demonstration in rhythmic fluency.

The Wes Montgomery classic "Full House" closes out Second Impressions with flair; the bandleader's spry tone matches the spirit of the piece, and Cranshaw seems to subtly propel the group forward with his note choices and reliable ease.
https://downbeat.com/reviews/detail/second-impression

///////

Resena de DownBeat (por Yoshi Kato):
Desde que comenzo a grabar bajo su propio nombre hace casi 25 anos, el saxofonista tenor Eric Alexander ha liderado al menos 15 sesiones con el contrabajista John Webber y el baterista Joe Farnsworth -- frecuentemente completadas por el pianista y mentor Harold Mabern (el respetado pianista fue profesor de sus companeros de clase Alexander y Farnsworth en la William Paterson University).

Second Impression cuenta con Mabern, Farnsworth y, en lo que probablemente fue su ultima sesion de grabacion, el bajista Bob Cranshaw, quien fue mencionado en la introduccion hablada de la composicion de Alexander "Blueski For Vonski" en su album Chicago Fire de 2014.

La "segunda impresion" puede ser inconscientemente un guino a un trio de tracks atipicos que presentan a Cranshaw en bajo electrico y a Mabern en un Fender Rhodes que ambos encontraron en el estudio, como explican las notas del liner. El funky "Jennie's Dance" de Farnsworth avanza con seguridad y un autoritario y algo sorprendente solo extendido del pianista en ese iconico teclado.

"Secret Love" de Sammy Fain y Paul F. Webster se ve impulsado por la seccion ritmica parcialmente electrificada. Alexander improvisa con elan mientras Mabern se desliza en otra exploracion ampliada justo antes de la demostracion de fluidez ritmica de Farnsworth.

El clasico de Wes Montgomery "Full House" cierra Second Impression con flair; el tono vivaz del lider encaja con el espiritu de la pieza, y Cranshaw parece impulsar sutilmente al grupo hacia adelante con sus elecciones de notas y su facilidad confiable.
https://downbeat.com/reviews/detail/second-impression

James Clarke • Mystery Movie

 

Review from Be With Records:
James Clarke's Mystery Movie was released in 1974 as "modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema film where music is used to create the mood and carry the action". So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to finish. Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme "Car Patrol", the fuzz riffing and ARP soloing of "The Heavies" and the slow-mo strut of "Mystery Moll". "Study In Fear" and "Empty Streets" are horror soundtrack fodder of the finest sort. However, it's the understated, plaintive pieces that we find the most rewarding. Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies. Music that evokes the "downlifting" Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise "Waiting Game" from being sampled by melodic downbeat masters Express Rising. Check "Relaxed Theme", "Quiet Girl", "Routine Procedure" and "Quietness Sustained" for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
https://www.bewithrecords.com/products/james-clarke-mystery-movie-themes-reissue-lp

///////

Resena de Be With Records:
Mystery Movie de James Clarke fue publicado en 1974 como "composiciones modernas de pequeno grupo en diversos estados de animo. Ideales para el nuevo estilo americanizado de television y cine donde la musica se usa para crear el clima y llevar la accion." Asi que esta coleccion cubre muchas bases, pero lo hace de manera brillante y no tiene ningun derecho a ser una escucha tan fantastica de principio a fin. Mystery Movie es mas conocido por los elegantes drum breaks que sostienen el tema de persecucion jazz-funk de primer nivel "Car Patrol", el riffing con fuzz y el solo de ARP en "The Heavies", y el paseo a camara lenta de "Mystery Moll". "Study In Fear" y "Empty Streets" son material de banda sonora de horror de la mejor calidad. Sin embargo, son las piezas mas comedidas y melancolicas las que encontramos mas gratificantes. Climas ambientales y deleites de fried-folk extendido, llenos de melodias ciclicas e ingenuas. Musica que evoca los instrumentales "downlifting" de Ronnie Lane y Ron Wood de su gran LP Mahoney's Last Stand, asi como el hermoso trabajo de banda sonora de Jack Nitzsche y Ry Cooder. Tambien podrias reconocer "Waiting Game" por haber sido sampleado por los maestros del downbeat melodico Express Rising. Escuchen "Relaxed Theme", "Quiet Girl", "Routine Procedure" y "Quietness Sustained" para un conjunto melodico y melancolico, con los ultimos tres interpretados solo con guitarra acustica y arpa. Un trabajo precioso.
https://www.bewithrecords.com/products/james-clarke-mystery-movie-themes-reissue-lp