Mr. Ho's Orchestrotica • Where Here Meets There

 

Mr. Ho's Orchestrotica performs as two ensembles. The quintet performs global jazz and exotic chamber music reaching towards the South Pacific via Asia, the Middle East, the Balkans, and Latin America, while the group's 22-pc Megaband formation is the world's only dedicated to performing the lost-but-now-transcribed space-age pop music of Juan Garcia Esquivel.   

The quartet's sophomore album re-imagines exotica as a modern genre blending jazz, chamber music, and global sounds. Artistic Director Brian O'Neill highlights his latest originals (Music From Here) and interesting arrangements of classical and popular works (Music From There) such as Manuel de Falla's "Ritual Fire Dance," and Gershwin's "3 Piano Preludes."

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Mr. Ho's Orchestrotica actúa como dos conjuntos. El quinteto interpreta jazz global y música de cámara exótica que llega al Pacífico Sur a través de Asia, Oriente Medio, los Balcanes y América Latina, mientras que la formación Megaband del grupo, compuesta por 22 personas, es la única del mundo dedicada a interpretar la música pop de la era espacial, perdida pero ahora transcrita, de Juan García Esquivel.   

El segundo álbum del cuarteto reimagina la exótica como un género moderno que combina el jazz, la música de cámara y los sonidos globales. El director artístico Brian O'Neill destaca sus últimos originales (Music From Here) e interesantes arreglos de obras clásicas y populares (Music From There), como la "Danza ritual del fuego" de Manuel de Falla y los "3 Preludios para piano" de Gershwin.


orchestrotica.com ...

 

Curtis Peagler & The Modern Jazz Disciples • Disciples Blues

 

Review by Ken Dryden
The Modern Jazz Disciples weren't a group for very long; 14 of the 15 masters they recorded for Prestige between 1959 and 1960 are present on this compilation of their only two releases. Praised by Cannonball Adderley and Eddie "Lockjaw" Davis (the latter who helped get them their record deal), this fine quintet deserved a better fate. Leader Curtis Peagler is a Charlie Parker-influenced alto saxophonist, while the other major soloist, William "Hicky" Kelley, plays the rarely heard normaphone, a sort of valve trombone built shaped somewhat like an alto sax. Both men are strong soloists and also engage in some sensitive interplay on occasion. A snappy take of "After You've Gone" serves as a solid opener, while their arrangement of "My Funny Valentine" initially seems somewhat influenced by Gerry Mulligan's famous chart for his quartet with Chet Baker, but Peagler quickly finds his own sound. Pianist Wiliam "Billy" Brown is prominently featured on Peagler's soulful "Disciples Blues." The only real complaint with this CD is its omission of "Autumn Serenade" (from their second and final LP, Right Down Front), which will no doubt cause serious bop collectors to search extensively for the original album as well.

 

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Review by Ken Dryden
The Modern Jazz Disciples weren't a group for very long; 14 of the 15 masters they recorded for Prestige between 1959 and 1960 are present on this compilation of their only two releases. Praised by Cannonball Adderley and Eddie "Lockjaw" Davis (the latter who helped get them their record deal), this fine quintet deserved a better fate. Leader Curtis Peagler is a Charlie Parker-influenced alto saxophonist, while the other major soloist, William "Hicky" Kelley, plays the rarely heard normaphone, a sort of valve trombone built shaped somewhat like an alto sax. Both men are strong soloists and also engage in some sensitive interplay on occasion. A snappy take of "After You've Gone" serves as a solid opener, while their arrangement of "My Funny Valentine" initially seems somewhat influenced by Gerry Mulligan's famous chart for his quartet with Chet Baker, but Peagler quickly finds his own sound. Pianist Wiliam "Billy" Brown is prominently featured on Peagler's soulful "Disciples Blues." The only real complaint with this CD is its omission of "Autumn Serenade" (from their second and final LP, Right Down Front), which will no doubt cause serious bop collectors to search extensively for the original album as well.

VA • The Colors Of Latin Jazz Soul Sauce

 

Jimmy Reed • Wailin' the Blues

 

Jackie McLean • McLean's Scene

 

Review from AllMusic (by Scott Yanow):
Altoist Jackie McLean tended to downgrade his Prestige recordings due to the low pay, the little prior preparation, and the jam session feel of the music. Although all of the above is true, the music (while not on a par with his Blue Note recordings of the '60s) is still pretty worthy, particularly when compared to the output of his contemporaries. McLean never really copied Charlie Parker and was one of the first in his generation to develop his own sound. Three of the six selections on this LP (a pair of standards and a blues) feature McLean with trumpeter Bill Hardman, pianist Red Garland, bassist Paul Chambers, and drummer Art Taylor. The remainder of the set is from a marathon quartet set with pianist Mal Waldron, bassist Arthur Phipps, and drummer Art Taylor, which would result in material that was used as part of five separate albums. McLean is in lyrical form on "Our Love Is Here to Stay" and "Old Folks" while playing with great intensity on his accurately titled original "Outburst."
https://www.allmusic.com/album/mcleans-scene-mw0000272558

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Reseña de AllMusic (por Scott Yanow):
El altista Jackie McLean tendía a menospreciar sus grabaciones para Prestige debido al bajo pago, la escasa preparación previa y el ambiente de jam session de la música. Aunque todo lo anterior es cierto, la música (si bien no está a la par de sus grabaciones para Blue Note de los años 60) sigue siendo bastante valiosa, especialmente en comparación con la producción de sus contemporáneos. McLean nunca copió realmente a Charlie Parker y fue uno de los primeros de su generación en desarrollar su propio sonido. Tres de las seis selecciones de este LP (un par de standards y un blues) presentan a McLean con el trompetista Bill Hardman, el pianista Red Garland, el bajista Paul Chambers y el baterista Art Taylor. El resto del set proviene de una maratónica sesión de cuarteto con el pianista Mal Waldron, el bajista Arthur Phipps y el baterista Art Taylor, que daría lugar a material utilizado en cinco álbumes separados. McLean está en forma lírica en "Our Love Is Here to Stay" y "Old Folks", mientras toca con gran intensidad en su acertadamente titulado original "Outburst."
https://www.allmusic.com/album/mcleans-scene-mw0000272558