David Hazeltine • Good-Hearted People

 

Review by David R. Adler

Another solid Criss Cross date from David Hazeltine, this one featuring an unusual front line: Jim Snidero on alto sax and Steve Davis on trombone. (Straight-ahead groups more routinely feature trumpet and sax, with trombone as a possible third horn.) Bassist Nat Reeves and drummer Tony Reedus drive the rhythm; guitarist Jesse Van Ruller replaces the horns on a seductive rendition of Denny Zeitlin's "Quiet Now" and joins the full band for a closing romp on Charlie Parker's "Barbados." Steve Davis gets two writing spots with the deliciously relaxed "Cozytine" and the sun-bright, hard-swinging title track. Hazeltine's two creations are the grooving, mid-tempo "Blueslike" and the moody bossa "Demasiado Dulce." (Snidero plays flute on the latter.)

https://www.allmusic.com/album/good-hearted-people-mw0000014383

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Reseña de David R. Adler

Otro sólido Criss Cross de David Hazeltine, este con una inusual línea de frente: Jim Snidero en el saxo alto y Steve Davis en el trombón. (Los grupos de cabeza más rutinarios presentan trompeta y saxo, con el trombón como posible tercer cuerno). El bajista Nat Reeves y el baterista Tony Reedus llevan el ritmo; el guitarrista Jesse Van Ruller sustituye los cuernos en una seductora interpretación de "Quiet Now" de Denny Zeitlin y se une a la banda completa para un retozo final en "Barbados" de Charlie Parker. Steve Davis consigue dos puestos de escritor con el deliciosamente relajado "Cozytine" y la brillante y dura canción del título. Las dos creaciones de Hazeltine son el grooving, de ritmo medio "Blueslike" y el malhumorado bossa "Demasiado Dulce". (Snidero toca la flauta en el último.)

https://www.allmusic.com/album/good-hearted-people-mw0000014383

 

 

www.davidhazeltine.com ...

 

 

Willis Jackson with Brother Jack McDuff • Together Again

Review:

On the five tracks of Together Again!, recorded with three separate lineups in 1959-1960, the Willis Jackson-Jack McDuff-speared combo offers respectable early soul-jazz, if not too different from many other Prestige-overseen sessions of the early '60s. They show their bop chops to good advantage on "Three Little Words" and "Tu' Gether"; take a slightly bluesier groove on "Glad 'a See Ya'"; and slow way down for a make-out mood on the cover of Rodgers & Hammerstein's "It Might as Well Be Spring." It's the slow-walkin'-tempoed "This'll Get to Ya," though, that gives them their greatest chance to stretch out, lasting ten minutes, and adding Buck Clarke on conga to the standard sax-organ-guitar-bass-drums lineup. All of the tracks are included on the 2003 Prestige CD reissue that's also titled Together Again!, which is a little more complicated than the standard expanded CD reissue; it combines all the tracks from Together Again! and the Jackson-McDuff-helmed sequel, Together Again, Again, though the songs are sequenced in the order in which they were recorded, not the order in which they were presented on the original LPs.

by Richie Unterberger

https://www.allmusic.com/album/together-again%21-mw0000875752

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Reseña:

En los cinco temas de Together Again!, grabados con tres alineaciones separadas en 1959-1960, el combo de Willis Jackson-Jack McDuff ofrece un respetable soul-jazz temprano, si no demasiado diferente de muchas otras sesiones de Prestige de principios de los 60. Muestran sus chuletas de bop con buena ventaja en "Three Little Words" y "Tu' Gether"; toman un ritmo un poco más blues en "Glad 'a See Ya'"; y van más despacio para un ambiente de besuqueo en la portada de "It Might as Well Be Spring" de Rodgers & Hammerstein. Pero es el ritmo lento de "This'll Get to Ya" lo que les da la oportunidad de estirarse, durando diez minutos, y añadiendo a Buck Clarke en la conga a la alineación estándar de saxo, órgano, guitarra, bajo y batería. Todos los temas están incluidos en la reedición del CD de Prestige de 2003 que también se titula Together Again!, que es un poco más complicado que la reedición estándar de CD ampliado; combina todos los temas de Together Again! y la secuela de Jackson-McDuff-helmed, Together Again, Again, aunque las canciones están secuenciadas en el orden en que se grabaron, no en el orden en que se presentaron en los LP originales.

por Richie Unterberger

https://www.allmusic.com/album/together-again%21-mw0000875752

Together Again! is an album by saxophonist Willis Jackson with
organist Jack McDuff which was recorded in 1959 and 1960 and
released on the Prestige label in 1965.

Benny Green • Funky!

 

Benny Green (Nueva York, 4 de abril de 1963) es un pianista de jazz norteamericano.

Hijo de un saxofonista con igual nombre, creció y estudió piano clásico en Berkeley (California). Aún adolescente, tocó con Eddie Henderson, y después se trasladó a Nueva York, donde se incorporó a la banda de Betty Carter (1983), liderando después su propio trío, grabando para Blue Note Records y Telarc. Entre 1985 y 1989 estuvo en los Jazz Messengers de Art Blakey, y después tocó con Ray Brown, Arnett Cobb y Freddie Hubbard, entre otros.

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Benny Green (born 1963 in New York City) is a hard bop jazz pianist who was a member of Art Blakey's Jazz Messengers. Although not yet an innovator himself, Benny Green has managed to combine the styles of Bobby Timmons, Wynton Kelly, Gene Harris, and especially Oscar Peterson in his playing.

bennygreen.net ...

Dave Pike • Times Out Of Mind

 

 

Review by Scott Yanow
Vibraphonist Dave Pike's debut for Muse (which has been reissued on CD) has generally strong individual playing although the material (five group originals plus a brief version of the bop standard "Wee") and use of electronics sound a bit dated. Pike teams up with keyboardist Tom Ranier (who also plays some alto and tenor), guitarist Ron Eschete, either Luther Hughes or Harvey Newmark on bass, drummer Ted Hawke and (on three of the six numbers) guitarist Kenny Burrell. Nothing all that memorable occurs during this lesser effort.
https://www.allmusic.com/album/times-out-of-mind-mw0000612796

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Reseña de Scott Yanow
El debut del vibrafonista Dave Pike para Muse (que ha sido reeditado en CD) tiene en general una fuerte interpretación individual, aunque el material (cinco originales del grupo más una breve versión del estándar de bop "Wee") y el uso de la electrónica suenan un poco anticuados. Pike forma equipo con el teclista Tom Ranier (que también toca algo de alto y tenor), el guitarrista Ron Eschete, o bien Luther Hughes o Harvey Newmark en el bajo, el baterista Ted Hawke y (en tres de los seis números) el guitarrista Kenny Burrell. Nada tan memorable ocurre durante este menor esfuerzo.
https://www.allmusic.com/album/times-out-of-mind-mw0000612796


Colaborador / Contributor:  BOBpinBOB

1000 Portraits of Genius

 

According to the defined canons of art technique, a portrait should be, above all, a faithful representation of its model. However, this gallery of 1000 portraits illustrates how the genre has been transformed throughout history, and has proven itself to be much more complex than a simple imitation of reality.

Beyond exhibiting the skill of the artist, the portrait must surpass the task of imitation, as just and precise as it may be, to translate both the intention of the artist as well as that of its patron, without betraying either’s wishes.Therefore, these silent witnesses, carefully selected in these pages, reveal more than faces of historic figures or anonymous subjects: they reveal a psychology more than an identity, illustrate an allegory, serve as political and religious propaganda, and embody the customs of their epochs. With its impressive number of masterpieces, biographies, and commentaries on works, this book presents and analyses different portraits, consequently exposing to the reader, and to any art lover, a reflection of the evolution of society, and above all the upheavals of a genre that, over 3 centuries of painting, has shaped the history of art.

 

 Charles Victoria , Carl H. Klaus (Authors)