The Madeira • Tribal Fires

 

Max Roach • Members Don't Get Weary

 

Review from AllMusic (by Alex Henderson):
Although Max Roach was very much a product of the be-bop revolution of the 1940s, he proved to be quite receptive to modal post-bop and avant-garde jazz in the '60s. One of the finest post-bop dates Roach recorded during that decade was 1968's Members, Don't Git Weary, which finds the drummer leading a cohesive modal quintet that employs Gary Bartz on alto sax, Charles Tolliver on trumpet, Stanley Cowell on acoustic and electric piano, and Jymie Merritt on electric bass. Despite the use of electric instruments, this isn't an album that emphasizes rock or funk elements or predicts the fusion explosion that was just around the corner. Members, Don't Git Weary is very much a straight-ahead effort, and the harmonic richness of modal playing is illustrated by such gems as Cowell's "Equipoise," Bartz's "Libra," and Merritt's "Absolutions." Also memorable is the title track, which benefits from the soulful, gospelish vocals of Andy Bey. While the bop purism of Roach's earlier work isn't present on this date, he is clearly in excellent form, and this album is recommended to anyone who has ever appreciated his contributions to jazz.
https://www.allmusic.com/album/members-dont-get-weary-mw0000197697

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Reseña de AllMusic (por Alex Henderson):
Aunque Max Roach era un producto muy marcado de la revolución bebop de los años 40, demostró ser bastante receptivo al post-bop modal y al jazz de vanguardia de los años 60. Una de las mejores fechas post-bop que Roach grabó en esa década fue Members, Don't Git Weary de 1968, donde el baterista lidera un cohesivo quinteto modal que incluye a Gary Bartz en saxo alto, Charles Tolliver en trompeta, Stanley Cowell en piano acústico y eléctrico, y Jymie Merritt en bajo eléctrico. A pesar del uso de instrumentos eléctricos, este no es un álbum que enfatice elementos de rock o funk ni que anticipe la explosión fusión que estaba a la vuelta de la esquina. Members, Don't Git Weary es un trabajo muy directo, y la riqueza armónica del juego modal está ilustrada por joyas como "Equipoise" de Cowell, "Libra" de Bartz y "Absolutions" de Merritt. También memorable es el tema titular, que se beneficia de las vocales llenas de alma y espíritu gospel de Andy Bey. Si bien el purismo bop del trabajo anterior de Roach no está presente aquí, está claramente en excelente forma, y este álbum se recomienda a cualquiera que haya apreciado sus contribuciones al jazz.
https://www.allmusic.com/album/members-dont-get-weary-mw0000197697

The Village Stompers • Washington Square

 

Ìxtahuele • Pagan Rites

 

 

Ìxtahuele is a Swedish exotica band. They come from Gothenburg; a damp, foggy harbor town that ever since its founding in the early 17th century has been an international melting pot, associated with exotic, faraway destinations ever since the days of the East India Trading Companies.

 

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Ìxtahuele es un grupo sueco de música exótica. Proceden de Gotemburgo, una ciudad portuaria húmeda y brumosa que, desde su fundación a principios del siglo XVII, ha sido un crisol internacional, asociado a destinos exóticos y lejanos desde los tiempos de las Compañías Comerciales de las Indias Orientales.

 

 

facebook.com/Ixtahuele ...

Bill Evans • The Bill Evans Album

 

Review from AllMusic (by Scott Yanow):
On this seven-song LP, Bill Evans made his debut on electric piano, usually playing it in conjunction with his acoustic piano. Joined by bassist Eddie Gomez and drummer Marty Morell, Evans performs seven of his stronger originals including "Funkallero," "The Two Lonely People," "Re: Person I Knew," "T.T.T.," and "Waltz for Debby." Although not as distinctive on the electric keyboard as he was on its acoustic counterpart, Evans sounds inspired by its possibilities and is heard in top creative form throughout the date.
[https://www.allmusic.com/album/the-bill-evans-album-mw0000312073](https://www.allmusic.com/album/the-bill-evans-album-mw0000312073)

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Resena de AllMusic (por Scott Yanow):
En este album de siete temas, Bill Evans debuto con el piano electrico, generalmente tocandolo junto con su piano acustico. Acompanado por el bajista Eddie Gomez y el baterista Marty Morell, Evans interpreta siete de sus mejores composiciones, entre ellas "Funkallero", "The Two Lonely People", "Re: Person I Knew", "T.T.T." y "Waltz for Debby". Aunque no resulta tan distintivo en el teclado electrico como en el acustico, Evans demuestra inspiracion ante las posibilidades del instrumento y se encuentra en plena forma creativa durante toda la grabacion.
[https://www.allmusic.com/album/the-bill-evans-album-mw0000312073](https://www.allmusic.com/album/the-bill-evans-album-mw0000312073)