Clifford Brown • The Complete Blue Note and Pacific Jazz Recordings

Eddie Higgins Trio • Secret Love

Biography
Born and raised in New England, Eddie (Haydn) Higgins started his professional career in Chicago, while studying at the Northwestern University Music School. For twenty years Eddie worked at some of Chicago's best known jazz clubs, including the Brass Rail, Preview Lounge, Blue Note, Cloister Inn and Jazz Ltd. His longest and most memorable job was at the London House, where he led the house trio for twelve years, playing opposite the biggest jazz stars of the 50's and 60's, including Stan Getz, Oscar Peterson, Dizzy Gillespie, Errol Garner, George Shearing, Cannonball Adderley, Bill Evans and many others.
During his stay in Chicago, Eddie recorded a number of albums under his auspices and many more as a sideman with a wide variety of musicians, ranging in style from Coleman Hawkins to Wayne Shorter, Don Goldie to Freddie Hubbard, Jack Teagarden to Al Grey. Eddie's versatility is well-known: he has backed singers, done studio work as both pianist and arranger and worked in every jazz medium from Dixieland to Modern Jazz.

In 1970, Eddie moved to Ft. Lauderdale, Florida and began spending winters in Florida and summers on Cape Cod, where he plays local clubs and enjoys sailing and tennis. Since the early 1980's, Eddie has traveled widely on the jazz festival circuit and has performed frequently in Europe and Japan. His releases on the Japanese “Venus” label have earned him number one in jazz sales on more than one album. In 1988, Eddie and jazz singer/pianist/artist Meredith d'Ambrosio were married and have become a popular team at clubs and festivals, as well as recording for Sunnyside Records.

In recent years, Eddie's recording activity has become even more prolific and attention to his play has grown to be more widely recognized. He has received praise from such as Nat Hentoff and Gary Giddons. Attempts to describe his style are exemplified by the following:
To these tributes, I would add that Eddie's play can be extraordinarily moving. Listen to his treatment of Brazilian themes on “Speaking of Jobim” and solo work on the album “Time On My Hands,” the latter which achieves an almost unparalleled marriage of style, composition and audio fidelity. You would think it was being played in a cathedral.
https://musicians.allaboutjazz.com/eddiehiggins

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Biografía

Nacido y criado en Nueva Inglaterra, Eddie (Haydn) Higgins comenzó su carrera profesional en Chicago, mientras estudiaba en la Escuela de Música de la Universidad de Northwestern.Durante veinte años Eddie trabajó en algunos de los clubes de jazz más conocidos de Chicago, incluyendo el Brass Rail, Preview Lounge, Blue Note, Cloister Inn y Jazz Ltd.Su trabajo más largo y memorable fue en la London House, donde dirigió el trío de la casa durante doce años, tocando frente a las mayores estrellas del jazz de los años 50 y 60, incluyendo a Stan Getz, Oscar Peterson, Dizzy Gillespie, Errol Garner, George Shearing, Cannonball Adderley, Bill Evans y muchos otros.
Durante su estancia en Chicago, Eddie grabó varios álbumes bajo sus auspicios y muchos más como sideman con una amplia variedad de músicos, desde Coleman Hawkins a Wayne Shorter, Don Goldie a Freddie Hubbard, Jack Teagarden a Al Grey.La versatilidad de Eddie es bien conocida: ha apoyado a cantantes, ha trabajado en estudios como pianista y arreglista y ha trabajado en todos los medios de jazz, desde Dixieland hasta Modern Jazz.

En 1970, Eddie se mudó a Ft. Lauderdale, Florida y comenzó a pasar los inviernos en Florida y los veranos en Cape Cod, donde juega en clubes locales y disfruta de la vela y el tenis. Desde principios de los años 80, Eddie ha viajado mucho por el circuito de festivales de jazz y ha tocado frecuentemente en Europa y Japón. Sus lanzamientos en el sello japonés "Venus" le han valido el número uno en ventas de jazz en más de un álbum. En 1988, Eddie y la cantante, pianista y artista de jazz Meredith d'Ambrosio se casaron y se han convertido en un equipo popular en clubes y festivales, además de grabar para Sunnyside Records.

En los últimos años, la actividad discográfica de Eddie se ha vuelto aún más prolífica y la atención a su obra ha crecido hasta ser más ampliamente reconocida. Ha recibido elogios de Nat Hentoff y Gary Giddons. Los intentos de describir su estilo se ejemplifican con lo siguiente:

A estos homenajes, añadiría que la obra de Eddie puede ser extraordinariamente conmovedora. Escuche su tratamiento de los temas brasileños en "Speaking of Jobim" y su trabajo en solitario en el álbum "Time On My Hands", este último que logra un matrimonio casi inigualable de estilo, composición y fidelidad de audio. Uno pensaría que se está tocando en una catedral.

https://musicians.allaboutjazz.com/eddiehiggins

 

Clifton Chenier • Bayou Blues

 

Review by Thom Owens
Bayou Blues compiles a selection of 12 tracks Clifton Chenier cut for Specialty Records in 1955, including the original versions of "Boppin' the Rock," "Eh, Petite Fille," "I'm On My Way" and "Zodico Stomp."  It may not be a definitive retrospective, but it's an entertaining and necessary sampler of Chenier at the beginning of his career -
https://www.allmusic.com/album/bayou-blues-mw0000653462

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Reseña de Thom Owens
Bayou Blues compila una selección de 12 canciones que Clifton Chenier grabó para Specialty Records en 1955, incluidas las versiones originales de "Boppin' the Rock", "Eh, Petite Fille", "I'm On My Way" y "Zodico Stomp" - Puede que no sea una retrospectiva definitiva, pero es una muestra entretenida y necesaria de Chenier al comienzo de su carrera.
https://www.allmusic.com/album/bayou-blues-mw0000653462

Bryan Ferry • Bĕte Noire

bryanferry.com ...

 

 

Naya Baaz • Charm

 

Charm is the inaugural venture from Naya Baaz, an innovative alliance between two musicians known for their musical skills in contrasting global musical traditions. Rez Abbasi, a recent Guggenheim Fellow who migrated from Karachi to California in his early years, has earned recognition as a guitarist merging his passion for Jazz (manifested in his previous notable release, ‘Django-Shift’) with a plethora of influences from South Asia and beyond. In contrast, Josh Feinberg is among the few Western musicians to excel in the intricate tradition of the Hindustani sitar, specializing in the Maihar Gharana style from North India, while also boasting a background as a jazz bassist trained by Paul Bley and Dave Holland. “Josh seamlessly integrates jazz harmony and chromaticism with Indian musical traditions,” remarks Rez, “That’s an unusual blend indeed.” The ensemble is rounded out by Jennifer Vincent’s unique five-string cello, offering both basslines and melodies and Satoshi Takeishi’s specially augmented drum set.

When Abbasi and Feinberg began to exchange musical concepts, they quickly identified they were venturing into unexplored territory. Rez explains, “No one has ever incorporated these kinds of chromatic melodies and harmonies on sitar, but Josh had a luthier construct a unique sitar that allowed us to actualize the band’s vision.” The duo engaged in a genuinely collaborative songwriting process as they navigated emerging opportunities.  Charm is the culmination – a musical suite naturally segmented into three parts, each introduced briefly.

The dynamic “Bekhayal” was Rez’s first composition that ignited the project. “This was the piece that ignited the energy for the remaining music as initially, we doubted it could be rendered on sitar, but when Josh succeeded, we realized the project’s potential,” says Rez. Again, the influence of traditional Indian music can be heard and felts. The guitar and sitar form a magical sound as the two manipulate the melody. For Jennifer’s cello solo, the ensemble slows the tempo to allow for the subtle textures of the cello to emerge. Rez generates a jazz-inspired cycle of tension and resolution through his musical solo. The textural element of this performance is unusual and enjoyable.

The album concludes with “Peony,” a light classical melody composed by Josh, performed in a duet with Rez.  This duet allows us to hear and appreciate the charismatic and abundant ideas the two musicians generate together.  Josh’s sitar playing is robust as he builds captivating ideas with Rez. When the two play chords together, it is surprisingly clear and harmonious.  The tones of the two instruments combine in an unexpected yet fantastic way, morphing into something sonically different and musically delightful. This is a standout collaborative moment on the album.

Charm is an album that confirms the creativity of two talents, culminating in a genuinely distinctive narrative. The album strikes a balance between innovative exploration and a profound understanding of musical traditions, making it a significant milestone in cross-cultural music and an exceedingly engaging and delightful listening experience. The ensemble all speaks the same musical language and performs beautifully. Once again, showing the Charm of musical synthesis and is highly recommended for those in search of a unique sonic journey.
https://thejazzword.com/2023/05/naya-baaz-charm-review/

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La edición del álbum Charm es el debut discográfico del cuarteto Naya Baaz, agrupación encabezada por el sobresaliente guitarrista Rez Abbasi y el experimentado ejecutante de sitar Josh Feinberg y que completan Jennifer Vincent en cello de cinco cuerdas y Satoshi Takeishi en batería.

En el extenso cuerpo de trabajo encarnado por Rez Abbasi asoman el Rez Abbasi Film Quintet que alinea con Pawan Benjamin, Jennifer Vincent, Jake Goldbas y Rohan Krsihnamurthy (proyecto documentado en el álbum de 2019 A Throw of Dice). Rez Abbasi & Junction (cuarteto integrado por Mark Shim, Marko Churnchetz y Kenny Grohowski con el que publica Behind the Vibration en 2016) y Rez Abbasi & Invocation, banda donde participan Vijay Iyer, Johannes Weindenmueller, Dan Weiss y Kiran Ahluwalia cuya discografía comprende a los álbumes Things to Come de 2009, Suno Suno en 2012 y Unfiltered Universe de 2017.

Además lidera Rez Abbasi Acoustic Quartet (grupo con Bill Ware, Stephan Crump y Eric McPherson materializado en Natural Selection de 2011 e Intents & Purposes en 2015) y Rez Abbasi Trio (con el cual edita Continuous Beat en 2018 acompañado por John Hébert y Satoshi Takeishi), rinde homenaje al legendario guitarrista Django Reinhardt en el álbum Django-shift de 2020 y trabaja a dúo con la arpista Isabelle Olivier en el disco Oasis de 2019.

La sólida formación académica desarrollada por Josh Feinberg da inicio con estudios de piano y contrabajo en música clásica occidental y jazz junto a Dave Holland, Kenny Wheeler, Paul Bley, Drew Gress, Dan Weiss y Jacob Sacks, entre otros. En la adolescencia se aboca exclusivamente al estudio de sitar y música indostaní junto a Ust. Aashish Khan, Sri Alam Khan, Pt. Tejendra Majumdar, Dr. Peter Row, Dr. George Ruckert, Sri James Pomerantz, Sri Warren Senders y Smt. Vijaya Sundaram.

Feinberg obtuvo una licenciatura en música en el New England Conservatory y también una maestría en Bellas Artes otorgada por el Goddard College. Actualmente se desempeña como profesor en el Lewis and Clark College y el Reed College de Portland y dicta cursos en las universidades de Oregón y Maryhurst.

Su extensa trayectoria musical incluye la edición de cuatro álbumes para dueto de sitar y tabla: One Evening in Spring de 2013 y A Fallen Blossom in the Thorns de 2017 (ambos con Anindo Chatterjee), Homage de 2013 (compartiendo créditos con Swapan Chaudhuri) y Times Does Not Exist For Light junto a Shahbaz Hussain en 2020.

En Charm, la agrupación que lideran Abbasi y Feinberg ofrenda una singular convergencia de jazz y música tradicional de la India a través de composiciones originales interpretadas por Rez Abbasi en guitarras, Josh Feinberg en sitar, Jennifer Vincent en cello de cinco cuerdas y Satoshi Takeishi en batería.

El material contenido en el debut discográfico del cuarteto Naya Baaz abarca a las piezas de Rez Abbasi Behhayal y Chick’s Magnet en tributo a Chick Corea, Make it So, Emancipation y Peony pertenecientes a Josh Feinberg y composiciones con la firma de ambos como Bhairavi (escrita en un modo raga de la música carnática denominado Sindhi Bhairawim), No Lack Thereof (inspirada en el concepto de abundancia interior pergeñado por el escritor alemán Eckhard Tolle), Charm y Reaching.https://elintruso.com/2023/03/05/charm-el-debut-discografico-de-naya-baaz/

www.naya-baaz-charm ...