miércoles, 31 de mayo de 2017
La grabación original aparecida en 1958 como disco de "Machito & his Jazz Orchestra" en donde si bien Herbie tiene una importante participación aparece como músico invitado de Francisco Raúl Gutiérrez Grillo también conocido como "Machito", músico y director de orquesta desde finales de los '30 del estilo latin-jazz, o sea por aquel entonces (1958) "Machito" era mucho más importante que Herbie por lo cual se entiende que no aparezca como co-autor del disco. Años más tarde en 1978 ante la creciente fama de Herbie y las ansias por más dinero de la grabadora reciclan esta grabación bajo el título que de "Herbie Mann & Machitos Jazz Orchestra - Super Mann".
Como sospecharán este es un disco bastante distinto de otros de Herbie, el cual a lo largo de su carrera no ha disimulado su gusto por los sonidos latinos, en el cual hay que valorar tanto a Herbie por su visión adelantada a su época de la interpretación de la flauta, como también a “Machito” por unos excelentes arreglos y ensamble orquestal.
The original recording appeared in 1958 as an album by Machito & his Jazz Orchestra where, although Herbie has an important participation, he appears as a guest musician of Francisco Raúl Gutiérrez Grillo also known as "Machito", musician and orchestra conductor since the end of the '30 of the latin-jazz style, or at that time (1958) "Machito" was much more important than Herbie so it is understood that not appear as a co-author of the album. Years later in 1978 before the increasing fame of Herbie and the hunger for more money of the recorder recycle this recording under the title that of "Herbie Mann & Machitos Jazz Orchestra - Super Mann".As they suspect this is a record quite different from others by Herbie, who throughout his career has not disguised his taste for Latin sounds, in which we must value so much Herbie for his vision ahead of his time of interpretation Of the flute, as well as "Machito" by excellent arrangements and orchestral ensemble.
Según la reseña del booklet este disco constituye el primer disco en donde se exploran, y muy bien, las posibilidades del oboe en el jazz.
According to the booklet review, this album is the first record where the possibilities of the oboe in jazz are explored, and very well.
One of the finest guitarists to emerge after the death of Charlie Christian, Barney Kessel was a reliable bop soloist throughout his career. He played with a big band fronted by Chico Marx (1943), was fortunate enough to appear in the classic jazz short Jammin' the Blues (1944), and then worked with the big bands of Charlie Barnet (1944-1945) and Artie Shaw (1945); he also recorded with Shaw's Gramercy Five. Kessel became a busy studio musician in Los Angeles, but was always in demand for jazz records. He toured with the Oscar Peterson Trio for one year (1952-1953) and then, starting in 1953, led an impressive series of records for Contemporary that lasted until 1961 (including several with Ray Brown and Shelly Manne in a trio accurately called the Poll Winners). After touring Europe with George Wein's Newport All-Stars (1968), Kessel lived in London for a time (1969-1970). In 1973, he began touring and recording with the Great Guitars, a group also including Herb Ellis and Charlie Byrd. A serious stroke in 1992 put Barney Kessel permanently out of action, but many of his records (which include dates for Onyx, Black Lion, Sonet, and Concord, in addition to many of the Contemporaries) are available, along with several video collections put out by Vestapol. Kessel was diagnosed with inoperable cancer in 2001, which eventually took his life in May of 2004. He was 80 years old. ~ Scott Yanow
Nacida en Trinidad y Tobago, a los 4 años su familia se traslada a Nueva York, reconocida como un niña prodigio musical, recibió una beca para estudiar piano clásico en la Juilliard School a lla edad de ocho años. De adolescente, tocó piano y la trompeta con su madre "Alma Long Scott" en una banda de jazz de chicas y esporádicamente con Lil Hardin Armstrong.
A lo largo de los años 1930 y 1940, Hazel incursionó principalmente en el jazz, el blues, boogie-woogie y música clásica en varios clubes nocturnos.
Fue una de las primeras mujeres afro-americanas en lograr papeles principales en películas y ya en los años '50 en en tener un programa de televisión. Lamentablemente fue cancelado por haber sido llamada a declarar ante el Comité de Actividades Antiamericanas, por su oposición al segregación racial y al macartismo. Emigró a Francia en donde alternó entre alguno papeles en films y giras europeas.
Regresó a EEUU en 1967, siguió tocando de vez en cuando en los clubes nocturnos, mientras que también aparece en la televisión hasta el año de su muerte, en 1981.
Del álbum de 1955, Relaxed Piano Moods. Charles Mingus y Max Roach cantaron Hazel Scott para grabar para su sello independiente, Debut, en 1954. Trajeron a Rudy Van Gelder para grabar este álbum con Scott en Nueva York en enero de 1955. Scott fue un prodigio. Fue a Juilliard a las ocho, recorrió el mundo tocando el piano clásico, tuvo su propio programa de radio en 1936 y apareció en Broadway en 1938. Fusionó el jazz y la música clásica y estuvo en cinco películas durante los años 40, incluyendo "Rhapsody in Blue". "Incluso tuvo su propio programa de televisión," The Hazel Scott Show "en 1950.
Hazel Dorothy Scott (June 11, 1920 – October 2, 1981) was a Trinidadian-born jazz and classical pianist and singer; she also performed as herself in several films.
Born in Port of Spain, Hazel was taken at the age of four by her mother to New York City. Recognized early as a musical prodigy, Scott was given scholarships from the age of eight to study at the Juilliard School. She began performing in a jazz band in her teens and was performing on radio at age 16.
She was prominent as a jazz singer throughout the 1930s and 1940s. In 1950, she became the first person of color to have a TV show, The Hazel Scott Show, featuring a variety of entertainment. Her career in America faltered after she testified before the House Un-American Activities Committee during the McCarthy era. Scott subsequently moved to Paris in the late 1950s and performed in France, not returning to the United States until 1967. MORE ...
The disc presented here is Relaxed Piano Moods, with Charles Mingus and Max Roach.
From the 1955 album, Relaxed Piano Moods. Charles Mingus and Max Roach singed Hazel Scott to record for their independent label, Debut, in 1954. They brought on Rudy Van Gelder to record this album with Scott in New York in January 1955. Scott was a prodigy. She went to Juilliard at eight, toured the world playing classical piano, had her own radio show in 1936 and appeared on Broadway in 1938. She fused jazz and classical music and was in five films during the ’40s, including “Rhapsody in Blue.” She even had her own television show, “The Hazel Scott Show” in 1950.
Example of Chinese Ornament
60 imágenes, pdf
Formato djvu - 60 pág. / 31MB / incluye viewer
60 images, pdf
Format djvu - 60 p. / 31MB / includes viewer
martes, 30 de mayo de 2017
David Samuel Pike (born March 23, 1938 in Detroit, Michigan) is a jazz vibraphone and marimba player. He appears on many Herbie Mann albums as well as those by Bill Evans, Nick Brignola, Paul Bley and Kenny Clarke. He has also recorded extensively as leader, including a number of albums on MPS Records.
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Al Caiola’s mastery of the guitar was always abundantly clear, both in his recordings as a studio musician and in his stage performances, and it is just as self-evident in these two albums and in his relationship with the two solid jazz groups that accompany him on them. "High Strung" was recorded in 1959, and without climbing way out on a limb, Al and his supporting cast of guitars—George Barnes, Al Cassamenti, Don Arnone, John Pizzarelli, and Billy Bauer—set new ideas to a solid swinging beat in “electrifying” up-tempo evergreens and a couple of his own compositions, backed by an excellent rhythm section.
As for "Cleopatra and All That Jazz," Al Caiola and his Nile River Boys introduced two fine renditions from the Alex North film score, plus nine standards and an original by Caiola. This septet, featuring such top soloists as Dick Hyman, Clark Terry, Phil Bodner, and Barry Galbraith, performed the leader’s arrangements— ranging from the humorous to the wistful. Each man is consistently brilliant and together they run the gamut of popular jazz forms, from swing to bossa nova.
James Yancy Jones, aka Tail Dragger, was born in Altheimer, AR, in 1940. He was brought up by his grandparents and was influenced as a child by the electric Chicago blues of Muddy Waters, Sonny Boy Williamson, and especially Chester Burnett, the Howlin' Wolf. Jones was a Howlin' Wolf devotee, right down to his deep, gruff voice. After moving to Chicago in the '60s, he began playing with blues legends on the West Side and South Side. It was Howlin' Wolf who gave Jones the title "Tail Dragger" because of his habit of showing up late to gigs.
The blues get served up hard, heavy and raunchy on the debut album from Chicago blues club legend Tail Dragger & His Chicago Blues Band. The 12 tracks here run the gamut from the modal "Don't Trust No Woman," six-and-a-half minutes of a non-stop trance groove, to the nastiest version of "Baby Please Don't Go" you'll ever hear, to the Jimmy Reed groove of "Cold Outdoors." With a straightforward, driving band featuring Studebaker John on harmonica, Rockin' Johnny Burgin on lead guitar, and Twist Turner on drums, a great song selection with seven of the 12 tunes emanating from the pens of either Tail Dragger or producer George Paulus, and an uncluttered production, this is one modern-day blues album that captures the spirit of Chicago blues in its classic period, yet in the here and now. The cover of this CD announces that disc contains "one hour of hardcore juke joint blues." Believe it. Cub Koda, AMG
Review by Richard S. Ginell
Having finished his tenure with George Shearing in 1954, a thoroughly Latin-inoculated Cal Tjader took off on his own, recording several short slices of infectious Latin jazz, from which a dozen were selected for this album. Many of the selections are standards retrofitted with percolating Latin rhythms, cut and shaped to fit the old three-minute limit of 45 or 78 rpm singles. Tjader's crystalline vibes are teamed with a San Francisco Latin percussion section that lays down the grooves crisply and succinctly, with an occasional emulation of the more laid-back Shearing Latin sound ("East of the Sun"). Elsewhere, Cal experiments with a hot four-man trumpet section on four of the tracks, the best of which is a rhumba version of "Fascinating Rhythm." The earliest Tjader-led recording of "Guarachi Guaro" (later known as "Soul Sauce") is also included here. These seminal tracks helped launch the Cal Tjader Latin jazz style, and they still sound fresher than many other such historical landmarks.
Jason Anick (born October 3, 1985, Framingham, Massachusetts) is an American jazz violinist, mandolin player and composer. He currently resides in Boston, Massachusetts, and teaches at the Berklee College of Music.
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"Sleepless" is the debut solo album of Boston based jazz violin and mandolin player Jason Anick. It includes seven of Jason's originals as well as six arrangements of jazz and Gypsy jazz standards.
lunes, 29 de mayo de 2017
Mary Osborne (1921 - 1992) began her musical career in Minot, North Dakota before she was 11 years old. In a few years she was doing radio work and soon was playing with some of the big bands then playing in the upper Midwest. She met Charlie Christian in North Dakota and she was heavily influenced by his style. But, like most of the great players she also developed her own unique approach and sound.In the late 1930’s she moved east to Pittsburgh and later to New York. There her talents as a jazz player caught the ear of some of the jazz greats like Coleman Hawkins, Dizzy Gillespie and Art Tatum all of whom used her as rhythm and solo guitarist in their bands. In the period of 1945 – 1947 she made a number of recordings with several important jazz figures; Mercer Ellington, Mary Lou Williams, Coleman Hawkins, Stuff Smith and Meryl Booker.
During that same period she formed her own group, The Mary Osborne Trio in which she also supplied the vocal interest. Her trio made a series of successful public performances and recordings that were originally released on 78 RPM records. She later gave up the trio format to perform on her own at clubs and on TV where she played on the Arthur Godfrey and Ted Steele shows.
In the 1950’s she recorded with Tyree Glenn and produced a long playing record under her own name, A Girl and Her Guitar.
In 1968 Mary Osborne moved to Bakersfield, California where she operated the Osborne Guitar Company and performed in local venues. In 1977 she made a recording with Marian McPartland entitled Now’s The Time with a lineup of some of the best women jazz musicians of the day. In 1982 Stash records released Now And Then which included new material and material from A Girl and Her Guitar.
Mary Osborne died in Bakersfield, California in 1992.
The Dutch Swing College Band "DSCB" is a traditional dixieland band founded on May 5, 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort.
Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) - among many others.
The band continues to tour extensively, mainly in Europe & Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort's death on November 17, 1990. Schilperoort had led the band for more than 45 years, albeit with a five year sabbatical from September 13, 1955, when he left to pursue an engineering career before returning to lead the band again officially on January 1, 1960.
En mayo de 1945, cuando Europa estrenaba la paz, en medio de los tiros que aún sonaban, un grupo de estudiantes de música en Holanda no tuvo mejor idea para festejar la liberación que fundar una banda que con los años se convirtió en una de las mejores bandas de jazz. Como nombre lleva el de Dutch Swing College Band o como se la conoce "Los Estudiantes Holandeses"
Louis Jordan (Brinkley, 8 de julio de 1908 - 4 de febrero de 1975) fue un saxofonista y cantante estadounidense de blues, uno de los pioneros del jazz y del rhythm and blues.
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Louis Thomas Jordan (July 8, 1908 – February 4, 1975) was a pioneering American musician, songwriter and bandleader who enjoyed his greatest popularity from the late 1930s to the early 1950s. Known as "The King of the Jukebox", he was highly popular with both black and white audiences in the later years of the swing era.
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Review by Bruce Eder
Overlooking Bear Family's comprehensive nine-disc box, this double-CD set is the best reissue ever on Louis Jordan, and the first truly comprehensive domestic release on Jordan's work to feature state-of-the-art sound. There are holes -- only a relative handful of the tracks that Jordan & His Tympany Five recorded in 1939 and 1940 are included, although those that are here represent most of the best of them -- but not huge ones, and every major Jordan track from 15 years of work is present. The quality of the digital transfers is as alluring as the selections, the mastering so clean that it sounds 20 years newer than one could ever expect based on the songs' actual ages. The 1941 vintage "Pan Pan" and "Saxa-Woogie" place the band practically in the listener's lap, with solos on clarinet, tenor sax, etc., that have smooth, rippling textures and barely a trace of the noise one should expect from early-'40s tracks bumped to digital -- and the fidelity of these, and "Boogie Woogie Came to Town," "Rusty Dusty Blues," etc., all run circles around any earlier reissues. Similarly, the drums, hi-hat, trumpet, sax, and ensemble singing on "Five Guys Named Moe" are crisp enough to pass for modern re-recordings, except they're not. Indeed, until you get to "Ration Blues," from 1943, there aren't many overt hints of the compression inherent in masters of this vintage, and that's the exception -- "G.I. Jive" and "Caldonia," cut one and two years later, have the kind of sound textures one more expects out of audiophile releases. Disc two opens with "Ain't That Just Like a Woman," a perfect blueprint in style and execution (check out Carl Hogan's guitar intro) for the sound that Chuck Berry popularized ten years later. Of the later material, only "Run Joe" sounds a little less distinct than the rest. "Life Is So Peculiar" features Louis Armstrong, as vocalist with Jordan, in a beguilingly funny duet from 1951. By that time, Jordan's formula for success was past its prime, and he and Decca Records were looking for new approaches -- "Teardrops from My Eyes" wasn't it, adding an obtrusive organ played by Wild Bill Davis to the mix. The later incarnation of Jordan's band on these tracks is a more restrained and sophisticated big-band unit, without much of the wild jump blues feel of the '40s Tympany 5 -- a 19-year-old Oliver Nelson can be heard on alto sax, incidentally -- but occasionally they capture the feel of the old band, as on "Fat Sam from Birmingham." This version of Jordan and his band and the way they're recorded are still superior to the incarnations of Jordan's group that turn up on his later recordings for Aladdin and Mercury.
Review by Jason Ankeny
Despite the absence of a single track as memorable or invigorating as the hit "Mellow Yellow," Odell Brown and the Organ-izers' Ducky is nevertheless a worthy follow-up, boasting much the same soulful swagger as its predecessor. With its relaxed yet insistent pulse and tight arrangements, the record's slow-burning energy owes more to the first half of the soul-jazz equation than the second -- though not quite on the level of contemporary organists like Jimmy McGriff, Brother Jack McDuff, or Groove Holmes, Brown boasts a supple, romantic sound ideally suited to the material at hand. While the Organ-izers' renditions of pop nuggets like "The Look of Love" and "Ain't No Mountain High Enough" manage to stay close to the familiar hits, the group nevertheless lends their own distinctive touch to the songs, and in particular the latter sports a lush groove worthy of the Motown house band itself -- high praise indeed.
Odell Elliott Brown Jr. (February 2, 1940 – May 3, 2011) was an American jazz organist. He was mainly active in the late 1960s and early 1970s, playing in a soul jazz and jazz funk vein, initially appearing with his backing band as Odell Brown & the Organ-Izers. Brown was born in Louisville, Kentucky. He started playing the piano aged 4 as his mother was a part-time piano teacher. His father bought him a baby grand piano. After playing in various junior & senior high school bands, he went to Nashville, Tennessee & met musicians attending Tennessee State A&M. Wishing to enroll himself, his plans were soon curtailed when he was drafted into the army where he joined the Army Post Band. During this period, he gained valuable insight into arranging & orchestrating. After leaving the army, he moved to Chicago where he was re-united with some of the musicians from his Nashville days. They formed a band becoming known as "The Organ-Izers" & within two years, were signed to Chess Records' jazz subsidiary label, Cadet. The band's personnel was O'Dell Brown, organ, Artee "Duke" Payne and Tommy Purvis, tenor saxophones, Curtis Prince, drums. Their debut album was titled 'Raising The Roof' in 1966 followed by their most popular record, 1967's Mellow Yellow, which reached #173 on the Billboard 200. Third album, 'Ducky' was the last to feature the band. While at Chess, Brown was not only signed to the label but also worked as a staff musician playing & arranging for a wealth of other artists & gaining great insight & expertise into other styles of music. After the death of Leonard Chess in 1969, Brown decided not to re-sign with the label & during the 1970s, pursued a solo career as an independent arranger, producer & studio musician. During this period, he worked with artists such as Minnie Ripperton (with whom he arranged and conducted an album on Epic records), Curtis Mayfield, Johnny Nash & Marvin Gaye (both live & in the studio). Brown also co-wrote Marvin Gaye's hit single "Sexual Healing" winning two Grammy awards. He went on to receive further awards recognising his many talents, later in life. Brown had been living in Richfield, Minnesota since the early 1990s, to stabilize his professional and personal life. He died there on May 3, 2011.
Review by Stephen Thomas Erlewine
If Love Bug skirted the edges of free jazz and black power, Blue Mode embraces soul-jazz and Memphis funk in no uncertain terms. Opening with the cinematic, stuttering "Bambu" and running through a set of relaxed, funky grooves -- including covers of Eddie Floyd's "Knock on Wood" and Edwin Starr's "Twenty-Five Miles" -- Blue Mode isn't strictly a jazz album, but its gritty, jazzy vamps and urban soul-blues make it highly enjoyable. Reuben Wilson has a laid-back, friendly style and his supporting band -- tenor saxophonist John Manning, guitarist Melvin Sparks, and drummer Tommy Derrick -- demonstrate a similarly warm sense of tone. While none of them break through with any improvisations that would satiate hardcore jazz purists, they know how to work a groove, and that's what makes Blue Mode a winner.
Silas Hogan (September 15, 1911 – January 9, 1994) was an American blues musician. Hogan most notably recorded "Airport Blues" and "Lonesome La La", was the front man of the Rhythm Ramblers, and became an inductee in the Louisiana Blues Hall of Fame.
Hogan learned guitar playing as a teenager and was performing on a regular basis by the late 1930s. Similar to Lazy Lester and Slim Harpo, Hogan was influenced by Jimmy Reed. He had relocated to Baton Rouge, Louisiana by the early 1950s, and equipped with a Fender electric guitar, Hogan put together the Rhythm Ramblers. They assisted in the development of the Baton Rouge Blues sound, and with band members Hogan (guitar), Isaiah Chapman (lead guitar), Jimmy Dotson (drums), plus Sylvester Buckley (harmonica), they stayed together for almost ten years.
In 1962, by which time he was aged 51, Hogan was belatedly introduced by Harpo to the Crowley, Louisiana based record producer, J. D. "Jay" Miller. Miller, via the offices of Excello Records, started Hogan's recording career, at a time when interest in variations of swamp blues was starting to wane. Hogan did nevertheless see the issue of several singles up to 1965, when Miller's disagreement with the record label's new owners brought the recording contract to a swift finale. On some of his recordings, Hogan was backed by the harmonica player, Moses "Whispering" Smith. Hogan had to disband the group, and returned to his full-time job at the Exxon oil refinery. In the late 1970s, Hogan recorded further tracks with both Arhoolie and Blue Horizon.
Hogan died in January 1994 of heart disease, at the age of 82.
Visions is an album by American jazz guitarist Grant Green featuring performances recorded in 1971 and released on the Blue Note label.
Encyclopaedia of colour decoration - Helmuth Bossert (1924)
Contiene más de 120 imágenes de dibujos sobre el color aplicado a la ornamentación, de diversas épocas y culturas. En formato jp2 de muy buena resolución, idioma inglés.
Formato jp2 visualizar con ACDSee / Photoshop o similares
Encyclopaedia of color decoration - Helmuth Bossert (1924)
Contains more than 120 images of drawings on the color applied to ornamentation, from different times and cultures. In jp2 format of very good resolution, English language.
Format jp2 display with ACDSee / Photoshop or similar
domingo, 28 de mayo de 2017
Review by Scott Yanow
Pianist Ray Bryant's debut for Columbia was named after "Little Susie," a hit single he had a short time earlier recorded for Signature. The trio LP with bassist Tommy Bryant and either Gus Johnson or Eddie Locke on drums (reissued by Columbia Special Products in the early 1970's) has a remake of "Little Susie," a few other originals that did not catch on as hits and Bryant's interpretations of such songs as "By Myself," "Willow Weep For Me" and Cole Porter's "So In Love."
Review by Scott Yanow
Inspired by Joey DeFrancesco and, like every organist, by Jimmy Smith, Pat Bianchi plays very much in their two overlapping styles. This set teams him with guitarist Mark Whitfield (who spent a period playing with Smith) and with DeFrancesco's longtime drummer, Byron Landham. To try something a little different, Bianchi recorded eight songs that are not associated with organists and in most cases were probably never recorded previously by an organist. The modern jazz classics, which include songs by Bobby Hutcherson, John Coltrane ("Straight Street"), Jimmy Heath, and Bill Evans, all adapt themselves well to this soul-jazz setting, particularly "Gingerbread Boy" and Ernie Wilkins' exciting "Dizzy's Business." Fans of the Hammond B-3 organ now have another hero in Pat Bianchi. East Coast Roots is an excellent example of his artistry.
Review by Scott Yanow
The great pianist Michel Petrucciani recorded for the Dreyfus label during the six years before his 1999 death. Producer/label owner Francis Dreyfus is worried about Petrucciani being underrated if not completely forgotten, so he put together this sampler of previously released material covering the pianist's 2Dreyfus period. Petrucciani is heard solo, dueting with his father guitarist Tony Petrucciani ("Michel's Blues"), interacting with organist Eddy Louiss, in a trio with bassist Anthony Jackson and drummer Steve Gadd, collaborating with violinist Stephane Grappelli (the boppish "Little Peace in C for U" and "Pennies From Heaven"), playing in a sextet with valve trombonist Bob Brookmeyer, and being joined by the Graffiti String Quartet. "Pennies From Heaven" was only previously out on a privately issued CD. Dreyfus did a fine job of picking out the most exciting and emotional selections from his catalog of Petrucciani gems, so one gets to hear one highpoint after another throughout this single-CD sampler. Michel Petrucciani was one of the greats and So What offers plenty of evidence.
Hard-bop pianist Kenny Barron has been a "musician's musician" for decades, playing behind such towering figures as Dizzy Gilles pie, Yusef Lateef, Stan Getz, and Freddie Hubbard. But in the 1990s, Barron began to take center stage, leading mostly trios through a series of albums that established him as a fine composer of intricate but madly swinging tunes. On IMAGES, he's assembled a somewhat unusual lineup, dispensing with any reeds or brass--just piano, flute, vibes, bass, and drums. The result is a set of bright, deceptively easygoing straight-ahead jazz--imagine the Modern Jazz Quartet after a long vacation in Brazil, where they drank lots of coffee.
Review by Steve Leggett
Dedicated to Slim Harpo, this brief album, recorded in Baton Rouge, LA, in 1990, is a split affair, with blues pianist Henry Gray alternating tracks with guitarist (and accordion player) Rudi Richard in a nifty little swamp blues collection. Although one wishes the two musicians had done some of these songs together, their approach to the blues (different as they are) complement each other well, and the sequence doesn't suffer for this split format. Gray, in particular, has an intriguing sound, adding a certain intangible bayou sensibility to his Chicago piano style, and his rough, everyman vocals on sides like "Talkin' About You" and the self-penned "Gold Chills" carry a degree of authenticity, particularly with Slim Harpo's drummer, Jess Kenchin, pounding away. Richard is less distinctive as a vocalist, but as Harpo's longtime guitarist (he put the guitar sting in "I'm a Kingbee," and if you've heard the song, you know about the sting), he, too, has an authentic claim to this material, and while his version of the bayou chestnut "Tee Ni Nee Na Nu" essentially seems to be by the numbers, his sleek, angular version of "Good for the Goose" is a solid delight. Again, it would have been nice if Gray, Richard, and Kenchin had all worked together on a few of these tracks, but even without that, this set still functions pretty well as a simple and unassuming introduction to Louisiana swamp blues.
Review by Lindsay Planer
Hailing from a trio of Modern Jazz Quartet (MJQ) sessions, Django (1955) contains some of the earliest sides that Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums) recorded for Prestige Records. Initially, the combo was part of Dizzy Gillespie's influential backing band and after a change in drummers (to Connie Kay), they continued as one of the more sophisticated aggregates of the post-bop era. The album commences with Lewis' sublime and serene title track "Django," dedicated to the memory of guitarist extraordinaire Django Reinhardt. This musical paean aptly recaptures the essence of Reinhardt's enigmatic gypsy-like nature, especially evident within Jackson's leads, which emerge from the thoughtful opening dirge with a refined, warm tone throughout. Reinhardt's playfulness is recalled in Lewis' well-placed interjections between and beneath Jackson's lines. "One Bass Hit" is an homage to Gillespie with Heath taking charge of the intricate melody, showing off his often criminally underutilized skills. From the same December 1954 gathering comes the moody Lewis-penned ballad "Milano." There is a notable Mediterranean feel resounding in the opulence of MJQ's unassuming interaction. The centerpiece is the lengthy four-movement showcase "La Ronde Suite" circa January of 1955. The MJQ maneuver with unquestionable grace, alternately supporting and soloing, each taking the reigns as the others construct their contributions around the respective soloist. The remaining four selections date back to June of 1953 and are highlighted by "The Queen's Fancy," a simple and refined fugue that carries a distinct air of nobility. "Delaunay's Dilemma" is a definite contrast as it allows the players to cut loose with some frisky and fun exchanges that perfectly demonstrate their ability to glide through the sinuous syncopation. Both the understated splendor of "Autumn in New York" and the equally sublime cover of "But Not for Me" provide some familiar backdrops for the MJQ to collaborate and perhaps more directly display their essential improvisational abilities. In terms of seminal Modern Jazz Quartet entries, it is hard to exceed the variety of styles and performances gathered on Django.
sábado, 27 de mayo de 2017
Review by Scott Yanow
This somewhat obscure date by the great jazz harmonica player Toots Thielemans also features the leader playing some fine guitar (most notably on "Lonesome Road") and taking one of his first whistling solos on "Brother John." With pianist Ray Bryant, bassist Tom Bryant and drummer Oliver Jackson completing the quartet, Thielemans is in excellent form introducing two of his originals and jamming such tunes as "You Are My Sunshine," "Nuages" and "Confirmation." The music on this enjoyable 1986 Doctor Jazz reissue LP of a Signature session is currently out of print.