egroj world: septiembre 2017

 

miércoles, 27 de septiembre de 2017

Claude Williams • Swing Time In New York



Claude "Fiddler" Williams (February 22, 1908 – April 26, 2004) was an American jazz violinist and guitarist.
Williams was born in Muskogee, Oklahoma, in 1908, and by 10 he had learned to play guitar, mandolin, banjo and cello. Upon hearing Joe Venuti play, he was inspired to take up the violin. In 1928, he moved to Kansas City and toured with Andy Kirk's territory band Twelve Clouds of Joy, which also included Mary Lou Williams, and further honed his musicianship by participating in jam sessions. Count Basie discovered him in Kansas City and later invited him to play rhythm guitar in his band. From the late 1960s, he often played with fellow Kansas City resident Jay McShann. From the 1980s, Williams performed on violin exclusively.
In 1997, Claude Williams was inducted into the Oklahoma Music Hall of Fame.
He died of pneumonia in Kansas City at age 96. He was the last surviving jazz musician to have recorded before 1930.
His memorabilia has been donated to the LaBudde Special Collections Department at the Miller Nichols Library at the University of Missouri-Kansas City. Full info ...

Review by Scott Yanow
Violinist Claude Williams, at the age of 86, shows that he is still in his musical prime during this quintet date with Bill Easley (who switches between tenor, clarinet and flute), pianist Sir Roland Hanna, bassist Earl May and drummer Joe Ascione. Williams was with both Andy Kirk and Count Basie shortly before they made it big but has spent most of his long career in Kansas City in obscurity. Fortunately he has made several worthy recordings in his later years and this is one of his best, a well-rounded set ranging in repertoire from one of the first songs he ever learned ("You've Got to See Your Mama Ev'ry Night or You Can't See Mama at All") to Ellington, Monk ("Straight No Chaser") and even Stevie Wonder ("You Are the Sunshine of My Life"). The emphasis is on swing and Claude Williams is heard near the peak of his powers.


Ronnie Foster • On The Avenue



Ronnie Foster (12 de mayo de 1950) es un pianista, organista y compositor estadounidense de jazz funk. Info completa...

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Ronnie Foster (born May 12, 1950) is an American funk and soul-jazz organist, and record producer. His albums recorded for Blue Note Records in the 1970s has obtained a cult following after the emergence of acid-jazz. Full info ...


martes, 26 de septiembre de 2017

Buddy Cole • Hot And Cole



VA • Moving Between Dimensions



 Frank Wess,  Lonnie Sith,  Lou Donaldson ,  Bobby Hutcherson, Brian Auger and Julie Driscoll ...


Selection by / Compilado por:
http://funky16corners.com/


Nigel Kennedy • Blue Note Sessions



Review by Ken Dryden
Nigel Kennedy made quite a reputation for himself as a classical violin virtuoso, though he long expressed an interest in jazz prior to the making of this CD. A number of jazz veterans, including bassist Ron Carter, drummer Jack DeJohnette, pianist Kenny Werner, and tenor saxophonist Joe Lovano (along with several others) are present and provide a stimulating group for Kennedy, who early on in the disc is comparable to Jean-Luc Ponty during the early stages of his career as a leader. But Kennedy seems a bit too conservative throughout much of the date, not taking the kind of chances one would expect of a jazz violinist during his improvisations. Another part of the problem is due to the presence of some rather pedestrian material like Butch Cornell's bland funk vehicle "Sunshine Alley" (which adds organist Lucky Peterson) and the forgettable treatment of "Expansions," featuring Raul Midón's vocal and Kennedy's bizarre use of digital delay on his instrument. Even Horace Silver's hard bop masterpiece "Song for My Father" doesn't reach his potential. Nigel Kennedy demonstrates clearly how hard it is to play jazz convincingly when it is not a major part of his regular playing schedule.


miércoles, 20 de septiembre de 2017

Nigel Kennedy • Blue Note Sessions



Review by Ken Dryden
Nigel Kennedy made quite a reputation for himself as a classical violin virtuoso, though he long expressed an interest in jazz prior to the making of this CD. A number of jazz veterans, including bassist Ron Carter, drummer Jack DeJohnette, pianist Kenny Werner, and tenor saxophonist Joe Lovano (along with several others) are present and provide a stimulating group for Kennedy, who early on in the disc is comparable to Jean-Luc Ponty during the early stages of his career as a leader. But Kennedy seems a bit too conservative throughout much of the date, not taking the kind of chances one would expect of a jazz violinist during his improvisations. Another part of the problem is due to the presence of some rather pedestrian material like Butch Cornell's bland funk vehicle "Sunshine Alley" (which adds organist Lucky Peterson) and the forgettable treatment of "Expansions," featuring Raul Midón's vocal and Kennedy's bizarre use of digital delay on his instrument. Even Horace Silver's hard bop masterpiece "Song for My Father" doesn't reach his potential. Nigel Kennedy demonstrates clearly how hard it is to play jazz convincingly when it is not a major part of his regular playing schedule.


Phil Upchurch • Upchurch



miércoles, 13 de septiembre de 2017

Yehudi Menuhin, Ravi Shankar & Jean-Pierre Rampal • Improvisations - West Meets East



Wiki:
Ravi Shankar (Benarés, Raj Británico, 7 de abril de 1920) es un músico bengalí conocido mundialmente por ser un virtuoso del sitar. Se le conoce con el título honorífico de Pandit Ravi Shankar.

Discípulo de Allauddin Khan (fundador del Maihar gharana de música hindú clásica), Pandit Ravi Shankar es posiblemente el instrumentista hindú más reconocido, es conocido por ser pionero en la traída del poder de la tradición de música hindú clásica, así como por músico Rosario, 19 de Octubre de 2009.- como por su carisma personal. Su carrera musical atraviesa más de seis décadas y Shankar actualmente sostiene el Récord Guinness por la carrera internacional más larga.

Ravi Shankar es el padre de la cantante estadounidense Norah Jones y la sitarista Anoushka ShankarContenido [ocultar]

Primeros Años
Su casa ancestral es hoy en día Kalia Upozila en el Distrito Narail, Jessore, Bangladesh. El nombre de su madre era Hemanginee, y su hermano mayor Uday Shankar era un bailarín famoso hindú clásico. De adolescente Ravi tocó el sitar con la compañía de baile de Uday Shankar, más notablemente con Anna Pavlova en la Unión Soviética.Amen de su virtuosismo, logro influenciar increíblemente la música occidental abriendo así las puertas de la percepción.

Carrera Musical
Ravi Shankar dejó una posible carrera de baile y comenzando en 1938 pasó largos años de estudio bajo su gurú Khan Allaudin. Su primera presentación en público en la India fue en 1939. El entrenamiento formal acabó en 1944 y trabajó en las afueras de Bombay. Comenzó a escribir canciones para películas y ballet clásico y comenzó una carrera de grabación con el afiliado indio HMV. Se hizo director de música de All India Radio en los años 1950.

Shankar entonces se hizo conocido fuera de la India, primero presentándose en la Unión Soviética en 1954 y luego en el Oeste en 1956. Se presentó en acontecimientos principales como en Edinburgo Festival así como lugares principales como el Royal Festival Hal

George Harrison, miembro de The Beatles, comenzó a experimentar con el sitar en 1965. Los dos se encontraron eventualmente debido a este interés común y se hicieron amigos cercanos, ampliando la fama de Shankar como una estrella pop y como el mentor de Harrison. Esto desarrolló enormemente su carrera. Le invitaron a tocar en lugares que eran insólitos para un músico clásico, como el Monterrey Pop Festival, 1967 en Monterrey, California. Él era también uno de los artistas que tocaron en el Woodstock (1969) y el Concierto para Bangladesh en 1971. Ravi Shankar y Amigos eran también el acto de apertura para la gira de Harrison de los Estados Unidos en 1974.

Shankar ha escrito dos conciertos para sitar y orquesta, composiciones de sitar-violín para Yehudi Menuhin y él, la música para el virtuoso de flauta Jean Pierre Rampal, y la música para Hozan Yamamoto, maestro del shakuhachi (la flauta japonesa), y el virtuoso del koto Musumi Miyashita. Ha compuesto extensivamente para películas y ballets clásicos en India, Canadá, Europa y los Estados Unidos, incluyendo Chappaqua, Charly, Gandhi, y Apu Tryology. Su grabación Tana Mana, lanzado por el sello Private Music en 1987, penetró el género New Age con su combinación única de instrumentos tradicionales con la electrónica. El compositor clásico Philip Glass reconoce a Shankar como una influencia principal y los dos colaboraron para producir Passages, una grabación de composiciones en las cuales cada uno adapta temas compuestos por el otro. Shankar también compuso la parte de sitar en la composición de Glass de 2004, Orión.

En el año 1998 recibió el Polar Music Prize, un premio concedido por la Real Academia de Suecia de Música.

Otros
Ravi Shankar tuvo dos hijas: la cantante Norah Jones (que Ravi Shankar tuvo con la enfermera Sue Jones) y Anoushka Shankar, una de las más destacadas mujeres de la India tocando el sitar, habiendo recibido varias distinciones a lo largo de su carrera.

Discografía
Three Ragas (1956)
Improvisations (1962)
India's Most Distinguished Musician (1962)
India's Master Musician (1963)
In London (1964)
Ragas & Talas (1964)
Portrait of Genius (1964)
Sound of the Sitar (1965)
Live at Monterey (1967)
In San Francisco (1967)
West Meets East (1967)
At the Monterey Pop Festival (1967)
The Exotic Sitar and Sarod (1967)
A Morning Raga / An Evening Raga (1968)
The Sounds of India (1968)
In New York (1968)
At the Woodstock Festival (1969)
The Concert for Bangladesh (1971)
Raga (1972)
In Concert 1972 (1973)
Transmigration Macabre (1973)
Shankar Family & Friends (1974)
Music Festival From India (1976)
Homage to Mahatma Gandhi (1981)
Räga-Mälä (Sitar Concerto No. 2) (1982)
Pandit Ravi Shankar (1986)
Tana Mana (1987)
Inside The Kremlin (1988)
Passages with Philip Glass (1990)
Concert for Peace: Royal Albert Hall (1995)
Chants of India (1997)
Concerto for Sitar & Orchestra con André Previn (1999)
Full Circle: Carnegie Hall 2000 (2001)
Between Two Worlds (Documental dirigido por [Mark Kidel]) (2001)
Flowers of India (2007)

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Source Wiki:
Ravi Shankar has been on stage from the age of 10 and has travelled widely a dancer and a musician. He performed publicly in India in 1939. He finished his formal training in 1944 and worked out of Mumbai (Bombay). He began writing scores for film and ballet and started a recording career with HMV's Indian affiliate. He became music director of All India Radio in the 1950s. From 1946 onwards he composed music for films. Some of his scores include the ones for Satyajit Ray's Apu Trilogy and Richard Attenborough's Gandhi. He also composed the tune for Saare Jahan Se Achcha. Ravi Shankar then became well known to the music world outside India, first performing in the former Soviet Union in 1954 and then the West in 1956. He performed in major events such as the Monterey Pop Festival and at major venues such as the Royal Festival Hall.

Already performing in major concert halls all around the world, Shankar, having attained pop cultural fame, was invited to play venues that were unusual for a classical musician, such as the 1967 Monterey Pop Festival in Monterey, California, with Ustad Allah Rakha on tabla. He also performed at the Woodstock Festival in 1969, and with George Harrison was one of the organizers of The Concert for Bangladesh in 1971, in an attempt to raise awareness of the growing crisis (see 1970 Bhola cyclone, and Bangladesh Liberation War. Ravi Shankar asked George Harrison for his help to raise funds for Bangladesh. Ravi Shankar & Friends co-headlined Harrison's 1974 tour of North America with mixed reviews. His final working album with Harrison was on a 1997 album, Chants of India, where Harrison developed an interest in chant music.

After Harrison's death on 29 November in 2001, Shankar, his daughter, Anoushka, along with Paul McCartney, Ringo Starr, Jeff Lynne, Eric Clapton, Tom Petty, Billy Preston, among many others attended the Concert for George in London, where Shankar dedicated the memorial to Harrison.

Shankar has criticized facets of the Western reception of Indian music. On a trip to San Francisco's Haight-Ashbury district after performing in Monterey, Shankar wrote,“I felt offended and shocked to see India being regarded so superficially and its great culture being exploited. Yoga, Tantra, mantra, kundalini, ganja, hashish, Kama Sutra? They all became part of a cocktail that everyone seemed to be lapping up!”

He has written violin-sitar compositions for Yehudi Menuhin and himself, music for flute virtuoso Jean-Pierre Rampal, music for Hozan Yamamoto, master of the shakuhachi (Japanese flute), and koto virtuoso Musumi Miyashita. He has composed extensively for films and ballets in India, Canada, Europe, and the United States, including Chappaqua, Charly, Gandhi (for which he was nominated for an Academy Award), and the Apu Trilogy.


martes, 5 de septiembre de 2017

lunes, 4 de septiembre de 2017

Joe Houston • Limbo



Barbara Dennerlein • Spiritual Movement No.1



Long awaited by fans, "Spiritual Movement No.1" (Bebab 250970) was released in 2002, recorded for the first time exclusively on the pipe organ. A jazz passion for 2.400 pipes, recorded on the mighty Goll organ in St. Martin's church/Memmingen - Barbara Dennerlein has now finally brought jazz on the pipe organ to the world.

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Traducción Automática:
Muy esperado por los aficionados, "Spiritual Movement No.1" (Bebab 250970) fue lanzado en 2002, grabado por primera vez exclusivamente en el órgano de tubo. Una pasión de jazz por 2.400 tubos, grabada en el poderoso órgano Goll en la iglesia de San Martín / Memmingen - Barbara Dennerlein ahora ha llevado finalmente el jazz al órgano de tubos al mundo.
  

Omar Metioui • Laud Andalusi





Omar Metioui, con su introspección en el estilo de los antiguos maestros de principios de este siglo, herederos de la tradición andalusí y accesibles mediante antiguas grabaciones de radio, y con su virtuosismo, esta devolviendo al laúd la importancia que tuvo históricamente este instrumento en la música hispano-árabe. Los instrumentos de cuerda frotada, y especialmente el violin, han tomado recientemente el protagonismo en la orquesta árabe.