Quincy Jones, Grant Green, Bud Shank, George Shearing, Art Tatum, Booker Ervin, Dorothy Ashby, Joe Henderson, Kenny Dorham, Lou Donaldson, Oscar Peterson, Ben Webster, Wes Montgomery, Billie Holiday, Ramsey Lewis, Oliver Nelson …
Tuesday, April 30, 2024
VA • American Jazz Fusion
Herbie Hancock, Wayne Shorter, Blue Mitchell, Chick Corea, Jack DeJohnette, Pat Metheny, Roy Haynes, Roy Hargrove, Christian McBride, Return To Forever, Stanley Clarke, George Duke, Larry Goldings …
VA • Gods of Jazz Guitar
An instrumental is, in contrast to a song, a musical composition or
recording without lyrics or any other sort of vocal music; all of the
music is produced by musical instruments. Specifically, this term is
used when referring to popular music; some musical genres make little
use of the human voice, such as jazz, electronic music, and large
amounts of European classical music (although in electronic music the
voice can be sampled just like anything else).
///////
Un instrumento es, a diferencia de una canción, una composición o grabación musical sin letra o cualquier otro tipo de música vocal; toda la música es producida por instrumentos musicales. Concretamente, este término se utiliza para referirse a la música popular; algunos géneros musicales utilizan poco la voz humana, como el jazz, la música electrónica y grandes cantidades de música clásica europea (aunque en la música electrónica la voz puede ser sampleada como cualquier otra cosa).
George Benson, Wes Montgomery, Grant Green, Kenny Burrell, Howard Roberts, Lee Ritenour , Pat Martino, Tal Farlow ...
VA • Jazz Piano Classics
Thelonious Monk, Bill Evans, Herbie Hancock, Oscar Peterson, McCoy Tyner, Red Garland, Horace Silver, George Shearing, Joe Zawinul, Ramsey Lewis, Sonny Clark, Andrew Hill, Cecil Taylor, Bobby Timmons, Michel Petrucciani …
VA • A Blue, Blue, Bossaː Cool Jazz Goes Latin
Horace Parlan, Charlie Rouse, Ike Quebec, Cannonball Adderley, Kenny Dorham, Grant Green, J.J. Johnson, Donald Byrd, Horace Silver, Lou Donaldson, Dexter Gordon, Hank Mobley, James Moody, Kenny Burrell …
VA • Jazz Fusion Giants
George Benson, Kenny Burrell, Wayne Shorter, Return To Forever, Eumir Deodato, Stanley Turrentine, John McLaughlin,
VA • Verve Jazz Clubː Cool Jazz
Al Cohn, Max Roach, Jimmy Giuffre, Art Farmer, Ed Thigpen, Lee Konitz, Benny Golson, Various Artists, Miles Davis, Wes Montgomery, Paul Gonsalves, Roy Haynes, Gerry Mulligan, Chet Baker, Dizzy Gillespie, Stan Getz …
VA • Jazz Night All Light Songs
Sonny Rollins,Count Basie,Wes Montgomery,Bill Evans,Lee Konitz,Dave Brubeck,Stan Getz,Pee Wee Russell,Pete Rugolo,Lionel Hampton,Herbie Mann,Thad Jones,Tony Scott,Dexter Gordon,Johnny Hodges ...
VA • Summer Jazz
Astrud Gilberto, George Benson, Wynton Kelly, Dorothy Ashby, Paul Desmond, Chet Baker, Ella Fitzgerald, Anita O'Day, Antonio Carlos Jobim, Kai Winding, Sarah Vaughan, Stan Getz, jazz, Jack Teagarden, Art Van Damme …
VA • Best of Jazz Drums
Buddy Rich, Gene Krupa, Art Blakey, Elvin Jones, Roy Haynes, Jack DeJohnette, Max Roach, Clifford Brown, Tony Williams, Joe Lovano, Kenny Burrell, Horace Silver ...
VA • Jazz At The Philharmonic In London, 1969
Review by Scott Yanow
By 1969 producer Norman Granz's Jazz at the Philharmonic was largely a thing of the past in the U.S., but he put together occasional European tours that resulted in the very interesting and consistently enjoyable music heard on this double CD. Trumpeters Dizzy Gillespie and Clark Terry, tenors Zoot Sims and James Moody, pianist Teddy Wilson, bassist Bob Cranshaw and drummer Louis Bellson form the core group and play two jams and a four-song ballad medley in addition to accompanying blues singer/guitarist T-Bone Walker on three numbers. Teddy Wilson's Trio with Cranshaw and Bellson is in typically flawless form on a few songs and then comes the biggest surprise of the two-fer. The great veteran tenor Coleman Hawkins was in sad shape during the last few years of his life (he would pass away two months after this concert) yet he manages to almost sound as if he were still in his prime, far exceeding any of his post-1965 recordings on "Blue Lou" and three ballads including a partly unaccompanied "September Song" and an emotional rendition of "Body and Soul." Altoist Benny Carter is also heard from and all of the horns join in for a finale, "What Is This Thing Called Love?" This is historic and frequently exciting music.
https://www.allmusic.com/album/jazz-at-the-philharmonic-in-london-1969-mw0000205061
///////
Reseña de Scott Yanow
En 1969, el Jazz del productor Norman Granz en la Filarmónica era en gran medida una cosa del pasado en los EE.UU., pero organizó ocasionales giras europeas que dieron lugar a la muy interesante y constantemente agradable música que se escucha en este doble CD. Los trompetistas Dizzy Gillespie y Clark Terry, los tenores Zoot Sims y James Moody, el pianista Teddy Wilson, el bajista Bob Cranshaw y el baterista Louis Bellson forman el grupo principal y tocan dos jams y una mezcla de baladas de cuatro canciones además de acompañar al cantante/guitarrista de blues T-Bone Walker en tres números. El trío de Teddy Wilson con Cranshaw y Bellson está en una forma típicamente impecable en unas pocas canciones y luego viene la mayor sorpresa de los dos. El gran tenor veterano Coleman Hawkins estuvo en una forma triste durante los últimos años de su vida (fallecería dos meses después de este concierto), sin embargo, se las arregla para sonar casi como si todavía estuviera en su mejor momento, superando con creces cualquiera de sus grabaciones posteriores a 1965 en "Blue Lou" y tres baladas que incluyen una "Canción de septiembre" parcialmente sin acompañamiento y una emotiva interpretación de "Body and Soul". También se escucha al altoísta Benny Carter y todos los cuernos se unen para un final, "¿Qué es esta cosa llamada amor?" Esta es una música histórica y frecuentemente excitante.
https://www.allmusic.com/album/jazz-at-the-philharmonic-in-london-1969-mw0000205061
VA • Verve Jazz Club Collection Saxophone Ballads
Dexter Gordon, Charlie
Parker, Al Cohn, Stan Getz, Joe Henderson, Lester Young, Johnny Hodges, Cannonball
Adderley, Sonny Stitt, Klaus Doldinger, Don Byas, Gerry Mulligan …
VA • The Very Best Of Piano Jazz
Bill Evans,McCoy Tyner,Herbie Hancock,Ahmad Jamal,Thelonious Monk,Horace Silver,Bud Powell,Oscar Peterson,Cannonball Adderley,Chick Corea,Bill Charlap,Vince Guaraldi,Wynton Kelly ...
VA • Giants of jazz Groove
João Donato, Richard ''Groove'' Holmes, Sonny Criss, Pat Martino, Kenny Barron, Jimmy Ponder, Grant Green, Eddie "Lockjaw" Davis, Charles Earland ...
VA • Jazz Classic
Miles Davis, Herbie Hancock, Dave Brubeck, Bud Powell, Jimmy Giuffre, Ben Webster, Lee Konitz, Philly Joe Jones, Paul Desmond, Shorty Rogers, Paul Desmond, Jay McShann, Lennie Tristano, Phineas Newborn, Randy Weston, Shelly Manne, Shirley Scott ...
Various Artists • 70s Jazz Masters
Gary Burton, Donald Byrd, George Benson, Rahsaan Roland Kirk, Ron Carter, Yusef Lateef, Jean-Luc Ponty, Clifford Jordan, Hubert Laws, Les McCann, Phineas Newborn, Clark Terry, Bunky Green, Stephane Grappelli ...
VA • 1960s Jazz
John Coltrane, Ornette Coleman, Ray Charles, Milt Jackson, Modern Jazz
Quartet, Elvin Jones, Charles Mingus, Art Farmer, Rahsaan Roland Kirk, Yusef
Lateef, Freddie Hubbard, Mose Allison, Brother Jack McDuff, Leo Wright ...
Various Artists • 60s Jazz Masters
John Coltrane, Art Farmer, Milt Jackson, Rahsaan Roland Kirk, Marty Paich, Rufus Harley, Eddie Higgins, Clifford Jordan, Philly Joe Jones, Joe Harriott, Sonny Stitt, Clare Fischer ...
VA • Jazzin' the 60's
Jimmy Smith, Jackie McLean, Kenny Drew, Stanley Turrentine, Freddie Redd, Lou Donaldson, Kenny Burrell, Wayne Shorter, Blue Mitchell, Herbie Hancock, Lee Morgan, Duke Pearson, McCoy Tyner ...
Various Artists • 50s Jazz Masters
Charlie Parker, Art Blakey, Modern Jazz Quartet, Quincy Jones, Bud Powell, Stan Getz, Paul Desmond, Billy Taylor, Phineas Newborn, Jo Jones, Jimmy Rushing, Shorty Rogers, Teddy Wilson, George Wallington, Morris Nanton ...
VA • Jazz of the 1950s
Charlie Parker,Sacha Distel,Ornette Coleman,Modern Jazz Quartet,Chico Hamilton,Quincy Jones,Billy Taylor,Nina Simone,Jimmy Raney,Freddie Redd,Clifford Brown,James Moody,Roy Haynes,Tommy Flanagan,Teddy Wilson ...
Shall We Play That One Together ʔː The Life and Art of Jazz Piano Legend Marian McPartland
In a world dominated by men, Marian McPartland distinguished herself as one of the greatest jazz pianists of her age
Born in the UK as Margaret Marian Turner, Marian McPartland learned to play classical piano, but was passionately attracted to the rhythms of American jazz. Entertaining troops in WWII Europe, she met her future husband, Jimmy McPartland, a cocky young trumpet player who was the protege of the great Bix Beiderbecke. They were married and, together, they made jazz history. At first, Marian played second fiddle to Jimmy in Chicago, but when they moved to New York, Marian and her trio took up residence at the famous Hickory House where she thrilled the crowds from her perch on a stage in the middle of large oval bar. From there she went on to triumphs at places like the Montreaux Jazz Festival. Possibly, her greatest accomplishment was the creation of NPR's long-running show Piano Jazz.
More than the life story of one of our greatest artists, Shall We Play That One Together? by Paul de Barros chronicles an age when jazz was a vital art form. Just as inviting as Marian's signature question on Piano Jazz, Shall We Play That One Together? is an invitation to readers everywhere to listen to the score of a bygone age.
VA • Bossa Nova Essentials
Ella Fitzgerald, Wes Montgomery, Sergio Mendes, Stan Getz, Cal Tjader, Sarah Vaughan, Lalo Schifrin, Joe Henderson, Jimmy Smith, Shirley Horn, Joao Gilberto ...
VA • Jazz Bossa Nova
Hank Mobley, Coleman Hawkins, Milt Jackson, Stan Getz, Kenny Burrell, Lalo Schifrin,
Chick Corea,Latin Jazz,Toots Thielemans ...
VA • Bossa Nova Jazz Instrumentals
Bossa Nova, meaning literally "New Trend" in Portuguese, is a style of Brazilian music. Bossa nova acquired a large following in the 1960s. Since its birth, the Bossa Nova movement contributed with its style and a number of songs to the standard Jazz repertoire. This Jazz sub-genre is listed here separately from the Latin sub-genre of Bossa Nova because of the substantial Jazz techniques and improvisational methods that can be found in this music, differentiating it from its Latin counterpart.
///////
La Bossa Nova, que significa literalmente "Nueva Tendencia" en portugués, es un estilo de música brasileña. La bossa nova adquirió un gran número de seguidores en la década de 1960. Desde su nacimiento, el movimiento de la Bossa Nova contribuyó con su estilo y un número de canciones al repertorio estándar de Jazz. Este subgénero de Jazz está listado aquí por separado del subgénero latino de la Bossa Nova debido a las sustanciales técnicas de Jazz y los métodos de improvisación que se pueden encontrar en esta música, diferenciándola de su contraparte latina.
VA • Legendary Bossanova Jazz
Astrud Gilberto, Lalo Schifrin, Milt Jackson, Quincy Jones, Wes Montgomery, Ramsey Lewis, Sergio Mendes, Kenny Burrell , Stanley Turrentine, Chick Corea, Joe Henderson, Coleman Hawkins, Stan Getz ...
Sight Readings Photographers and American Jazz, 1900–1960
Jazz photography has attracted increasing attention in recent years. Photographs of musicians are popular with enthusiasts, while historians and critics are keen to incorporate photographs as illustrations. Yet there has been little interrogation of these photographs and it is noticeable that what has become known as the jazz photography 'tradition' is dominated by a small number of well-known photographers and 'iconic' images.
Many photographers, including African American photojournalists, studio photographers, early twentieth-century émigrés, the Jewish exiles of the 1930s and vernacular snapshots are frequently overlooked. Drawing on ideas from contemporary photographic theory supported by extensive original archival research, Sight Readings is a thorough exploration of twentieth century jazz photography, and it includes discussions of jazz as a visual subject, its attraction to different types of photographers and offers analysis of why and how they approached the subject in the way they did.
One of the remarkable things about this book is its movement back and forth between detailed archive research, the empirical documentation of photographers, their techniques, working practices, equipment etc., and cultural theory, the sophisticated discussion of aesthetics, cultural sociology, the politics of identity, etc. The result is both a fine scholarly achievement and an engaging labour of love.
Experiencing Jazz: A Listener's Companion
In Experiencing Jazz: A Listener’s Companion, writer, teacher, and
renowned jazz drummer Michael Stephans offers a much-needed survey in
the art of listening to and enjoying this dynamic, ever-changing art
form. More than mere entertainment, jazz provides a pleasurable and
sometimes dizzying listening experience with an extensive range in
structure and form, from the syncopated swing of big bands to the
musical experimentalism of small combos. As Stephans illustrates,
listeners and jazz artists often experience the essence of the music
together—an experience unique in the world of music.
Experiencing
Jazz demonstrates how the act of listening to jazz takes place on a
deeply personal level and takes readers on a whirlwind tour of the
genre, instrument by instrument—offering not only brief portraits of key
musicians like Joe Lovano and John Scofield, but also their own
commentaries on how best to experience the music they create.
Throughout, jazz takes center stage as a personal transaction that
enriches the lives of both musician and listener. Written for anyone
curious about the genre, this book encourages further reading,
listening, and viewing, helping potential listeners cultivate an
understanding and appreciation of the jazz art and how it can help—in
drummer Art Blakey’s words—“wash away the dust of everyday life.”
The History of Jazz • Ted Gioia
Jazz is the most colorful and varied art form in the world and it was
born in one of the most colorful and varied cities, New Orleans. From
the seed first planted by slave dances held in Congo Square and nurtured
by early ensembles led by Buddy Belden and Joe "King" Oliver, jazz
began its long winding odyssey across America and around the world,
giving flower to a thousand different forms--swing, bebop, cool jazz,
jazz-rock fusion--and a thousand great musicians. Now, in The History of Jazz,
Ted Gioia tells the story of this music as it has never been told
before, in a book that brilliantly portrays the legendary jazz players,
the breakthrough styles, and the world in which it evolved.
Here are
the giants of jazz and the great moments of jazz history--Jelly Roll
Morton ("the world's greatest hot tune writer"), Louis Armstrong (whose
O-keh recordings of the mid-1920s still stand as the most significant
body of work that jazz has produced), Duke Ellington at the Cotton Club,
cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young,
Charlie Parker's surgical precision of attack, Miles Davis's 1955
performance at the Newport Jazz Festival, Ornette Coleman's experiments
with atonality, Pat Metheny's visionary extension of jazz-rock fusion,
the contemporary sounds of Wynton Marsalis, and the post-modernists of
the Knitting Factory. Gioia provides the reader with lively portraits of
these and many other great musicians, intertwined with vibrant
commentary on the music they created. Gioia also evokes the many worlds
of jazz, taking the reader to the swamp lands of the Mississippi Delta,
the bawdy houses of New Orleans, the rent parties of Harlem, the
speakeasies of Chicago during the Jazz Age, the after hours spots of
corrupt Kansas city, the Cotton Club, the Savoy, and the other locales
where the history of jazz was made. And as he traces the spread of this
protean form, Gioia provides much insight into the social context in
which the music was born. He shows for instance how the development of
technology helped promote the growth of jazz--how ragtime blossomed
hand-in-hand with the spread of parlor and player pianos, and how jazz
rode the growing popularity of the record industry in the 1920s. We also
discover how bebop grew out of the racial unrest of the 1940s and '50s,
when black players, no longer content with being "entertainers," wanted
to be recognized as practitioners of a serious musical form. Jazz is a
chameleon art, delighting us with the ease and rapidity with which it
changes colors. Now, in Ted Gioia's The History of Jazz, we
have at last a book that captures all these colors on one glorious
palate. Knowledgeable, vibrant, and comprehensive, it is among the small
group of books that can truly be called classics of jazz literature.
Jazz Styles
For undergraduate courses in Jazz History, Jazz Survey, Evolution of Jazz, Introduction to Jazz, and Jazz Appreciation. America's most widely used introduction to jazz, it teaches the chronology of jazz by showing students how to listen and what to notice in each style. Though originally conceived for nonmusicians and written at a college freshmen reading level, Jazz Styles also has been widely adopted in courses for musicians because of its point-by-point specification of each style's musical characteristics and its technical appendix. The text helps students hear how the styles differ and why the top names are important.
Swing to Bopː An Oral History of the Transition in Jazz in the 1940s
This indispensable book brings us face to face with some of the most memorable figures in jazz history and charts the rise and development of bop in the late 1930s and '40s. Ira Gitler interviewed more than 50 leading jazz figures, over a 10-year period, to preserve for posterity their recollections of the transition in jazz from the big band era to the modern jazz period. The musicians interviewed, including both the acclaimed and the unrecorded, tell in their own words how this renegade music emerged, why it was a turning point in American jazz, and how it influenced their own lives and work. Placing jazz in historical context, Gitler demonstrates how the mood of the nation in its post-Depression years, racial attitudes of the time, and World War II combined to shape the jazz of today.
About the Author
Ira Gitler's writing has helped illuminate the jazz scene from 1951, when he wrote the first of countless album and CD annotations. He was the New York editor of Downbeat in the 1960s and continues to contribute to that publication, as well as to JazzTimes and Internet publications. His credits as a producer include recordings and concerts, and he teaches jazz history at the Manhattan School of Music. His books include the highly acclaimed Jazz Masters of the '40s and Swing to Bop, the latter written while he was a Guggenheim fellow. He lives in New York City.
About the Author
Ira Gitler's writing has helped illuminate the jazz scene from 1951, when he wrote the first of countless album and CD annotations. He was the New York editor of Downbeat in the 1960s and continues to contribute to that publication, as well as to JazzTimes and Internet publications. His credits as a producer include recordings and concerts, and he teaches jazz history at the Manhattan School of Music. His books include the highly acclaimed Jazz Masters of the '40s and Swing to Bop, the latter written while he was a Guggenheim fellow. He lives in New York City.
Masters of Jazz Guitar • Charles Alexander
Written by some of the world's leading jazz authorities, this stunning book honors the brilliant artistry and music of selected virtuoso jazz guitarists past and present, reveals how they have redefined jazz over the years, and explores key developments for the guitar in the world of jazz since the early 1900s. It also includes two hundred compelling color photographs that bring the players and their instruments to life.
Why Jazz?: A Concise Guide
What was the first jazz record? Are jazz solos really improvised? How
did jazz lay the groundwork for rock and country music? In Why Jazz,
author and NPR jazz critic Kevin Whitehead provides lively, insightful
answers to these and many other fascinating questions, offering an
entertaining guide for both novice listeners and long-time fans.
Organized chronologically in a convenient question and answer format,
this terrific resource makes jazz accessible to a broad audience, and
especially to readers who've found the music bewildering or best left to
the experts. Yet Why Jazz is much more than an informative
Q&A; it concisely traces the century-old history of this American
and global art form, from its beginnings in New Orleans up through the
current postmodern period. Whitehead provides brief profiles of the
archetypal figures of jazz―from Louis Armstrong and Duke Ellington to
Wynton Marsalis and John Zorn―and illuminates their contributions as
musicians, performers, and composers. Also highlighted are the building
blocks of the jazz sound―call and response, rhythmic contrasts,
personalized performance techniques and improvisation―and discussion of
how visionary musicians have reinterpreted these elements to continually
redefine jazz, ushering in the swing era, bebop, cool jazz, hard bop,
and the avant-garde. Along the way, Why Jazz provides helpful
plain-English descriptions of musical terminology and techniques, from
"blue notes" to "conducted improvising." And unlike other histories
which haphazardly cover the stylistic branches of jazz that emerged
after the 1960s, Why Jazz groups latter-day musical trends by decade, the better to place them in historical context.
Whether read in self-contained sections or as a continuous narrative,
this compact reference presents a trove of essential information that
belongs on the shelf of anyone who's ever been interested in jazz.
Drummin' Menː The Heartbeat of Jazz - The Bebop Years
In the 1930s swing music was everywhere―on radio, recordings, and in the great ballrooms, hotels, theatres, and clubs. Perhaps at no other time were drummers more central to the sound and spirit of jazz. Benny Goodman showcased Gene Krupa. Jimmy Dorsey featured Ray McKinley. Artie Shaw helped make Buddy Rich a star while Count Basie riffed with the innovative Jo Jones. Drummers were at the core of this music; as Jo Jones said, "The drummer is the key―the heartbeat of jazz."
An oral history told by the drummers, other musicians, and industry figures, Drummin' Men is also Burt Korall's memoir of more than fifty years in jazz. Personal and moving, the book is a celebration of the music of the time and the men who made it. Meet Chick Webb, small, fragile-looking, a hunchback from childhood, whose explosive drumming style thrilled and amazed; Gene Krupa, the great showman and pacemaker; Ray McKinley, whose rhythmic charm, light touch, and musical approach provided a great example for countless others, and the many more that populate this story.
Based on interviews with a collection of the most important jazzmen, Drummin' Men offers an inside view of the swing years that cannot be found anywhere else.
VA • Groovy Jazz Organ
Baby Face Willette, Bill Doggett, Brother Jack McDuff, Freddie Roach, Jimmy McGriff, Jimmy Smith, Johnny 'Hammond' Smith, Lou Bennett, Larry Young, Lou Donaldson, Dave 'Baby' Cortez, Shirley Scott, Esquivel, Jackie Davis, Milt Buckner, Booker T, Fred Jackson, Phil Upchurch Combo ...
VA • B-3 in Organ Jazz
Review:
This collection includes tracks by some of the best soul-jazz organists, like Groove Holmes, Jack McDuff, Willis Jackson and Houston Person.
This collection includes tracks by some of the best soul-jazz organists, like Groove Holmes, Jack McDuff, Willis Jackson and Houston Person.
VA • Organized!
Baby Face Willette, Barbara Dennerlein, Bill Doggett, Brother Jack McDuff, Hammond, Ingfried Hoffmann, James Brown, Jimmy Smith, Milt Buckner, Odell Brown, Rhoda Scott, Shirley Scott, Walter Wanderley ...
Monday, April 29, 2024
VA • Blue Note Perfect Takes
Thelonious Monk,Miles Davis,Hank Mobley,Freddie Hubbard,Kenny Burrell,Joe Henderson,Donald Byrd,Wayne Shorter,Art Blakey,Jimmy Smith.
VA • The Very Best Of Prestige Records (60th Anniversary)
Lee Konitz,
Lennie Tristano, Charles Earland, Dexter Gordon, Pat Martino, Richard
''Groove'' Holmes, Shirley Scott, Rahsaan Roland Kirk, Yusef Lateef, Brother
Jack McDuff, Eric Dolphy, Miles Davi, Thelonious Monk ...
VA • Introducing Verve Jazz Masters - Verve Jazz Masters 20
This CD is a sixteen-track sampler of cuts by artists who are part of the Verve Jazz Masters series.
VA • Blue Note Blend
Review by Alex Henderson
If you wandered into Starbucks Coffee in 1995 and heard a Blue Note recording playing in the background, it was no coincidence. In the mid-'90s, Starbucks and Blue Note/Capitol had an arrangement -- Blue Note plugged Starbucks, and Starbucks plugged Blue Note. That arrangement resulted in various Blue Note compilations; assembled in 1995, this one was the first. Blue Note Blend, Vol. 1 could have been titled "Jazz Basics" because its main focus is some of the better-known jazz recordings of the '50s and '60s. Blue Note Blend, Vol. 1 was not assembled with hardcore jazz collectors in mind; the target audience is Starbucks patrons who have a casual interest in jazz and need to start out with the basics. Except for US3's "Cantaloop" -- a dance/hip-hop instrumental that, in 1993, sampled Herbie Hancock's "Cantaloupe Island" -- this CD focuses on the '50s and '60s, and listeners get a rewarding dose of introductory Blue Note 101 with gems like Horace Silver's "Song for My Father," Thelonious Monk's "Straight, No Chaser," and John Coltrane's "Blue Train." About half the selections, however, did not come out on Blue Note originally -- they were recorded for Pacific Jazz, Roulette, or Capitol itself. In the '80s, Blue Note/Capitol had acquired the Pacific Jazz and Roulette catalogs, which explains the presence of Louis Armstrong and Duke Ellington's 1961 version of "Duke's Place" and Chet Baker's definitive 1955 performance of "Let's Get Lost." Neither of those treasures were actually recorded for Blue Note, although they were the property of Blue Note/Capitol when Blue Note Blend was assembled in 1995. But if Blue Note Blend takes liberties, they're good liberties. Regrettably, Blue Note doesn't provide exact recording dates or list all of the musicians and producers, which is inexcusable. Nonetheless, most of the selections are first-rate.
https://www.allmusic.com/album/blue-note-blend-vol-1-mw0001235036
///////
Reseña de Alex Henderson
Si te adentraste en Starbucks Coffee en 1995 y escuchaste una grabación de Blue Note en el fondo, no fue una coincidencia. A mediados de los 90, Starbucks y Blue Note/Capitol tenían un acuerdo: Blue Note enchufó Starbucks y Starbucks enchufó Blue Note. Ese arreglo dio lugar a varias compilaciones de la Nota Azul; reunidas en 1995, ésta fue la primera. Blue Note Blend, Vol. 1 podría haberse titulado "Jazz Basics" porque su enfoque principal son algunas de las grabaciones de jazz más conocidas de los años 50 y 60. Blue Note Blend, Vol. 1 no fue montado con los coleccionistas de jazz hardcore en mente; el público objetivo son los clientes de Starbucks que tienen un interés casual en el jazz y necesitan empezar con lo básico. Excepto por el "Cantaloop" de US3 -- un instrumento de danza/hip-hop que, en 1993, sampleó el "Cantaloupe Island" de Herbie Hancock -- este CD se enfoca en los'50s y'60s, y los oyentes reciben una dosis gratificante de la introducción de Blue Note 101 con gemas como "Song for My Father" (Canción para mi padre) de Horace Silver, "Straight, No Chaser" (Heterosexual, sin chasquidos) de Thelonious Monk, y "Blue Train" (Tren azul) de John Coltrane. Sin embargo, cerca de la mitad de las selecciones no salieron en Blue Note originalmente -- fueron grabadas para Pacific Jazz, Roulette, o el Capitolio mismo. En los años 80, Blue Note/Capitol había adquirido los catálogos de Pacific Jazz y Roulette, lo que explica la presencia de la versión de 1961 de "Duke's Place" de Louis Armstrong y Duke Ellington y la interpretación definitiva de "Let's Get Lost" de Chet Baker en 1955. Ninguno de esos tesoros se registró para Blue Note, aunque eran propiedad de Blue Note/Capitol cuando se ensambló Blue Note Blend en 1995. Pero si Blue Note Blend se toma libertades, son buenas libertades. Lamentablemente, Blue Note no proporciona fechas exactas de grabación ni una lista de todos los músicos y productores, lo cual es inexcusable. Sin embargo, la mayoría de las selecciones son de primera clase.
https://www.allmusic.com/album/blue-note-blend-vol-1-mw0001235036
Subscribe to:
Posts (Atom)