Legends of Jazz with Ramsey Lewis - The Piano Masters (with Dave Brubeck & Dr. Billy Taylor. Season One, 2006 ep. 06)
Legends of Jazz with Ramsey Lewis - The Piano Masters (with Dave Brubeck & Dr. Billy Taylor. Season One, 2006 ep. 06) Art Tatum, Teddy Wilson, Oscar Peterson, Bud Powell, Count Basie and Duke Ellington are just some of the piano legends talked about by two living legends themselves - Dave Brubeck and Dr. Billy Taylor. The reputations of these two great legends are widely known and respected. Here they show us why. These two 85-year-old masters put on an incredible show in both solo and duet numbers, and offer fascinating reminiscences.
Setlist: SomeDay My Prince Will Come All the Things You Are Take the 'A' Train Jam
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 …
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).
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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 ...
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 …
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 …
Buddy Rich, Gene Krupa, Art Blakey, Elvin Jones, Roy Haynes, Jack DeJohnette, Max Roach, Clifford Brown, Tony Williams, Joe Lovano, Kenny Burrell, Horace Silver ...
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
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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
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 ...
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.
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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.
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.
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 ...
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.
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.
There are as many flavours of jazz as there are pebbles on a beach, but the majority combine rhythmic invention with instrumental virtuosity to create a sound that can transport the listener to a different plane. Whether your ear is caught by the saxophone of Earl Bostic or Eddie Harris, the flute of Herbie Mann, Ray Charles' effervescent keyboards (he played sax too) or the music of Cuban-born 'King of the Mambo' Perez Prado, whose 1958 US chart-topper 'Patricia' is familiar from countless movies and television ads, one thing is certain - the jazz instrumental still reigns supreme.
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Traducción Automática:
Hay tantos sabores de jazz como guijarros en una playa, pero la mayoría combina la invención rítmica con el virtuosismo instrumental para crear un sonido que puede transportar al oyente a un plano diferente. Si su oído es atrapado por el saxofón de Earl Bostic o Eddie Harris, la flauta de Herbie Mann, los teclados efervescentes de Ray Charles (también tocaba el saxofón) o la música del "Rey del Mambo" nacido en Cuba, Pérez Prado, cuyo 'Patricia', líder de la lista de éxitos de EE. UU., Es conocida por innumerables películas y anuncios de televisión, una cosa es cierta: el instrumental de jazz aún reina.
Hank
Mobley, Horace Silver, Dexter Gordon, Donald Byrd, Lou Donaldson, Art Blakey, Cannonball
Adderley, Jimmy Smith, Joe Henderson, Herbie Hancock, Various Artists, Lee Morgan,
Wayne Shorter, John Coltrane …
Turn off your mind, relax, and float downstream with this 11-CD box set gathering all 11 volumes in the classic Electric Psychedelic Sitar Headswirlers series. It's packed with Eastern-tinged rock, pop, and folk from the hippie heyday of the late '60s and early '70s, as well as the more recent psychedelic revival. Featuring over 200 tracks from acts from both sides of the Atlantic, as well as India, Germany, Sweden, Holland, Australia, and elsewhere, it comes complete with an 84-page full-color booklet offering background info, detailed biographies, full discographies, and rare photos, making it a truly essential trip back to psychedelia's incense-shrouded golden age. Includes tracks by Ray Brown & Moonstone, Linn County, J. K. & Co., Omega Redstar, The Basement Wall, Abacus, Bröselmaschine, Gualbert, Darius, Blonde on Blonde, The Pretty Things, The Frederic, The Flames, July, West Coast Pop Art Experimental Band, Fraternity of Man, The Misty Wizards, Ramases, C.O.B., Lord Sitar, The Vampires' Sound Incorporation, U.S. '69, Merrell Fankhauser & HMS Bounty, The Paper Garden, Meic Stevens, State of Micky & Tommy, The Ghost, Mandrake Memorial, 1st Century, People, Sagram, Bobby Callender, Mushroom's God, The Orient Express, Elmer Gantry's Velvet Opera, Erkin Koray, Popol Vuh, Brainticket, Chocolate Watch Band, Big Jim Sullivan, Dr. Timothy Leary, The Mops, The Amboy Dukes, S.t. Mikael, Strawberry Alarm Clock, Saffron, Truth, United States of Existence, Train, The Third Rail, Hurdy Gurdy, The Mystic Astrologic Crystal Band, Chim Kothari, Them, The Storybook, Krokodil, Mecki Mark Men, Stunt's Blue Leg Expedition, The Ugly Ducklings, Johnny Thompson Quintet, Moonkyte, Dantalian's Chariot, Nick Carter, The Twilights, The Folkswingers, Ananda Shankar, The New Tweedy Brothers, Wizz Jones, Kuni Kawachi & Flower Travellin' Band, Full Moon Band, A Little Bit of Sound, The Lemon Pipers, Mehrpoojah, Popera Cosmic, The Book of Am, Shocking Blue, The Poppy Family, Magic Carpet, Wendy Kasselman, Elyse Weinberg, Calendula, Montreal, Fit & Limo, Pentangle, Red Chair Fadeaway, Sheila Chandra, Sally Eaton, The Wyld Olde Souls, Kali Bahlu, Tomorrow, Shiny Gnomes, The Fox, The Cosmic Gardens, The Nova Local, Family, Joseph, Cheops, 3 Hür-El, Grail, Tømrerclaus, Paroni Paakkunainen, Magna Carta, Click, Catharsis, The Fallen Angels, Violeta de Outono, The David, Euclid, The Unspoken Word, Oriental Sunshine, Wolfgang Dauner Quintet, Bit 'a Sweet, Flower Travellin' Band, Tales of Justine, Saddhu Brand, Oregon, Lawson & 4 More, Pregnant Insomnia, The Mirage, Brand X, The Churchills, Bill Plummer & The Cosmic Brotherhood, Boeing Duveen & The Beautiful Soup, David Hemmings, Gates of Freedom, The Koala, Blossom Toes, 101 Strings, Greenwood, Curlee & Thompson, The Forum Quorum, Iron Butterfly, John Renbourn, Charlie & Esdor, The Living Room, The Seventh Seal, Balsara & His Singing Sitars, Humble Pie, Quintessence, Sri Atma, Apocalypse, No Strange, Gandalf, The Zodiac, The Surprise Symphony, Universe, Alex, The Dave Pike Set, Gábor Szabó, The Superfine Dandelion, The Hobbits, Chad & Jeremy, Pierrot Lunaire, J. A. Seazer, Galliard, Shawn Phillips, Brian Bennett, Sopwith Camel, Rick Hayward, The Honeydew, The Flower Pot, The Sugar Shoppe, Doug McArthur, Rebecca and the Sunny Brook Farmers, William Truckaway, The Ceyleib People, Twinn Connexion, The Free Spirits, The World of Oz, The Virgin Sleep, Tony Scott, Chris Thompson, Volker Kriegel, Indo-British Ensemble, Raw, The Panbers, The Whatt Four, Zoot Money, The Morgans, The Lewis and Clarke Expedition, Gordon Jackson, Friend & Lover, Sagittarius, and Blue Cheer https://www.forcedexposure.com/Catalog/va-electric-psychedelic-sitar-headswirlers-volumes-1-11-11cd-box/RUBBOX.006CD.html
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Desconecta tu mente, relájate y flota río abajo con esta caja de 11 CDs que reúne los 11 volúmenes de la clásica serie Electric Psychedelic Sitar Headswirlers. Está repleto de rock, pop y folk con tintes orientales del apogeo hippie de finales de los 60 y principios de los 70, así como del renacimiento psicodélico más reciente. Con más de 200 temas de artistas de ambos lados del Atlántico, así como de la India, Alemania, Suecia, Holanda, Australia y otros lugares, se completa con un libreto de 84 páginas a todo color que ofrece información de fondo, biografías detalladas, discografías completas y fotos raras, convirtiéndolo en un viaje verdaderamente esencial a la edad de oro de la psicodelia envuelta en incienso. Incluye temas de Ray Brown & Moonstone, Linn County, J. K. & Co., Omega Redstar, The Basement Wall, Abacus, Bröselmaschine, Gualbert, Darius, Blonde on Blonde, The Pretty Things, The Frederic, The Flames, July, West Coast Pop Art Experimental Band, Fraternity of Man, The Misty Wizards, Ramases, C.O.B., Lord Sitar, The Vampires' Sound Incorporation, U.S. '69, Merrell Fankhauser & HMS Bounty, The Paper Garden, Meic Stevens, State of Micky & Tommy, The Ghost, Mandrake Memorial, 1st Century, People, Sagram, Bobby Callender, Mushroom's God, The Orient Express, Elmer Gantry's Velvet Opera, Erkin Koray, Popol Vuh, Brainticket, Chocolate Watch Band, Big Jim Sullivan, Dr. Timothy Leary, The Mops, The Amboy Dukes, S.t. Mikael, Strawberry Alarm Clock, Saffron, Truth, United States of Existence, Train, The Third Rail, Hurdy Gurdy, The Mystic Astrologic Crystal Band, Chim Kothari, Them, The Storybook, Krokodil, Mecki Mark Men, Stunt's Blue Leg Expedition, The Ugly Ducklings, Johnny Thompson Quintet, Moonkyte, Dantalian's Chariot, Nick Carter, The Twilights, The Folkswingers, Ananda Shankar, The New Tweedy Brothers, Wizz Jones, Kuni Kawachi & Flower Travellin' Band, Full Moon Band, A Little Bit of Sound, The Lemon Pipers, Mehrpoojah, Popera Cosmic, The Book of Am, Shocking Blue, The Poppy Family, Magic Carpet, Wendy Kasselman, Elyse Weinberg, Calendula, Montreal, Fit & Limo, Pentangle, Red Chair Fadeaway, Sheila Chandra, Sally Eaton, The Wyld Olde Souls, Kali Bahlu, Tomorrow, Shiny Gnomes, The Fox, The Cosmic Gardens, The Nova Local, Family, Joseph, Cheops, 3 Hür-El, Grail, Tømrerclaus, Paroni Paakkunainen, Magna Carta, Click, Catharsis, The Fallen Angels, Violeta de Outono, The David, Euclid, The Unspoken Word, Oriental Sunshine, Wolfgang Dauner Quintet, Bit 'a Sweet, Flower Travellin' Band, Tales of Justine, Saddhu Brand, Oregon, Lawson & 4 More, Pregnant Insomnia, The Mirage, Brand X, The Churchills, Bill Plummer & The Cosmic Brotherhood, Boeing Duveen & The Beautiful Soup, David Hemmings, Gates of Freedom, The Koala, Blossom Toes, 101 Strings, Greenwood, Curlee & Thompson, The Forum Quorum, Iron Butterfly, John Renbourn, Charlie & Esdor, The Living Room, The Seventh Seal, Balsara & His Singing Sitars, Humble Pie, Quintessence, Sri Atma, Apocalypse, No Strange, Gandalf, The Zodiac, The Surprise Symphony, Universe, Alex, The Dave Pike Set, Gábor Szabó, The Superfine Dandelion, The Hobbits, Chad & Jeremy, Pierrot Lunaire, J. A. Seazer, Galliard, Shawn Phillips, Brian Bennett, Sopwith Camel, Rick Hayward, The Honeydew, The Flower Pot, The Sugar Shoppe, Doug McArthur, Rebecca and the Sunny Brook Farmers, William Truckaway, The Ceyleib People, Twinn Connexion, The Free Spirits, The World of Oz, The Virgin Sleep, Tony Scott, Chris Thompson, Volker Kriegel, Indo-British Ensemble, Raw, The Panbers, The Whatt Four, Zoot Money, The Morgans, The Lewis and Clarke Expedition, Gordon Jackson, Friend & Lover, Sagittarius y Blue Cheer. https://www.forcedexposure.com/Catalog/va-electric-psychedelic-sitar-headswirlers-volumes-1-11-11cd-box/RUBBOX.006CD.html
The
marriage of music and social change didn’t originate with the movements
for civil rights and Black Power in the 1950s and 1960s, but never
before and never again was the relationship between the two so dynamic.
In Keep On Pushing, author Denise Sullivan presents the voices of
musician-activists from this pivotal era and the artists who followed
in their footsteps to become the force behind contemporary liberation
music. Joining authentic voices with a bittersweet narrative covering
more than fifty years of fighting oppression through song, Keep On Pushing defines the soundtrack to revolution and the price the artists paid to create it.
Exclusive
interviews with Yoko Ono, Richie Havens, Len Chandler, Buffy
Sainte-Marie, Michael Franti, Solomon Burke, Wayne Kramer, John
Sinclair, Phranc, plus musician-activist Elaine Brown on the Black
Panthers, Nina Simone collaborator Al Schackman, Penelope Houston and
Debora Iyall on San Francisco punk rock, Ed Pearl on the L.A. folk scene
and the Ash Grove, and other musical and political icons.
Reviews:
This is one of those something-for-everybody CDs (e.g., a blues, some
ballads and standards) that succeeds on every count. Guitarist Ponder's
playing is a real treat for the head and heart and his rhythm section
digs in with just the right amount of passion. Pianist Mark Soskins
gently sways the Buddy Johnson hit, "Since I Fell for You" (which seems
to be getting a lot of well-deserved attention lately) and swings "Satin
Doll". Bassist Peter Washington and drummer Roger Humphrey provide
solid and unobtrusive support throughout this seven-track disc. Among
the selections are a gorgeously relaxed "Moonlight in Vermont" (shades
of Johnny Smith) and a super uptempo "Softly, As In A Morning Sunrise". ~
Miles Jordan, JazzTimes.
https://jazztimes.com/reviews/albums/jimmy-ponder-something-to-ponder/
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Reviews:
This is one of those something-for-everybody CDs (e.g., a blues, some
ballads and standards) that succeeds on every count. Guitarist Ponder's
playing is a real treat for the head and heart and his rhythm section
digs in with just the right amount of passion. Pianist Mark Soskins
gently sways the Buddy Johnson hit, "Since I Fell for You" (which seems
to be getting a lot of well-deserved attention lately) and swings "Satin
Doll". Bassist Peter Washington and drummer Roger Humphrey provide
solid and unobtrusive support throughout this seven-track disc. Among
the selections are a gorgeously relaxed "Moonlight in Vermont" (shades
of Johnny Smith) and a super uptempo "Softly, As In A Morning Sunrise". ~
Miles Jordan, JazzTimes.
https://jazztimes.com/reviews/albums/jimmy-ponder-something-to-ponder/
Classic recordings for Decca were cut between July 1937 and February 1939. The band line-up included the twin tenor sax threat of Lester Young and Herschel Evans, the All American Rhythm Section of Freddy Green (guitar), Walter Page (bass), Jo Jones (drums) and the Count himself on piano.
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Las grabaciones clásicas para Decca fueron cortadas entre julio de 1937 y febrero de 1939. La formación de la banda incluía la amenaza del saxo tenor gemelo de Lester Young y Herschel Evans, la sección rítmica americana de Freddy Green (guitarra), Walter Page (bajo), Jo Jones (batería) y el propio Conde en el piano.
Biography by Scott Yanow 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. https://www.allmusic.com/artist/barney-kessel-mn0000784527#biography
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Biografía de Scott Yanow Uno
de los mejores guitarristas que surgieron después de la muerte de
Charlie Christian, Barney Kessel fue un solista confiable de bop a lo
largo de su carrera. Tocó con una big band liderada por Chico Marx
(1943), tuvo la suerte de aparecer en el clásico corto de jazz Jammin'
the Blues (1944) y luego trabajó con las big bands de Charlie Barnet
(1944-1945) y Artie Shaw (1945); también grabó con Gramercy Five de
Shaw. Kessel se convirtió en un músico de estudio ocupado en Los
Ángeles, pero siempre tuvo demanda de discos de jazz. Estuvo de gira con
el Trío Oscar Peterson durante un año (1952-1953) y luego, a partir de
1953, dirigió una impresionante serie de discos contemporáneos que
duraron hasta 1961 (incluidos varios con Ray Brown y Shelly Manne en un
trío llamado con precisión the Poll Winners). Después de recorrer Europa
con Newport All-Stars de George Wein (1968) , Kessel vivió en Londres
durante un tiempo (1969-1970). En 1973, comenzó a hacer giras y grabar
con The Great Guitars, un grupo que también incluía a Herb Ellis y
Charlie Byrd. Un derrame cerebral grave en 1992 dejó a Barney Kessel
permanentemente fuera de acción, pero muchos de sus discos (que incluyen
fechas de Onyx, Black Lion, Sonet y Concord, además de muchos de los
Contemporáneos) están disponibles, junto con varias colecciones de
videos publicadas por Vestapol. Kessel fue diagnosticado con cáncer
inoperable en 2001, que finalmente le quitó la vida en mayo de 2004.
Tenía 80 años. https://www.allmusic.com/artist/barney-kessel-mn0000784527#biography
‘Mabern plays Mabern’ es el tributo que el club y disquera neoyorquina Smoke le dedica al pianista Harold Mabern, fallecido el 19 de septiembre de 2019 a los 83 años de edad.
La pretensión inicial de los responsables del Smoke Jazz Club era lanzarlo con motivo del 84 cumpleaños del pianista, que había nacido un 20 de marzo de 1936 en Memphis (Tennessee, USA).
Lamentablemente el disco no pudo editarse con él en vida, pero aun así y todo, el 20 de marzo de 2020 salió a la calle este estupendo ‘Mabern plays Mabern’.
El disco recoge parte de las actuaciones en directo en el Smoke celebradas el 5 y el 7 de enero de 2018.
Seis de los ocho temas del disco son composiciones de Harold Mabern que han ido apareciendo a lo largo del tiempo en su discografía y las otras dos las compuso el pianista junto a su fiel saxofonista Eric Alexander, con quien compartió su carrera durante los últimos años.
La mitad de las composiciones de Marben que aquí aparecen, están dedicadas a músicos de jazz con lo que en su juventud y madurez tocó. De esta forma, el tema que abre el disco, ‘Mr. Johnson’, está dedicado al trombonista J. J. Johnson, mientras que ‘Edward Lee’ hace referencia a Lee Morgan, o ‘The Beehive’ que hace referencia al club de jazz de Chicago donde en 1955 Mabern escuchó por primera vez a Charlie ‘Bird’ Parker.
Excepto ‘Lover man’, una balada compuesta por Mabern y Alexander, el resto de los temas hace honor al jazz que siempre tocó el pianista originario de Memphis: un hard bop rápido, intenso, incansable.
Acompañado por un sexteto que no sólo arropa sino que tiene personalidad propia, ‘Mabern plays Mabern’ se muestra como un disco de jazz puro, auténtico, honesto, sin medias tintas, que se disfruta de principio a fin.
Sin duda, un disco muy recomendable para todos los aficionados al jazz. Y. M. http://www.distritojazz.com/discos-jazz/harold-mabern-mabern-plays-mabern
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Mabern plays Mabern' is the tribute that the New York club and record company Smoke dedicates to the pianist Harold Mabern, who died on September 19, 2019 at the age of 83.
The initial intention of those responsible for the Smoke Jazz Club was to launch it on the occasion of the 84th birthday of the pianist, who was born on March 20, 1936 in Memphis (Tennessee, USA).
Unfortunately, the record could not be released with him during his lifetime, but even so, on March 20th, 2020, this wonderful 'Mabern plays Mabern' was released.
The disc collects part of the live performances in the Smoke celebrated on the 5th and 7th of January 2018.
Six of the eight themes of the disc are compositions of Harold Mabern that have been appearing throughout the time in his discography and the other two were composed by the pianist together with his faithful saxophonist Eric Alexander, with whom he shared his career during the last years.
Half of Marben's compositions that appear here are dedicated to jazz musicians with what he played in his youth and maturity. In this way, the theme that opens the album, 'Mr. Johnson', is dedicated to trombonist J. J. Johnson, while 'Edward Lee' refers to Lee Morgan, or 'The Beehive' which refers to the jazz club in Chicago where in 1955 Mabern first heard Charlie 'Bird' Parker.
Except for 'Lover man', a ballad composed by Mabern and Alexander, the rest of the songs honor the jazz that the Memphis-born pianist always played: a fast, intense, tireless hard bop.
Accompanied by a sextet that not only tucks in but has its own personality, 'Mabern plays Mabern' is shown to be a pure, authentic, honest jazz album, without half-measures, that can be enjoyed from beginning to end.
Without a doubt, it is a highly recommendable album for all jazz fans. Y. M. http://www.distritojazz.com/discos-jazz/harold-mabern-mabern-plays-mabern
Biography by Scott Yanow One
of the all-time great tenor saxophonists, Stan Getz was known as "The
Sound." He possessed one of the most beautiful tones in all of jazz, and
was among the greatest of melodic improvisers. His main early influence
was Lester Young, but he grew to influence generations of players
himself and never stopped evolving as a musician. Getz was an
extraordinary improviser who created a distinctive sound and vocabulary.
Getz's solos managed to meld lush romanticism with jazz's sense of
physical toughness. He preferred ballads and medium-tempo tunes, though
he was equally gifted at performing uptempo numbers. His emotional solos
communicated directly and simply, revealing a canny yet innate logic.
Getz recorded over 150 albums during his lifetime, and several are
considered jazz classics: Stan Getz Plays in 1955, Focus from 1961 with
arranger and composer Eddie Sauter, and Jazz Samba from 1962 with
guitarist Charlie Byrd, which brought Brazil's bossa nova to American
shores. In 1964, the groundbreaking Getz/Gilberto album won several
Grammy awards while the single "The Girl from Ipanema" crossed over to
pop radio and became a worldwide hit. During the late '60s and the '70s,
his playing became more athletic: Sweet Rain in 1967, Change of Scenes
with the Clarke-Boland Big Band in 1971, and Captain Marvel in 1974
offered excellent examples of his bona fides in progressive jazz and
fusion. Getz's final album, People Time, was a live double-length duo
set with pianist Kenny Barron. Issued shortly after his death from liver
cancer in 1992, it is a distillation of all of his gifts.
Getz
was born in Philadelphia in 1927, but moved to the Bronx as a youngster
during the Depression as his family sought jobs. From the time he was
six, he began playing along with the radio on a harmonica. Anywhere he
went, if there were musical instruments around Getz would gravitate to
them. His father bought him a saxophone and clarinet when he was 13. In
1941, he was accepted into the All City High School Orchestra of New
York City. At age 16 in 1943, he dropped out of school and became the
ward of trombonist and bandleader Jack Teagarden while playing in his
band. This was followed by stints with Stan Kenton (1944-1945), Jimmy
Dorsey (1945), and Benny Goodman (1945-1946); he soloed on a few records
with Goodman. Getz, who had his recording debut as a leader in July
1946 with four titles, became famous during his period with Woody
Herman's Second Herd (1947-1949), soloing (along with Zoot Sims, Herbie
Steward, and Serge Chaloff) on the original version of "Four Brothers,"
and having his sound well-featured on the ballad "Early Autumn." After
leaving Herman, Getz was (with the exception of some tours with Jazz at
the Philharmonic) a leader for the rest of his life.
During the
early '50s, he broke away from the Lester Young style to form his own
musical identity, and he was soon among the most popular of all jazzmen.
He discovered Horace Silver in 1950 and used him in his quartet for
several months. After touring Sweden in 1951, he formed an exciting
quintet that co-featured guitarist Jimmy Raney; their interplay on
uptempo tunes and tonal blend on ballads were quite memorable. Getz's
playing helped Johnny Smith have a hit in "Moonlight in Vermont"; during
1953-1954, Bob Brookmeyer made his group a quintet and, despite some
drug problems during the decade, Getz was a constant poll winner. After
spending 1958-1960 in Europe, the tenor man returned to the U.S. and
recorded his personal favorite, Focus, with arranger Eddie Sauter's
Orchestra. Then, in February 1962, Getz helped usher in the bossa nova
era by recording Jazz Samba with Charlie Byrd; their rendition of
"Desafinado" was a big hit. During the next year, Getz made bossa
nova-flavored albums with Gary McFarland's big band, Luiz Bonfá, and
Laurindo Almeida, but it was Getz/Gilberto (a collaboration with Antonio
Carlos Jobim and João Gilberto) that was his biggest seller, thanks in
large part to "The Girl from Ipanema" (featuring the vocals of Astrud
and João Gilberto).
Getz could have spent the next decade
sticking to bossa nova, but instead he de-emphasized the music and chose
to play more challenging jazz. His regular group during this era was a
piano-less quartet with vibraphonist Gary Burton, he recorded with Bill
Evans (1964), played throughout the 1965 Eddie Sauter soundtrack for
Mickey One, and made the classic album Sweet Rain (1967) with Chick
Corea. Although not all of Getz's recordings from the 1966-1980 period
are essential, he proved that he was not afraid to take chances. Dynasty
with organist Eddie Louiss (1971), Captain Marvel with Chick Corea
(1972), and The Peacocks with Jimmy Rowles (1975) are high points. After
utilizing pianist Joanne Brackeen in his 1977 quartet, Getz explored
some aspects of fusion with his next unit, which featured keyboardist
Andy Laverne. Getz even used an Echoplex on a couple of songs but,
despite some misfires, most of his dates with this unit are worthwhile.
However, purists were relieved when he signed with Concord in 1981 and
started using a purely acoustic backup trio on most dates.
In
1987, Getz had a large tumor removed from behind his heart. Subsequent
tests revealed that he had liver cancer and cirrhosis, most likely due
to years of substance abuse. Undeterred, Getz embarked on a strict,
herbal-based diet hoping to treat the lymphoma. By fall 1988, MRI scans
revealed that the tumor had dramatically shrunk in size. Buoyed by the
good news, Getz remained active, touring with pianist Kenny Barron and
recording the albums Apasionado (1990) with Herb Alpert and You Gotta
Pay the Band (1990) with vocalist Abbey Lincoln. Sadly, Getz's cancer
never fully abated and he died on June 6, 1991 at age 64. His final
recording, 1991's People Time, is a brilliant duet set with Barron.
While most of his catalog was remastered and reissued in subsequent
years, 2019 saw the release of Getz at the Gate from Verve, a previously
unissued recording from November 26, 1961 where he was backed by his
short-lived "Boston Band" with pianist Steve Kuhn, drummer Roy Haynes,
and bassist John Neves. https://www.allmusic.com/artist/stan-getz-mn0000742899#biography
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Biografía de Scott Yanow Stan
Getz, uno de los mejores saxofonistas tenores de todos los tiempos, era
conocido como "El Sonido". Poseía uno de los tonos más bellos de todo
el jazz y se contaba entre los mejores improvisadores melódicos. Su
principal influencia temprana fue Lester Young, pero él mismo influyó en
generaciones de músicos y nunca dejó de evolucionar como músico. Getz
fue un improvisador extraordinario que creó un sonido y un vocabulario
distintivos. Los solos de Getz conseguían fusionar el romanticismo
exuberante con el sentido de dureza física del jazz. Prefería las
baladas y los temas a medio tempo, aunque también era capaz de
interpretar temas a un tempo más alto. Sus emotivos solos comunicaban de
forma directa y sencilla, revelando una lógica astuta e innata. Getz
grabó más de 150 álbumes a lo largo de su vida, varios de los cuales se
consideran clásicos del jazz: Stan Getz Plays en 1955, Focus de 1961 con
el arreglista y compositor Eddie Sauter, y Jazz Samba de 1962 con el
guitarrista Charlie Byrd, que llevó la bossa nova brasileña a las costas
americanas. En 1964, el innovador álbum Getz/Gilberto ganó varios
premios Grammy, mientras que el sencillo "The Girl from Ipanema" pasó a
la radio pop y se convirtió en un éxito mundial. A finales de los 60 y
en los 70, su forma de tocar se hizo más atlética: Sweet Rain en 1967,
Change of Scenes con la Clarke-Boland Big Band en 1971 y Captain Marvel
en 1974 ofrecieron excelentes ejemplos de su buena fe en el jazz
progresivo y la fusión. El último álbum de Getz, People Time, era un
doble dúo en directo con el pianista Kenny Barron. Publicado poco
después de su muerte por cáncer de hígado en 1992, es una destilación de
todos sus dones.
Getz nació en Filadelfia en 1927, pero se
trasladó al Bronx de joven durante la Depresión, cuando su familia
buscaba trabajo. A los seis años empezó a tocar la armónica con la
radio. Fuera donde fuera, si había instrumentos musicales cerca, Getz se
acercaba a ellos. Su padre le compró un saxofón y un clarinete cuando
tenía 13 años. En 1941, fue aceptado en la All City High School
Orchestra de Nueva York. A los 16 años, en 1943, abandonó los estudios y
se convirtió en pupilo del trombonista y director de orquesta Jack
Teagarden mientras tocaba en su banda. A continuación trabajó con Stan
Kenton (1944-1945), Jimmy Dorsey (1945) y Benny Goodman (1945-1946), con
quien grabó varios discos en solitario. Getz, que hizo su debut
discográfico como líder en julio de 1946 con cuatro títulos, se hizo
famoso durante su periodo con el Second Herd de Woody Herman
(1947-1949), actuando como solista (junto a Zoot Sims, Herbie Steward y
Serge Chaloff) en la versión original de "Four Brothers", y haciendo que
su sonido quedara bien reflejado en la balada "Early Autumn". Tras
dejar a Herman, Getz fue (con la excepción de algunas giras con Jazz at
the Philharmonic) líder el resto de su vida.
A principios de los
años 50, rompió con el estilo de Lester Young para formar su propia
identidad musical, y pronto se convirtió en uno de los jazzistas más
populares. Descubrió a Horace Silver en 1950 y lo utilizó en su cuarteto
durante varios meses. Tras una gira por Suecia en 1951, formó un
excitante quinteto en el que también tocaba el guitarrista Jimmy Raney;
su interacción en los temas de ritmo rápido y su fusión tonal en las
baladas fueron memorables. La forma de tocar de Getz ayudó a Johnny
Smith a tener un éxito con "Moonlight in Vermont"; durante 1953-1954,
Bob Brookmeyer convirtió su grupo en un quinteto y, a pesar de algunos
problemas con las drogas durante la década, Getz fue un constante
ganador en las encuestas. Tras pasar 1958-1960 en Europa, el tenor
regresó a Estados Unidos y grabó su favorito personal, Focus, con la
orquesta del arreglista Eddie Sauter. Luego, en febrero de 1962, Getz
ayudó a inaugurar la era de la bossa nova grabando Jazz Samba con
Charlie Byrd; su interpretación de "Desafinado" fue un gran éxito.
Durante el año siguiente, Getz grabó álbumes con sabor a bossa nova con
la big band de Gary McFarland, Luiz Bonfá y Laurindo Almeida, pero fue
Getz/Gilberto (una colaboración con Antonio Carlos Jobim y João
Gilberto) su disco más vendido, gracias en gran parte a "The Girl from
Ipanema" (con las voces de Astrud y João Gilberto).
Getz
podría haberse pasado la década siguiente dedicándose a la bossa nova,
pero en lugar de ello restó importancia a esta música y optó por tocar
un jazz más desafiante. Su grupo habitual durante esta época fue un
cuarteto sin piano con el vibrafonista Gary Burton, grabó con Bill Evans
(1964), tocó en 1965 en la banda sonora de Eddie Sauter para Mickey One
y grabó el álbum clásico Sweet Rain (1967) con Chick Corea. Aunque no
todas las grabaciones de Getz del periodo 1966-1980 son esenciales,
demostró que no tenía miedo a arriesgarse. Dynasty con el organista
Eddie Louiss (1971), Captain Marvel con Chick Corea (1972) y The
Peacocks con Jimmy Rowles (1975) son algunos de sus mejores trabajos.
Tras utilizar a la pianista Joanne Brackeen en su cuarteto de 1977, Getz
exploró algunos aspectos de la fusión con su siguiente unidad, que
contaba con el teclista Andy Laverne. Getz incluso utilizó un Echoplex
en un par de canciones pero, a pesar de algunos fallos, la mayoría de
sus citas con esta unidad merecen la pena. Sin embargo, los puristas se
sintieron aliviados cuando firmó con Concord en 1981 y empezó a utilizar
un trío de acompañamiento puramente acústico en la mayoría de las
fechas.
En 1987, a Getz le extirparon un gran tumor detrás del
corazón. Las pruebas posteriores revelaron que padecía cáncer de hígado y
cirrosis, probablemente debido a años de abuso de sustancias. Sin
inmutarse, Getz se embarcó en una estricta dieta a base de hierbas con
la esperanza de tratar el linfoma. En otoño de 1988, las resonancias
magnéticas revelaron que el tumor había disminuido drásticamente de
tamaño. Animado por la buena noticia, Getz siguió activo, de gira con el
pianista Kenny Barron y grabando los álbumes Apasionado (1990) con Herb
Alpert y You Gotta Pay the Band (1990) con la vocalista Abbey Lincoln.
Por desgracia, el cáncer de Getz nunca remitió del todo y murió el 6 de
junio de 1991 a los 64 años. Su última grabación, People Time (1991), es
un brillante dúo con Barron. Aunque la mayor parte de su catálogo se
remasterizó y reeditó en años posteriores, en 2019 se publicó Getz at
the Gate de Verve, una grabación inédita del 26 de noviembre de 1961 en
la que estaba respaldado por su efímera "Boston Band" con el pianista
Steve Kuhn, el batería Roy Haynes y el bajista John Neves. https://www.allmusic.com/artist/stan-getz-mn0000742899#biography
On this, their fourth studio album, you are treated to the unexpected missing link between James Taylor Quartet's early mod-cum-spy theme sound and the later polished acid jazz feel (which carried the band through to be the respected pioneer figures they are today) without sounding exactly like either of them.
Having landed themselves with the big-budget U.K. label Polydor, James Taylor found he could indulge himself with the best in big jazz-funk sounds, employing what sounded suspiciously like more than a "quartet" to produce a collection of bold and brassy numbers that escalated the sounds of Johnny Hammond and Booker T into the late '80s. The album begins as it finishes, with a touching yet relentless jazz-rock instrumental groove combining clever chord structures and strong piano flourishes gliding over, of course, Taylor's trademark whirring Hammond organ. As ever, it's with this tool that Taylor guides the listener's focus (hence the title), on this record especially, as all but two of the songs are instrumental, a fact you would only subliminally realize as the organ and brass lay down strong melodies. In fact, the only real inclusion of vocals comes courtesy of Cleveland Watkiss on "It Doesn't Matter," a feel-good jive-inspired mid-tempo track, and the anthemic "Breakout," which gives the band a brief chance to exercise their vocal chords. Elsewhere, the listener is treated to cool modern boogaloos and bossa novas as Taylor proves he's more than just adept on the ivories, but a capable arranger as well.
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Reseña de Owen Guthrie-Jones
En este, su cuarto álbum de estudio, se te presenta el inesperado eslabón perdido entre el sonido de los primeros temas de mod-cum-spy de James Taylor Quartet y el posterior y pulido acid jazz feel (que llevó a la banda a ser las respetadas figuras pioneras que son hoy en día) sin que suene exactamente como ninguno de ellos.
Habiendo aterrizado con el sello británico de gran presupuesto Polydor, James Taylor descubrió que podía darse el gusto de disfrutar de lo mejor del jazz-funk, empleando lo que sonaba sospechosamente como algo más que un "cuarteto" para producir una colección de números atrevidos y descarados que elevaron los sonidos de Johnny Hammond y Booker T a finales de los 80. El álbum comienza y termina con un conmovedor pero implacable ritmo instrumental de jazz-rock, que combina ingeniosas estructuras de acordes y fuertes florituras de piano, deslizándose, por supuesto, sobre el característico órgano de Hammond de Taylor. Como siempre, es con esta herramienta que Taylor guía el enfoque del oyente (de ahí el título), especialmente en este disco, ya que todas las canciones, excepto dos, son instrumentales, un hecho del que sólo te darías cuenta de forma subliminal, ya que el órgano y los metales establecen fuertes melodías. De hecho, la única inclusión real de voces viene por cortesía de Cleveland Watkiss en "It Doesn't Matter", una pista de ritmo medio inspirada en el jive, y el himno "Breakout", que da a la banda una breve oportunidad de ejercitar sus cuerdas vocales. En otro lugar, el oyente es tratado con modernos boogaloos y bossa novas, ya que Taylor demuestra que es más que un adepto a los marfiles, sino también un hábil arreglista.
