Setlist:
1. Mantiz
2. Saisir
3. Magrouni
4. Live
Musicians:
Erik Truffaz (trompette)
Patrick Muller (claviers)
Marc Erbette (batterie)
Marcello Gullian (basse)
Setlist:
1. Mantiz
2. Saisir
3. Magrouni
4. Live
Musicians:
Erik Truffaz (trompette)
Patrick Muller (claviers)
Marc Erbette (batterie)
Marcello Gullian (basse)
Setlist:
Hipping the Hop
(George Benson cover)
Souly Crele
Gee, Baby, Ain't I Good to You?
(Don Redman cover)
Me, Myself and I
Rainy Night in Georgia
(Tony Joe White cover)
Feeling Good
End of the Line
(Nina Simone cover)
This Bitter Earth
Happiness Is a Thing Called Joe
(Harold Arlen cover)
Tell Me More and Then Some
Everybody's Talkin'
(Fred Neil cover)
One Day I'll Fly Away
(Randy Crawford cover)
Rio de Janeiro Blue
(Richard Torrance cover)
Street Life
(The Crusaders cover)
Almaz
(Randy Crawford cover)
Musicians:
Randy Crawford — Cantante de jazz
Leon Bisquera — Pianista
Raymond Weber — Baterista
Nicklas Sample — Contrabajista
Roli Bärlocher — Realizador
Setlist:
Come On, Let's Go
(Ritchie Valens cover)
The Neighborhood
Shakin' Shakin' Shakes
Set Me Free (Rosa Lee)
La venganza de los pelados
Will the Wolf Survive?
Más y más
I Can't Understand / Papa Was a Rolling Stone
Kiko and the Lavender Moon
Volver, volver
(Vicente Fernández cover)
La bamba
(Ritchie Valens cover)
Good Lovin'
(The Young Rascals cover) (with "La bamba" reprise at the end)
Don't Worry Baby
Musicians:
Louie Perez dr,g,perc,voc, Steve Berlin, s, perc, fl, harm,melodica, Cesar Rosas, voc,g, mand, Conrad Lozano, b,Guitarron,voc, David Hidalgo, voc,g,accord,perc,b,keys,melodica,dr,v,banjo, Enrique "Bugs" Gonzalez, dr,perc.
"The
Language of the Unknown" enters to the universe of one of the last
living saxophone legends of Jazz. Wayne Shorter's maxim is to reinvent
his music in each concert always again in the radical originality. After
his legendary work with the Art Blakey's Jazz Messengers, the Second
Miles Davis Quintet and his years with Weather Report in the year 2000,
Wayne Shorter formed the Wayne Shorter Quartet. This group provides him
with the freedom to reinvent and form his music always again. He sees
the celebrated soloists Brian Blade, John Patitucci and Danilo Pérez
less as sidemen but rather as equal elements of an organism. They call
their method 'Zero Gravity', an original state of music which they
always re-conjure in the interaction, and which is the basis of their
explorative journeys into new musical territory."The Language of the
Unknown" accompanies the great saxophonist and his band with a concert
on November 3, 2012, in the Salle Pleyel in Paris and observes the
effect of the music on their creators, who are normally much too busy
with creating the new rather than to deal with music already played.
Surprising insights into the essence of their music open up, as well as
the realization that true Creator-Spirit goes far beyond pure
virtuosity.
wayneshorterofficial.com ...
"The Language of the Unknown" enters to the universe of one of the last living saxophone legends of Jazz. Wayne Shorter's maxim is to reinvent his music in each concert always again in the radical originality. After his legendary work with the Art Blakey's Jazz Messengers, the Second Miles Davis Quintet and his years with Weather Report in the year 2000, Wayne Shorter formed the Wayne Shorter Quartet. This group provides him with the freedom to reinvent and form his music always again. He sees the celebrated soloists Brian Blade, John Patitucci and Danilo Pérez less as sidemen but rather as equal elements of an organism. They call their method 'Zero Gravity', an original state of music which they always re-conjure in the interaction, and which is the basis of their explorative journeys into new musical territory."The Language of the Unknown" accompanies the great saxophonist and his band with a concert on November 3, 2012, in the Salle Pleyel in Paris and observes the effect of the music on their creators, who are normally much too busy with creating the new rather than to deal with music already played. Surprising insights into the essence of their music open up, as well as the realization that true Creator-Spirit goes far beyond pure virtuosity.
wayneshorterofficial.com ...
Biography
by Matt Collar
An adept jazz guitarist with a clean attack and fluid, lyrical style, Russell Malone often plays in a swinging, straight-ahead style, weaving in elements of blues, gospel, and R&B. Born in Albany, Georgia in 1963, Malone first began playing guitar around age four on a toy instrument, quickly graduating to the real thing. Largely self-taught, he initially drew inspiration listening to the recordings of gospel and blues artists including the Dixie Hummingbirds and B.B. King. However, after seeing George Benson perform with Benny Goodman on a television show, Malone was hooked on jazz and began intently studying albums by legendary guitarists like Charlie Christian and Wes Montgomery.
By his twenties, Malone was an accomplished performer, and in 1988 he joined organist Jimmy Smith's band. Soon after, he also became a member of Harry Connick, Jr.'s big band, appearing on Connick's 1991 effort Blue Light, Red Light. With his growing reputation as a sideman, Malone next caught the attention of pianist/vocalist Diana Krall, with whom he would work throughout much of the '90s and 2000s. Also during this period, Malone appeared with a bevy of name artists including Branford Marsalis, Benny Green, Terell Stafford, Ray Brown, and others.
As a solo artist, Malone made his debut with 1992's Russell Malone, followed a year later by Black Butterfly. In 1999, he released Sweet Georgia Peach, which featured a guest appearance from pianist Kenny Barron. Malone kicked off the 2000s with several albums on Verve, including 2000's Look Who's Here and 2001's orchestral jazz-themed Heartstrings. He then moved to Maxjazz for 2004's Playground, featuring a guest appearance from saxophonist Gary Bartz, followed by 2010's Triple Play.
Over the next several years, Malone appeared on albums by Wynton Marsalis, Christian McBride, and Ron Carter, as well as Krall bandmate bassist Ben Wolfe. He returned to solo work in 2015 with the eclectic small-group album Love Looks Good on You, followed a year later by All About Melody, both on HighNote. In 2017, he delivered his third HighNote album, Time for the Dancers, featuring his quartet with pianist Rick Germanson, bassist Luke Sellick, and drummer Willie Jones III.
https://www.allmusic.com/artist/russell-malone-mn0000808613/biography
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Biografía
por Matt Collar
Adepto guitarrista de jazz con un ataque limpio y un estilo fluido y lírico, Russell Malone toca a menudo con un estilo swing y directo, entrelazando elementos de blues, gospel y R&B. Nacido en Albany, Georgia, en 1963, Malone empezó a tocar la guitarra a los cuatro años con un instrumento de juguete, y pronto pasó a tocar la guitarra de verdad. De formación autodidacta, al principio se inspiró en las grabaciones de artistas de gospel y blues como los Dixie Hummingbirds y B.B. King. Sin embargo, tras ver a George Benson tocar con Benny Goodman en un programa de televisión, Malone se enganchó al jazz y empezó a estudiar atentamente discos de guitarristas legendarios como Charlie Christian y Wes Montgomery.
A los veinte años, Malone ya era un consumado intérprete, y en 1988 se unió a la banda del organista Jimmy Smith. Poco después, se convirtió en miembro de la big band de Harry Connick, Jr. y apareció en el álbum de Connick de 1991 Blue Light, Red Light. Con su creciente reputación como músico de acompañamiento, Malone llamó la atención de la pianista y vocalista Diana Krall, con quien trabajó durante gran parte de los años 90 y 2000. También durante este periodo, Malone actuó con un grupo de artistas de renombre como Branford Marsalis, Benny Green, Terell Stafford y Ray Brown, entre otros.
Como solista, Malone debutó con Russell Malone en 1992, seguido un año después por Black Butterfly. En 1999 publicó Sweet Georgia Peach, que contó con la participación del pianista Kenny Barron. Malone inició la década de 2000 con varios álbumes en Verve, entre ellos Look Who's Here, de 2000, y Heartstrings, de 2001, de temática jazz orquestal. Luego pasó a Maxjazz para Playground (2004), con la participación del saxofonista Gary Bartz, y Triple Play (2010).
En los años siguientes, Malone apareció en álbumes de Wynton Marsalis, Christian McBride y Ron Carter, así como del bajista Ben Wolfe, compañero de banda de Krall. Volvió a trabajar en solitario en 2015 con el ecléctico álbum para pequeños grupos Love Looks Good on You, seguido un año después por All About Melody, ambos en HighNote. En 2017, publicó su tercer álbum en HighNote, Time for the Dancers, en el que presenta a su cuarteto con el pianista Rick Germanson, el bajista Luke Sellick y el batería Willie Jones III.
https://www.allmusic.com/artist/russell-malone-mn0000808613/biography
Biography
by Alvaro Neder
Milton
Banana is the musician who invented the bossa nova drumming style. An
extremely busy session man during the first period of bossa nova, he
recorded the historic Chega de Saudade (João Gilberto's debut album),
the equally historic Getz-Gilberto, and recorded extensively with Tom
Jobim, João Donato, and many others. He also performed gigs every night
with people like Luís Eça, Johnny Alf, Roberto Menescal, Carlos Lyra, Ed
Lincoln, Newton Mendoça, Claudete Soares, Baden Powell, Sérgio Mendes,
Luís Bonfá, Bola Sete (in Punta del Este, Uruguay), and others.
Milton
Banana started to be interested in music very early in life, especially
percussion, and was always a fan of Orquestra Tabajara. A self-taught
musician, soon he was playing with several dance bands, such as Steve
Bernard's, Djalma Ferreira's, Gerardi e Seu Conjunto Rex, and others. In
1955, he joined Waldir Calmon's group, performing at the Arpège
nightclub (Rio). Soon after, he went on to Djalma Ferreira's group, Os
Milionários do Ritmo, which performed regularly at the Drink nightclub.
In 1956, he joined the Luis Eça Trio, playing at the focal point of
bossa nova, the Plaza nightclub. In 1959, Milton Banana debuted as a
recording artist, participating inJoão Gilberto's first album, Chega de
Saudade. In 1962, he participated in the important show Encontro
(produced by Aluísio de Oliveira), together with João Gilberto, Tom
Jobim, Vinícius de Moraes, and Os Cariocas, at the Au Bon Gourmet
nightclub (Rio). In that same year, he traveled to Argentina with João
Gilberto, where they spent a season at the 676 nightclub. In November,
he went to New York and played at the Carnegie Hall Bossa Nova Festival.
In 1963, he played the drums on the Getz-Gilberto album and toured with
João Gilberto, João Donato (piano), and Tião Neto (bass) through Italy
and France. Returning to Brazil, he formed his group, the Milton Banana
Trio. At that time it was very unusual for a drummer to lead a group.
The trio, which had several different lineups, recorded nine albums for
Odeon and some more for RCA, another rare accomplishment for a Brazilian
drummer. Some of those LPs have been reissued as CDs, such as
Balançando com o Milton Banana Trio, Sambas de Bossa: Milton Banana, Os
Originais: Milton Banana Trio, and Ao Meu Amigo Tom. In 1965, Milton
Banana accompanied João Gilberto in his Brazil performances. In 1977, he
performed, together with João Donato, in the group Fogueira 3, playing
Afro-sambas. He scaled back his activities, but occasionally performed
his solo acts until his death.
https://www.allmusic.com/artist/milton-banana-mn0000489989/biography
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Norman
Amadio (born April 14, 1928, Timmins, Ontario, Canada – died January
21, 2020) was a Canadian jazz pianist, piano teacher, music coach,
composer, arranger, session player, band leader and accompanist. For a
span of fifty years he worked for the CBC as an orchestra leader and
musical director for many TV series. In 1956, he became the first and
only Canadian to play at the original Birdland in New York City and
played opposite Duke Ellington.
https://www.discogs.com/artist/1436275-Norman-Amadio
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Norman
Amadio (nacido el 14 de abril de 1928, Timmins, Ontario, Canadá -
fallecido el 21 de enero de 2020) fue un pianista de jazz canadiense,
profesor de piano, entrenador musical, compositor, arreglista, músico de
sesión, director de orquesta y acompañante. Durante cincuenta años
trabajó para la CBC como director de orquesta y director musical de
numerosas series de televisión. En 1956, se convirtió en el primer y
único canadiense en tocar en el Birdland original de Nueva York y tocó
junto a Duke Ellington.
https://www.discogs.com/artist/1436275-Norman-Amadio
The Filthy Six are possibly the most exciting, authentic Soul Jazz outfit in the UK today and have established themselves as one of the most electric live acts on the scene. Their soaring horns, blistering guitar and gut-wrenching Hammond are fuelled by one of the hardest grooving rhythm sections around producing a hip-shakingly powerful mixture of jazz, funk and boogaloo totally in keeping with the finest traditions of the late 60s Blue Note/Prestige sound. These instrumental groove merchants fuse boundless energy and musicianship to create tight, funky music for the mind, body and soul.
Led by trumpeter Nick Etwell (Tom Jones, Beck, David Axelrod, Mumford & Sons) this crack unit of musical gunslingers have played with some of the biggest names in music: Amy Winehouse, Mavis Staples, Jill Scott, Mark Ronson, Noel Gallagher, Jack White, Dionne Warwick, Roger Daltrey, Roy Harper, Ronnie Spector, Nathaniel Rateliff & The Night Sweats, Basement Jaxx, Spiritualized, Fred Wesley, Pee Wee Ellis, Madness, Belle & Sebastian, Galactic, Atomic Bomb Band and the James Taylor Quartet to name a few. From their literal 'underground' beginnings at the infamous Tatty Bogle Club, deep beneath the heart of London's Soho, the band built up a faithful following at their monthly 'Thursday Boogaloo' sessions in the early/mid 00's. Moving above ground and into venues across London and beyond they gained notoriety for the intensity of their live shows. This reputation took them up and down the country and out into the festival arena, spreading the Filthy gospel further afield as they went. After signing to Acid Jazz Records in 2009 the band released their eponymous debut LP in June 2010, attracting new fans and rave reviews in the process. The next couple of years saw the recording of live sessions for Mark Lamarr (Radio2), Robert Elms (BBC London) and the Craig Charles Funk & Soul Show (6Music) for BBC Radio as well as performing a series of scintillating festival sets at the London, Marlborough, Greenwich, Ealing, Reading and Isle of Wight Jazz Festivals, Vintage at Goodwood (where they also backed up Northern Soul legend Ann Sexton), Edinburgh Festival, St Paul Soul Jazz Festival (France) and a headline slot at the Jazz Lounge, Glastonbury. The Filthy horns also squeezed in a little hop across the pond to join Brit funkateers The New Mastersounds at one of their legendary 'House Of Blues' sets at the New Orleans Jazz Festival. In between all of this they topped the bill at the Acid Jazz 21st Anniversary show, recorded a second album and still found time to bring the house down at some of London’s most discerning music venues: Jazz Café, Pizza Express Jazz Club, Cargo, Vortex and the world famous Ronnie Scott's Jazz Club. 2012 brought their second release for Acid Jazz - The Fox - which garnered plaudits from scenesters and critics alike, including 'Album of the week' on Jazz FM. An 11 date tour of the UK and Ireland followed, furthering their reputation as a live act not to be missed. The next few years were busy with over 100 gigs, highlights including 3 Sold Out shows for the Craig Charles Funk & Soul Club, 2 Sold Out shows at the Pizza Express Jazz Club, London, a headline slot at the Isle Of Wight Festival (Jazz Stage), short runs in France and Spain and their first gigs in the US. In 2014 the band completed three tours over six months in the States, with two extended trips across the 'Dirty South' and a 4 date run around New York, recording live sessions for KUT Radio (Austin TX), Daytrotter (Nashville TN), The Birthplace Sessions (Tupelo MS), Spectra Sonic Sound Sessions (Birmingham AL) and the Echo Sessions, set in beautiful Asheville, North Carolina. 2015 saw the release of 2 short films documenting their forays across The South with the help of their good friends at Stetson. That year also saw the completion of their third studio album, a series of monthly nights at the Brooklyn Bowl London and a run of after-show gigs for the Mumford & Sons 'Gentlemen Of The Road' festivals across America. March 2016 brought the release of a third studio album on Acid Jazz Records - More Filth - a record scientifically engineered to have people moving and grooving so hard they burned holes in not 1 but 2 pairs of boots and a large chunk of that dance floor as well. The following few years saw the band tour the UK, Finland, Spain and the US, with a live version of Mr Morris (from their Spectra Sonic Sound Session) appearing on Freestyle Records' release - Craig Charles Funk & Soul Club : Vol 5.
After the enforced pause of the global pandemic the band headed back into the studio for two fruitful sessions in 2021, bringing out their first new music in 5 years on Color Red Music - Soho Filth (Live from Dean St Studios) - with resulting airplay on BBC Radio 2, BBC6 Music and JazzFM among others. 2022 started with a headline return to Ronnie Scott’s Jazz Club and kickstarted a run of UK club shows across the summer, tours in Finland and the US, and the release of new single - Exit Music - from their fourth full length album (out 2024). 2023 saw shows at clubs and festivals across the UK including 2 Sold Out shows at Pizza Express Jazz Club, Soho, and the hosting of 2 Late Late Shows at the one and only Ronnie Scott’s, while also putting the finishing touches to LP #4. Keep your eyes and ears open for more news on this release as we move through 2024, and in the meantime… stay Filthy.
http://thefilthysix.com/menu
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The Filthy Six son posiblemente el grupo de Soul Jazz más excitante y auténtico del Reino Unido y se han establecido como uno de los grupos más eléctricos de la escena. Sus potentes vientos, sus guitarras abrasadoras y su Hammond desgarrador son alimentados por una de las secciones rítmicas con más ritmo del momento, produciendo una poderosa mezcla de jazz, funk y boogaloo que sacude las caderas, totalmente en consonancia con las mejores tradiciones del sonido Blue Note/Prestige de finales de los años sesenta. Estos mercaderes del groove instrumental fusionan una energía y una musicalidad sin límites para crear música ajustada y funky para la mente, el cuerpo y el alma.
Liderados por el trompetista Nick Etwell (Tom Jones, Beck, David Axelrod, Mumford & Sons), este grupo de pistoleros musicales ha tocado con algunos de los nombres más importantes de la música: Amy Winehouse, Mavis Staples, Jill Scott, Mark Ronson, Noel Gallagher, Jack White, Dionne Warwick, Roger Daltrey, Roy Harper, Ronnie Spector, Nathaniel Rateliff & The Night Sweats, Basement Jaxx, Spiritualized, Fred Wesley, Pee Wee Ellis, Madness, Belle & Sebastian, Galactic, Atomic Bomb Band y James Taylor Quartet, por nombrar algunos. Desde sus comienzos literalmente "underground" en el infame Tatty Bogle Club, en las profundidades del corazón del Soho londinense, la banda se hizo con un público fiel en sus sesiones mensuales "Thursday Boogaloo" a principios y mediados de la década de los noventa. Al salir a la superficie y actuar en locales de Londres y otros lugares, adquirieron notoriedad por la intensidad de sus actuaciones en directo. Esta reputación les llevó por todo el país y a los festivales, extendiendo el evangelio de Filthy por todas partes. Tras firmar con Acid Jazz Records en 2009, la banda publicó su primer LP homónimo en junio de 2010, atrayendo a nuevos fans y críticas muy favorables en el proceso. Los dos años siguientes grabaron sesiones en directo para Mark Lamarr (Radio2), Robert Elms (BBC London) y el Craig Charles Funk & Soul Show (6Music) para BBC Radio, además de actuar en una serie de festivales en Londres, Marlborough, Greenwich, Ealing, Reading y los festivales de jazz de la Isla de Wight, Vintage en Goodwood (donde también actuaron como teloneros de la leyenda del Northern Soul Ann Sexton), el Festival de Edimburgo, el St Paul Soul Jazz Festival (Francia) y como cabezas de cartel en el Jazz Lounge de Glastonbury. Los Filthy Horns también dieron un pequeño salto al otro lado del charco para unirse a los funkateers británicos The New Mastersounds en una de sus legendarias actuaciones "House Of Blues" en el Festival de Jazz de Nueva Orleans. En medio de todo esto, encabezaron el cartel del 21º aniversario de Acid Jazz, grabaron un segundo álbum y aún encontraron tiempo para arrasar en algunos de los locales musicales más exigentes de Londres: Jazz Café, Pizza Express Jazz Club, Cargo, Vortex y el mundialmente famoso Ronnie Scott's Jazz Club. En 2012 publicaron su segundo álbum para Acid Jazz, The Fox, que cosechó elogios de la escena y la crítica, incluido el "Álbum de la semana" en Jazz FM. Una gira de 11 fechas por el Reino Unido e Irlanda siguió, fomentando su reputación como un acto en vivo que no debe perderse. Los años siguientes fueron ajetreados con más de 100 conciertos, entre los que destacan 3 conciertos con entradas agotadas para el Craig Charles Funk & Soul Club, 2 conciertos con entradas agotadas en el Pizza Express Jazz Club de Londres, un puesto de cabeza de cartel en el Festival de la Isla de Wight (Jazz Stage), breves giras por Francia y España y sus primeros conciertos en Estados Unidos. En 2014 la banda completó tres giras de seis meses en los Estados Unidos, con dos viajes extendidos a través del "Dirty South" y una carrera de 4 fechas alrededor de Nueva York, grabando sesiones en vivo para KUT Radio (Austin TX), Daytrotter (Nashville TN), The Birthplace Sessions (Tupelo MS), Spectra Sonic Sound Sessions (Birmingham AL) y las Echo Sessions, establecidas en la hermosa Asheville, Carolina del Norte. 2015 vio el lanzamiento de 2 cortometrajes que documentan sus incursiones a través del Sur con la ayuda de sus buenos amigos de Stetson. Ese año también terminaron su tercer álbum de estudio, una serie de noches mensuales en el Brooklyn Bowl de Londres y una serie de actuaciones después de los conciertos de los festivales "Gentlemen Of The Road" de Mumford & Sons por América. Marzo de 2016 trajo el lanzamiento de un tercer álbum de estudio en Acid Jazz Records - More Filth - un disco científicamente diseñado para que la gente se moviera y bailara tan fuerte que quemaron agujeros en no 1, sino 2 pares de botas y una gran parte de la pista de baile también. En los años siguientes, la banda realizó giras por el Reino Unido, Finlandia, España y los Estados Unidos, y una versión en directo de Mr Morris (de su Spectra Sonic Sound Session) apareció en el lanzamiento de Freestyle Records - Craig Charles Funk & Soul Club : Vol 5.
Después de la pausa forzada de la pandemia mundial, la banda volvió al estudio para dos sesiones fructíferas en 2021, sacando su primera música nueva en 5 años en Color Red Music - Soho Filth (Live from Dean St Studios) - con la consiguiente difusión en BBC Radio 2, BBC6 Music y JazzFM entre otros. 2022 comenzó con un regreso como cabeza de cartel al Ronnie Scott's Jazz Club y dio el pistoletazo de salida a una serie de conciertos en clubes del Reino Unido durante el verano, giras por Finlandia y los EE.UU., y el lanzamiento de un nuevo single - Exit Music - de su cuarto álbum de larga duración (que saldrá en 2024). 2023 fue testigo de conciertos en clubes y festivales de todo el Reino Unido, incluyendo 2 conciertos con entradas agotadas en el Pizza Express Jazz Club, Soho, y la celebración de 2 Late Late Shows en el único Ronnie Scott's, mientras que también daban los toques finales al LP #4. Mantén tus ojos y oídos abiertos para más noticias sobre este lanzamiento a medida que avanzamos hacia 2024, y mientras tanto... mantente Filthy.
http://thefilthysix.com/menu
Review
by Scott Yanow
Tenor saxophonist Al Cohn did some of his finest playing during his period (1975-80) with Xanadu. For this quartet set, Cohn is ably backed by the great bop pianist Barry Harris, bassist Larry Ridley and drummer Alan Dawson. Cohn, who had spent much of his career as a successful arranger/composer, contributed only one of the six numbers ("Play It Now") on the album and was content to jam spiritedly on such tunes as "Lover," "Irresistible You" and "It's Sand, Man."
https://www.allmusic.com/album/play-it-now-mw0000897852
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Reseña
por Scott Yanow
El saxofonista tenor Al Cohn realizó algunas de sus mejores interpretaciones durante su período (1975-80) con Xanadu. Para este conjunto de cuarteto, Cohn está hábilmente respaldado por el gran pianista de bop Barry Harris, el bajista Larry Ridley y el baterista Alan Dawson. Cohn, que había pasado gran parte de su carrera como exitoso arreglista/compositor, sólo contribuyó con uno de los seis números ("Play It Now") del álbum y se contentó con improvisar animadamente en temas como "Lover", "Irresistible You" y "It's Sand, Man".
https://www.allmusic.com/album/play-it-now-mw0000897852
Colaborador / Contributor: Pierre
Review
by Scott Yanow
Louis Smith had a brilliant debut on this Blue Note album, his first of two before becoming a full-time teacher. The opener (Duke Pearson's "Tribute to Brownie") was a perfect piece for Smith to interpret, since his style was heavily influenced by Clifford Brown (who had died the previous year). He is also in excellent form on four of his basic originals and takes a particularly memorable solo on a haunting rendition of "Stardust." Altoist Cannonball Adderley (who used the pseudonym of "Buckshot La Funke" on this set, a name later used by Branford Marsalis), Duke Jordan or Tommy Flanagan on piano, bassist Doug Watkins, and drummer Art Taylor make for a potent supporting cast, but the focus is mostly on the criminally obscure Louis Smith. After cutting his second Blue Note set and switching to teaching, Smith would not record again as a leader until 1978. All bop and '50s jazz fans are strongly advised to pick up this CD reissue before it disappears.
https://www.allmusic.com/album/here-comes-louis-smith-mw0000674800
Biography
by Stephen Thomas Erlewine
Louis Smith was a talented but under-recorded straight-ahead bop trumpeter who led two dates in the '50s before retiring to teach at the University of Michigan and the nearby Ann Arbor Public School system. For most of his career, he remained a teacher, making a brief comeback in the late '70s before returning to education. It wasn't until the mid-'90s that he resumed a recording career in earnest, turning out a series of albums for the Steeplechase label.
A native of Memphis, Tennessee, Smith began playing trumpet as a teenager. He graduated high school with a scholarship to Tennessee State University, where he studied music and became a member of the Tennessee State Collegians. Following his college graduation, Smith did a little graduate work at Tennessee before transferring to the University of Michigan, where he studied with professor Clifford Lillya. At Michigan, he had opportunities to play with traveling musicians, including Miles Davis and Dizzy Gillespie. In January 1954, Smith was drafted into the Army, spending a little over a year and a half in his tour of duty. Once he left the Army in late 1955, he began teaching at the Booker T. Washington High School in Atlanta, Georgia. While teaching at Booker T. Washington, Smith continued playing bop and hard bop in clubs, and was able to jam with Cannonball Adderley, Kenny Dorham, Donald Byrd, Lou Donaldson, Zoot Sims, and Philly Joe Jones, among many others.
In 1956, he made his recording debut as a sideman on Kenny Burrell's Swingin'. A year later, he had the opportunity to lead his own recording session for Tom Wilson's Boston-based Transition label. He assembled a quintet featuring Cannonball Adderley (who performed under the pseudonym Buckshot La Funke), bassist Doug Watkins, drummer Art Taylor, and pianists Duke Jordan and Tommy Flanagan, who alternated on the date. Transition went out of business before the label had the chance to release the record. Blue Note chief Alfred Lion purchased all the Transition masters and signed Smith to an exclusive contract, releasing the session as Here Comes Louis Smith. During 1958, the trumpeter played on two Blue Note sessions -- Kenny Burrell's Blue Lights and Booker Little's Booker Little 4 and Max Roach -- in addition to leading the date that became Smithville. That brief burst of activity turned out to be his only recording dates for 20 years.
Smith moved back to the Ann Arbor, Michigan area, where he taught at the University of Michigan and public schools. Between 1978 and 1979, he cut a pair of albums -- Just Friends and Prancin' -- before returning to teaching. A decade later, Smith resumed his recording career in earnest. After playing on Mickey Tucker's Sweet Lotus Lips in 1989, he signed with Steeplechase and recorded Ballads for Lulu in 1990. He didn't return to the studio for another four years, but he did record two albums -- Silvering and Strike Up the Band -- in 1994. The Very Thought of You appeared in 1995. A year later, Smith recorded I Waited for You, which was followed by There Goes My Heart in 1997. Retired from teaching, Smith suffered a stroke in 2006, and subsequently became a regular presence among audience members at Southeastern Michigan jazz venues but did not return to performing or recording. He died in Ann Arbor in August 2016.
https://www.allmusic.com/artist/louis-smith-mn0000420728/biography
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Reseña
por Scott Yanow
Louis Smith tuvo un brillante debut en este álbum de Blue Note, el primero de dos antes de convertirse en profesor a tiempo completo. La primera pieza (Duke Pearson's "Tribute to Brownie") era perfecta para que Smith la interpretara, ya que su estilo estaba fuertemente influenciado por Clifford Brown (fallecido el año anterior). También está en excelente forma en cuatro de sus originales básicos y se marca un solo especialmente memorable en una inquietante interpretación de "Stardust". El contralto Cannonball Adderley (que utilizó el seudónimo de "Buckshot La Funke" en este disco, un nombre que más tarde usaría Branford Marsalis), Duke Jordan o Tommy Flanagan al piano, el bajista Doug Watkins y el batería Art Taylor forman un potente elenco de apoyo, pero la atención se centra sobre todo en el criminalmente oscuro Louis Smith. Tras grabar su segundo disco en Blue Note y dedicarse a la enseñanza, Smith no volvería a grabar como líder hasta 1978. Se recomienda encarecidamente a todos los aficionados al bop y al jazz de los 50 que adquieran esta reedición en CD antes de que desaparezca.
https://www.allmusic.com/album/here-comes-louis-smith-mw0000674800
Biografía
por Stephen Thomas Erlewine
Louis Smith fue un trompetista de bop de gran talento pero poco conocido que lideró dos grupos en los años 50 antes de retirarse para enseñar en la Universidad de Michigan y en el cercano sistema de escuelas públicas de Ann Arbor. Durante la mayor parte de su carrera siguió ejerciendo de profesor, aunque hizo una breve reaparición a finales de los 70 antes de volver a la enseñanza. No fue hasta mediados de los 90 cuando reanudó su carrera discográfica en serio, produciendo una serie de álbumes para el sello Steeplechase.
Natural de Memphis (Tennessee), Smith empezó a tocar la trompeta de adolescente. Se graduó en el instituto con una beca para la Universidad Estatal de Tennessee, donde estudió música y formó parte de los Tennessee State Collegians. Tras graduarse en la universidad, Smith realizó algunos estudios de posgrado en Tennessee antes de trasladarse a la Universidad de Michigan, donde estudió con el profesor Clifford Lillya. En Michigan, tuvo la oportunidad de tocar con músicos itinerantes, como Miles Davis y Dizzy Gillespie. En enero de 1954, Smith fue reclutado por el Ejército, y pasó poco más de año y medio en el servicio militar. Cuando dejó el ejército a finales de 1955, empezó a dar clases en el instituto Booker T. Washington de Atlanta, Georgia. Mientras enseñaba en el Booker T. Washington, Smith siguió tocando bop y hard bop en clubes, y pudo improvisar con Cannonball Adderley, Kenny Dorham, Donald Byrd, Lou Donaldson, Zoot Sims y Philly Joe Jones, entre muchos otros.
En 1956, hizo su debut discográfico como músico de acompañamiento en el álbum Swingin' de Kenny Burrell. Un año más tarde, tuvo la oportunidad de dirigir su propia sesión de grabación para el sello Transition de Tom Wilson, con sede en Boston. Formó un quinteto con Cannonball Adderley (que actuaba bajo el seudónimo de Buckshot La Funke), el bajista Doug Watkins, el batería Art Taylor y los pianistas Duke Jordan y Tommy Flanagan, que se alternaban en la fecha. Transition quebró antes de que el sello tuviera la oportunidad de publicar el disco. El jefe de Blue Note, Alfred Lion, compró todos los masters de Transition y firmó un contrato exclusivo con Smith, publicando la sesión como Here Comes Louis Smith. Durante 1958, el trompetista tocó en dos sesiones de Blue Note -- Blue Lights de Kenny Burrell y Booker Little's Booker Little 4 and Max Roach -- además de liderar la fecha que se convirtió en Smithville. Ese breve estallido de actividad resultó ser sus únicas fechas de grabación durante 20 años.
Smith regresó a la zona de Ann Arbor, Michigan, donde enseñó en la Universidad de Michigan y en escuelas públicas. Entre 1978 y 1979 grabó un par de álbumes, Just Friends y Prancin', antes de volver a la enseñanza. Una década más tarde, Smith retomó su carrera discográfica en serio. Tras tocar en Sweet Lotus Lips de Mickey Tucker en 1989, firmó con Steeplechase y grabó Ballads for Lulu en 1990. No volvió al estudio hasta cuatro años después, pero grabó dos álbumes, Silvering y Strike Up the Band, en 1994. The Very Thought of You apareció en 1995. Un año después, Smith grabó I Waited for You, al que siguió There Goes My Heart en 1997. Retirado de la enseñanza, Smith sufrió un derrame cerebral en 2006, y posteriormente se convirtió en una presencia habitual entre el público de los locales de jazz del sureste de Michigan, pero no volvió a actuar ni a grabar. Falleció en Ann Arbor en agosto de 2016.
https://www.allmusic.com/artist/louis-smith-mn0000420728/biography
Biography by Matt Collar
An
immensely gifted Belgian guitarist, Philip Catherine is a highly
regarded performer known for his harmonically nuanced, deeply lyrical
playing and crisply rounded fretboard touch evident in virtually any
style of music he plays: Gypsy jazz, fusion, blues, post-bop, funk,
swing, and more. While the jazz populace considered him a fusion player
based on 1972's Stream and 1974's September Man, Catherine proved more
adventurous -- evidenced by the other artists he worked with during the
decade: Kenny Drew, Rolf and Joachim Kuhn, Jean-Luc Ponty, Peter
Herbolzheimer, and Larry Coryell (with whom he recorded and toured as an
acoustic duo. The following year he recorded with Charles Mingus, who
dubbed him "Young Django" (resulting in an album of the same title with
Stephane Grappelli, Coryell, and Niels-Henning Ørsted Pedersen in 1979).
In the early '80s, Catherine toured with Benny Goodman and played in
trios with Chet Baker and Didier Lockwood. After the acclaimed Chet's
Choice in 1985, Catherine returned as a leader with the funky, charting
Transparence in 1987. During the '90s, the guitarist recorded three
albums with trumpeter Tom Harrell, two fine duos with Pedersen (Spanish
Nights and Art of the Duo), and a pair of widely acclaimed trio dates
with Serge Delaite and George Mraz (Emotionally and Teenagers). Two very
electric post-bop fusion outings, Guitar Groove and Blue Prince,
appeared under Catherine's name for Dreyfuss Jazz to kick off his 21st
century as international hits. 2009's Culture Griot with Baba Sissoko,
2011's Plays Cole Porter, and the live La Belle Vie all registered
internationally.
Born in London in 1942 to an English mother and
Belgian father, Catherine moved to Brussels with his family at a young
age. As a teenager, he became interested in the guitar, influenced at
the time by French singer/songwriter and poet George Brassens. By age 14
he was taking lessons, and learning the basic elements of jazz
improvisation when he discovered Django Reinhardt. He quickly absorbed
the jazz legend's distinctive style, and eventually picked up other
influences, including Belgian guitarist René Thomas. He also immersed
himself in albums by such luminaries as Art Blakey, Clifford Brown, Max
Roach, and others.
Catherine began playing gigs while in his
teens, working in a trio with American Hammond B-3 specialist Lou
Bennett and drummer Oliver Jackson. There were also stints with Belgian
saxophonist Jack Sels and Philadelphia-born/Brussels-based drummer Edgar
Bateman. In 1970, violinist Jean-Luc Ponty asked him to join his band
and, inspired by contemporaries like John McLaughlin and Larry Coryell,
Catherine stayed with Ponty for a year, dedicating himself to the
progressive fusion sound. Also during this period, he attended formal
music classes at Berklee College of Music in Boston.
After
returning to Belgium, Catherine found himself in high demand and
developed a bevy of connections, including playing with Klaus Weiss, Les
McCann, Karin Krog, Dexter Gordon, and others. As a solo artist, he
made his debut with 1971's Stream, a funky, inventive mix of acoustic
and electric jazz. He followed up in 1975 with Guitars and September
Man, both also highly inventive, fusion-influenced albums. Sessions with
Herb Geller, Niels-Henning Ørsted Pedersen, and Charles Mingus
followed, as did a duo tour with guitarist Coryell. Also during the
'70s, he paired with close associate saxophonist Charlie Mariano for a
handful of sessions, and rounded out the decade with his own Nairam,
which also featured Mariano, along with trumpeter Palle Mikkelborg and
others.
During the '80s, Catherine's profile continued to rise as
he released several more well-regarded efforts, including Babel, End of
August, and Trio with guitarist Christian Escoude and violinist Didier
Lockwood. There also were dates with Aldo Romano, Stéphane Grappelli,
and Kenny Drew. Also in the '80s, he gained attention for his work with
legendary West Coast trumpeter/vocalist Chet Baker, touring and
appearing on such albums as 1983's Mr. B and 1985's Strollin'. Although
his 1986 album, Transparence, layered keyboards into his atmospheric
sound, his work with Baker pointed toward a more acoustic-leaning
aesthetic. It was a sound he further embraced on 1990's I Remember You.
Dedicated to Baker (who died in 1989), the album also featured
trumpeter/flügelhornist Tom Harrell. Throughout the '90s, Catherine
released a steady stream of albums for smaller jazz labels like Enja,
Criss Cross, and Dreyfus, including albums like Moods, Vol. 1, Spanish
Nights, and 1999's Guitar Groove.
In 2001, he returned with Blue
Prince, which found him balancing his love of acoustic jazz and electric
fusion. Joining him were trumpeter Bert Joris, bassist Hein van de
Geyn, and drummer Hans Van Oosterhout. Joris was also on board for
2002's Summer Night. The orchestral album Meeting Colours followed three
years later. The more intimate Guitars Two appeared in 2008. He then
joined bassist van de Geyn, pianist Enrico Pieranunzi, and drummer Joe
La Barbera for the 2010 live album Concert in Capbreton. A year later,
he delivered the trio date Plays Cole Porter, followed by 2013's warmly
sophisticated Côté Jardin. The duo album New Folks with bassist Martin
Wind followed a year later. He then joined the Orchestre Royal de
Chambre de Wallonie for 2015's The String Project: Live in Brussels. In
2017 Catherine was a co-billed soloist with Finnish saxophone legend
Eero Koivistoinen on Jazz Liisa 13, and the following year cut La Belle
Vie with longtime friend and collaborator Aldo Romano on drums and
organist Emmanuel Bex. In 2019, Catherine issued the trio date Manoir de
Mes Rêves with upright bassist Sven Faller and acoustic guitarist Paulo
Morello. The program of French standards was compiled from pop, jazz
and chanson. In 2020, KTI Japan in association with Warner International
remastered and reissued Stream.
https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography
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Biografía de Matt Collar
Philip
Catherine, un guitarrista belga de gran talento, es un intérprete muy
apreciado, conocido por su toque armónico y profundamente lírico, y por
su toque de diapasón nítidamente redondeado, evidente en prácticamente
cualquier estilo de música que toque: Jazz gitano, fusión, blues,
post-bop, funk, swing, etc. Aunque el público del jazz le consideraba un
músico de fusión gracias a Stream, de 1972, y September Man, de 1974,
Catherine demostró ser más aventurero, como demuestran los otros
artistas con los que trabajó durante la década: Kenny Drew, Rolf y
Joachim Kuhn, Jean-Luc Ponty, Peter Herbolzheimer y Larry Coryell (con
quien grabó y realizó giras como dúo acústico. Al año siguiente grabó
con Charles Mingus, que le apodó "el joven Django" (lo que dio lugar a
un álbum del mismo título con Stephane Grappelli, Coryell y
Niels-Henning Ørsted Pedersen en 1979). A principios de los 80,
Catherine realizó una gira con Benny Goodman y tocó en tríos con Chet
Baker y Didier Lockwood. Tras el aclamado Chet's Choice en 1985,
Catherine volvió como líder con el funky Transparence en 1987. Durante
los años 90, el guitarrista grabó tres álbumes con el trompetista Tom
Harrell, dos excelentes dúos con Pedersen (Spanish Nights y Art of the
Duo), y un par de aclamados tríos con Serge Delaite y George Mraz
(Emotionally y Teenagers). Dos trabajos de fusión post-bop muy
eléctricos, Guitar Groove y Blue Prince, aparecieron bajo el nombre de
Catherine para Dreyfuss Jazz y dieron comienzo a su siglo XXI como
éxitos internacionales. Culture Griot, de 2009, con Baba Sissoko, Plays
Cole Porter, de 2011, y el directo La Belle Vie se registraron
internacionalmente.
Nacido en Londres en 1942, de madre inglesa y
padre belga, Catherine se trasladó a Bruselas con su familia a una edad
temprana. De adolescente se interesó por la guitarra, influenciada
entonces por el cantautor y poeta francés George Brassens. A los 14 años
ya tomaba clases y aprendía los elementos básicos de la improvisación
del jazz cuando descubrió a Django Reinhardt. Enseguida absorbió el
estilo distintivo de la leyenda del jazz, y con el tiempo recogió otras
influencias, como el guitarrista belga René Thomas. También se sumergió
en álbumes de luminarias como Art Blakey, Clifford Brown, Max Roach y
otros.
Catherine comenzó a tocar en su adolescencia, trabajando
en un trío con el especialista estadounidense en Hammond B-3 Lou Bennett
y el baterista Oliver Jackson. También trabajó con el saxofonista belga
Jack Sels y con el baterista Edgar Bateman, nacido en Filadelfia y
residente en Bruselas. En 1970, el violinista Jean-Luc Ponty le pidió
que se uniera a su banda e, inspirado por contemporáneos como John
McLaughlin y Larry Coryell, Catherine permaneció con Ponty durante un
año, dedicándose al sonido de fusión progresiva. También durante este
periodo, asistió a clases formales de música en el Berklee College of
Music de Boston.
A su regreso a Bélgica, Catherine se encontró
con una gran demanda y desarrolló una serie de conexiones, incluyendo
tocar con Klaus Weiss, Les McCann, Karin Krog, Dexter Gordon y otros.
Como artista en solitario, debutó con Stream, de 1971, una mezcla funky e
inventiva de jazz acústico y eléctrico. Siguió en 1975 con Guitars y
September Man, ambos álbumes de gran inventiva e influencia de la
fusión. Siguieron sesiones con Herb Geller, Niels-Henning Ørsted
Pedersen y Charles Mingus, así como una gira a dúo con el guitarrista
Coryell. También durante los años 70, formó pareja con el saxofonista
Charlie Mariano para un puñado de sesiones, y completó la década con su
propio Nairam, en el que también participó Mariano, junto con el
trompetista Palle Mikkelborg y otros.
Durante los años 80, el
perfil de Catherine siguió aumentando, ya que publicó varios trabajos
bien considerados, como Babel, End of August y Trio con el guitarrista
Christian Escoude y el violinista Didier Lockwood. También se produjeron
citas con Aldo Romano, Stéphane Grappelli y Kenny Drew. También en los
años 80, ganó atención por su trabajo con el legendario
trompetista/vocalista de la Costa Oeste Chet Baker, haciendo giras y
apareciendo en álbumes como Mr. B de 1983 y Strollin' de 1985. Aunque su
álbum de 1986, Transparence, incorporaba teclados a su sonido
atmosférico, su trabajo con Baker apuntaba a una estética más acústica.
Un sonido que adoptó en I Remember You, de 1990. Dedicado a Baker
(fallecido en 1989), el álbum también contaba con la participación del
trompetista y flautista Tom Harrell. A lo largo de los años 90,
Catherine publicó un flujo constante de álbumes para sellos de jazz más
pequeños como Enja, Criss Cross y Dreyfus, incluyendo álbumes como
Moods, Vol. 1, Spanish Nights y Guitar Groove de 1999.
En 2001,
volvió con Blue Prince, que le permitió equilibrar su amor por el jazz
acústico y la fusión eléctrica. Se unieron a él el trompetista Bert
Joris, el bajista Hein van de Geyn y el baterista Hans Van Oosterhout.
Joris también participó en el álbum Summer Night de 2002. El álbum
orquestal Meeting Colours le siguió tres años después. El más íntimo
Guitars Two apareció en 2008. Luego se unió al bajista van de Geyn, al
pianista Enrico Pieranunzi y al baterista Joe La Barbera para el álbum
en vivo de 2010 Concert in Capbreton. Un año más tarde, entregó la fecha
del trío Plays Cole Porter, seguido por el cálidamente sofisticado Côté
Jardin de 2013. El álbum a dúo New Folks con el bajista Martin Wind le
siguió un año después. Luego se unió a la Orchestre Royal de Chambre de
Wallonie para The String Project de 2015: Live in Brussels. En 2017,
Catherine fue co-solista con la leyenda del saxofón finlandés Eero
Koivistoinen en Jazz Liisa 13, y al año siguiente cortó La Belle Vie con
su viejo amigo y colaborador Aldo Romano en la batería y el organista
Emmanuel Bex. En 2019, Catherine publicó la fecha del trío Manoir de Mes
Rêves con el bajista vertical Sven Faller y el guitarrista acústico
Paulo Morello. El programa de estándares franceses fue compilado a
partir de pop, jazz y chanson. En 2020, KTI Japan en asociación con
Warner International remasterizó y reeditó Stream.
https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography
www.philipcatherine.com ...
Colaborador / Contributor: Ketmokin
Nattily attired as Organ Fairchild is in the cover photo of Leisure Suit, the last word in the album title would seem to take the form of a verb rather than a noun. The fast-evolving ensemble strives for and reaches a playful atmosphere on this, their sophomore studio outing, but that's hardly the extent of their ambition(s).
By emphasizing exploratory electric guitar and keyboard work within concise arrangements, the threesome aims to mesh the classic jazz styles of both Jimmy Smith and Grant Green. In the economical approach to their concept, the Buffalo-based trio nevertheless travels outside the strict confines of the instrumental conceit to which its name alludes.
In doing so with such bravery, Organ Fairchild has almost but not quite fully processed their main influences. Guitarist Dave Ruch, for instance, still evokes vintage Carlos Santana a bit too obviously on "Morning Coffee." But kudos to him for his impeccable taste and artful execution in such moments: he and the comparatively young collective (together since 2020) are quite clearly having a ball finding their own voice, as evidenced by Joe Bellanti's often imaginative piano work on that very same cut.
In that respect, the unit's valiant efforts during numbers like "Chamelonious Monk"—another knowing nod to history—are further validated through the efforts of their technical collaborators. Recording and mixing the nine tracks (and even playing on the darkly atmospheric "Rusty Barge"), co-producer (with the band itself) Justin Guip is the current drummer for Hot Tuna and a three-time Grammy Award winner who worked directly with the late drummer/vocalist of The Band, Levon Helm, at his barn in Woodstock. Meanwhile, Soulive's co-founder/drummer Alan Evans—who also established and operates his own Iron Wax studio—mastered the recordings to clean and realistic effect.
Their expertise manifests itself throughout Leisure Suit and in fact, immediately comes into play on the opening title cut of Ruch's. Drummer Corey Kertie's percussion amplifies a summery air that belies an deceptive concession to the current fashion of covering compositions of the Grateful Dead. As it turns out, that move is merely a decoy to allow this triad of effervescent instrumentalists to transform Jerry Garcia and Robert Hunter's "He's Gone" almost beyond recognition.
Such action(s) hold to the vaunted jazz tradition of using popular song as fodder for extended jamming. Similarly, Organ Fairchild's assertive initiative nurtures selfawareness of their stylistic touchpoints. Along those lines, the group would do well to stretch out more as they do for just over six minutes on Kertzie's other contribution, "Glad You're Here;'' in doing so, however, the aforementioned keyboardist's use of fluid organ instead of antiseptic synthesizer would more effectively complement the guitar lines (not to mention remain more in keeping with the wry moniker of the group).
Proceeding to its collective coming of age, Organ Fairchild is the epitome of a thinking man's bar band. If their burgeoning maturity provides a gateway for listeners to discover the aforementioned masters of the jazz idiom, the readily accessible nature of this rookie band's improvisational tendencies will have served a noble purpose indeed. And that's even beyond the indelible imprint of their own distinctive persona on those who hear Leisure Suit.
By Doug Collette
September 19, 2023
https://www.allaboutjazz.com/leisure-suit/
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A pesar de que Organ Fairchild aparece muy elegantemente vestido en la portada de Leisure Suit, la última palabra del título del álbum parece más un verbo que un sustantivo. El conjunto, en rápida evolución, se esfuerza y alcanza una atmósfera lúdica en este su segundo trabajo de estudio, pero no es esa su ambición.
Enfatizando la guitarra eléctrica exploratoria y el trabajo de teclado dentro de arreglos concisos, el trío pretende engranar los estilos clásicos de jazz de Jimmy Smith y Grant Green. En el enfoque económico de su concepto, el trío con sede en Buffalo, sin embargo, viaja fuera de los límites estrictos de la concepción instrumental a la que alude su nombre.
Al hacerlo con tanta valentía, Organ Fairchild ha procesado casi por completo, aunque no del todo, sus principales influencias. El guitarrista Dave Ruch, por ejemplo, todavía evoca a Carlos Santana un poco demasiado obviamente en "Morning Coffee". Pero hay que felicitarle por su impecable gusto y ejecución artística en esos momentos: él y el relativamente joven colectivo (juntos desde 2020) están claramente disfrutando encontrando su propia voz, como lo demuestra el a menudo imaginativo trabajo de piano de Joe Bellanti en ese mismo corte.
En ese sentido, los valientes esfuerzos de la unidad durante números como "Chamelonious Monk" -otro guiño a la historia- se ven validados por los esfuerzos de sus colaboradores técnicos. Grabando y mezclando los nueve temas (e incluso tocando en la oscuramente atmosférica "Rusty Barge"), el coproductor (con la propia banda) Justin Guip es el actual batería de Hot Tuna y un ganador de tres premios Grammy que trabajó directamente con el difunto batería/vocalista de The Band, Levon Helm, en su granero de Woodstock. Por su parte, el cofundador y batería de Soulive, Alan Evans, que también fundó y dirige su propio estudio Iron Wax, masterizó las grabaciones con un efecto limpio y realista.
Su experiencia se manifiesta a lo largo de Leisure Suit y, de hecho, entra en juego inmediatamente en el primer corte de Ruch. La percusión del batería Corey Kertie amplifica un aire veraniego que oculta una engañosa concesión a la moda actual de versionar composiciones de Grateful Dead. Resulta que ese movimiento no es más que un señuelo para permitir a esta tríada de efervescentes instrumentistas transformar "He's Gone" de Jerry Garcia y Robert Hunter casi hasta hacerla irreconocible.
Este tipo de acción(es) se aferra(n) a la cacareada tradición jazzística de utilizar la canción popular como forraje para largas improvisaciones. Del mismo modo, la iniciativa asertiva de Organ Fairchild alimenta la autoconciencia de sus puntos de contacto estilísticos. En esta línea, el grupo haría bien en estirarse más, como hace durante algo más de seis minutos en la otra contribución de Kertzie, "Glad You're Here"; al hacerlo, sin embargo, el mencionado uso del teclista de un órgano fluido en lugar de un sintetizador antiséptico complementaría más eficazmente las líneas de guitarra (por no mencionar que estaría más en consonancia con el irónico apodo del grupo).
Procediendo a su mayoría de edad colectiva, Organ Fairchild es el epítome de la banda de bar de un hombre pensante. Si su floreciente madurez sirve de puerta de entrada para que los oyentes descubran a los mencionados maestros del lenguaje jazzístico, la naturaleza fácilmente accesible de las tendencias improvisadoras de esta banda de novatos habrá servido a un noble propósito. Y eso incluso más allá de la huella indeleble de su propia personalidad distintiva en quienes escuchen Leisure Suit.
Por Doug Collette
19 de septiembre de 2023
https://www.allaboutjazz.com/leisure-suit/
www.organfairchild.com ...
Biography
Aaron Seeber, a 29-year old drummer living in Queens, NY is making his name as an emerging Jazz drummer in New York City.
Originally born in Washington DC, Aaron was exposed early on to many great musicians such as Buck Hill, Freddie Redd, Butch Warren, Larry Willis and many other legends that helped feed his enthusiasm for Jazz music. While in high school, Aaron attended Paul Carr’s Jazz Academy of Music (JAM) Camp, where Aaron is now on as faculty drum instructor and combo teacher.
Aaron attended SUNY Purchase, where he studied Jazz Drums under the tutelage of renowned instructors Kenny Washington and John Riley.
As a performer, Seeber has had the incredible opportunity to share the stage with greats Eric Reed, Pete Malinverni, Warren Wolf, Grant Stewart, Cyrille Aimée, Jeremy Pelt, Paul Bollenback, Tim Green, Ugonna Okegwo, Bruce Harris, Gary Smulyan, Mike Ledonne, Freddie Redd, Butch Warren, Chuck Redd, and many others. He has performed internationally with The Warren Wolf Trio and nationally with the grammy award winning group, The New York Voices. He leads his own Quintet at Smalls Jazz Club twice a month. Aaron has played at many of the renowned venues and festivals around the world including Blues Alley, Marian's Jazz Room (Switzerland), The Blue Note New York, Dizzy's Club Coca-Cola, Birdland, The Mid-Atlantic Jazz Festival, Twins Jazz, The Kennedy Center, Carnegie Hall, The Caramoor Jazz Festival, The DC Jazz Festival and The Falcon.
Seeber recently recorded his debut record "First Move" featuring Warren Wolf, Tim Green, Sullivan Fortner, and Ugonna Okegwo. It will be released May 13th, 2022 on Cellar Live Records.
Aaron endorses Murat-Diril Cymbals and Canopus Drums
https://www.aaronseeber.com/biography
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Biografía
Aaron Seeber, un baterista de 29 años que vive en Queens, Nueva York, se está haciendo un nombre como baterista de jazz emergente en la ciudad de Nueva York.
Nacido en Washington DC, Aaron estuvo expuesto desde muy temprano a muchos grandes músicos como Buck Hill, Freddie Redd, Butch Warren, Larry Willis y muchas otras leyendas que ayudaron a alimentar su entusiasmo por la música de Jazz. Mientras estaba en la escuela secundaria, Aaron asistió al campamento de la Academia de Música de Jazz (JAM) de Paul Carr, donde Aaron está ahora como instructor de batería de la facultad y profesor de combo.
Aaron asistió a SUNY Purchase, donde estudió Batería de Jazz bajo la tutela de los renombrados instructores Kenny Washington y John Riley.
Como intérprete, Seeber ha tenido la increíble oportunidad de compartir el escenario con los grandes Eric Reed, Pete Malinverni, Warren Wolf, Grant Stewart, Cyrille Aimée, Jeremy Pelt, Paul Bollenback, Tim Green, Ugonna Okegwo, Bruce Harris, Gary Smulyan, Mike Ledonne, Freddie Redd, Butch Warren, Chuck Redd, y muchos otros. Ha actuado a nivel internacional con The Warren Wolf Trio y a nivel nacional con el grupo ganador del Grammy, The New York Voices. Dirige su propio quinteto en el Smalls Jazz Club dos veces al mes. Aaron ha tocado en muchos de los lugares y festivales de renombre de todo el mundo, como Blues Alley, Marian's Jazz Room (Suiza), The Blue Note New York, Dizzy's Club Coca-Cola, Birdland, The Mid-Atlantic Jazz Festival, Twins Jazz, The Kennedy Center, Carnegie Hall, The Caramoor Jazz Festival, The DC Jazz Festival y The Falcon.
Seeber ha grabado recientemente su disco de debut "First Move" con Warren Wolf, Tim Green, Sullivan Fortner y Ugonna Okegwo. Se publicará el 13 de mayo de 2022 en Cellar Live Records.
Aaron respalda los platillos Murat-Diril y los tambores Canopus
https://www.aaronseeber.com/biography