Eric Dolphy • Music Matador

 

Review
by Steve Leggett
In the spring of 1963, in the last full year of his life, Eric Dolphy recorded nine tracks in New York with producer Alan Douglas. Working with an ensemble that was mixed and matched in different configurations and included Prince Lasha on flute, Clifford Jordan on soprano sax, Woody Shaw on trumpet, Huey Simmons on alto sax, Bobby Hutcherson on vibraphone (there was no pianist at the sessions), bassists Richard Davis and Eddie Kahn, and drummers J.C. Moses and Charles Moffett, Dolphy tracked material that clearly anticipated his landmark Out to Lunch album that appeared in 1964 while still providing a bridge to the more traditionally accessible work that preceded it. Dolphy delivered some of the best and most striking work of his career, whether offering full-band treatments of originals like "Iron Man" and "Burning Spear"; giving a loose and lilting calypso feel to "Music Matador"; turning Fats Waller's "Jitterbug Waltz" upside down and sideways; or playing wonderful lines on flute, bass clarinet, and alto saxophone. The sessions were split up and originally issued as a pair of LPs, Conversations and Iron Man, and have been reissued in different configurations and under different titles many times since. The complete sessions are available on CD as the double-disc Dolphy Sound from Jazz World, and that's ultimately the way to go, although this set holds up quite well as a sequence. The bottom line is that no Dolphy fan should be without the material recorded at these 1963 New York sessions. The music is brilliant no matter whether it's presented in part or in whole, but once you hear it, you'll want it all.
https://www.allmusic.com/album/music-matador-jazz-hour-mw0000046837

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Reseña
por Steve Leggett

En la primavera de 1963, en el último año completo de su vida, Eric Dolphy grabó nueve temas en Nueva York con el productor Alan Douglas. Trabajando con un conjunto que se mezclaba y combinaba en diferentes configuraciones e incluía a Prince Lasha en la flauta, Clifford Jordan en el saxo soprano, Woody Shaw en la trompeta, Huey Simmons en el saxo alto, Bobby Hutcherson en el vibráfono (no había pianista en las sesiones), los bajistas Richard Davis y Eddie Kahn, y los bateristas J. C. Moses y Charles Moffett, Dolphy grabó un material que anticipaba claramente su histórico álbum Out to Lunch, aparecido en 1964, y que al mismo tiempo constituía un puente hacia el trabajo más tradicionalmente accesible que lo precedió. Dolphy realizó algunos de los mejores y más sorprendentes trabajos de su carrera, ya sea ofreciendo tratamientos de banda completa de originales como "Iron Man" y "Burning Spear"; dando un aire de calipso suelto y cadencioso a "Music Matador"; dando la vuelta al "Jitterbug Waltz" de Fats Waller; o tocando maravillosas líneas en flauta, clarinete bajo y saxofón alto. Las sesiones se dividieron y se publicaron originalmente como un par de LPs, Conversations y Iron Man, y desde entonces se han reeditado en diferentes configuraciones y bajo diferentes títulos. Las sesiones completas están disponibles en CD en el doble disco Dolphy Sound de Jazz World, y en última instancia es el camino a seguir, aunque este conjunto se mantiene bastante bien como una secuencia. La conclusión es que ningún fan de Dolphy debería prescindir del material grabado en estas sesiones de 1963 en Nueva York. La música es brillante independientemente de si se presenta en parte o en su totalidad, pero una vez que la escuches, la querrás toda.

https://www.allmusic.com/album/music-matador-jazz-hour-mw0000046837

Stuff Smith • The Complete Verve Stuff Smith Sessions Vol.1

It is a shame that Stuff Smith did not live to see the revival of interest in swing violin due to his premature death in 1967, almost three decades prior to the passing of fellow violinist Stephane Grappelli. Almost all of Smith's recordings languished out of print until a two-CD set finally appeared on Verve, soon followed by this more complete four-CD Mosaic collection of Smith's recordings for the label, which adds three completely unissued sessions and five additional previously unreleased tracks.
The first two studio dates were scheduled for release but never put out by Verve, yet the music is simply astonishing. Smith is in top form throughout all ten sessions. The supporting cast is tremendous: pianists include Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (who was overlooked and credit was originally given to John Eaton, who likely appears on two tracks), and Paul Smith. Bassists include Red Callendar, Curtis Counce, Ray Brown, Red Mitchell, and Milt Hinton; other important musicians are Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell, and fellow violinist Ray Nance. Smith plays quite a few enjoyable originals (including his blazing "Hillcrest," the very catchy "Calypso," and the exotic "Desert Sands"), but he also covers an extensive collection of Gershwin songs and other standards from some of the best composers of the Great American Songbook, and classic songs from the playbooks of Duke Ellington and Fletcher Henderson. While some tracks are clearly stronger performances than others, there is not one song that won't be devoured eagerly by fans of Smith's swinging jazz violin.

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Es una lástima que Stuff Smith no viviera para ver el resurgimiento del interés por el violín swing debido a su muerte prematura en 1967, casi tres décadas antes del fallecimiento de su compañero violinista Stéphane Grappelli. Casi todas las grabaciones de Smith languidecieron fuera de circulación hasta que finalmente apareció un conjunto de dos CD en Verve, seguido pronto por esta colección más completa de mosaicos de cuatro CD de las grabaciones de Smith para el sello, que añade tres sesiones completamente inéditas y cinco temas adicionales no publicados anteriormente.
Las dos primeras fechas de estudio estaban programadas para su lanzamiento pero nunca fueron editadas por Verve, sin embargo la música es simplemente asombrosa. Smith está en plena forma durante las diez sesiones. El reparto de apoyo es tremendo: los pianistas incluyen a Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (que fue pasada por alto y se le dio crédito originalmente a John Eaton, que probablemente aparece en dos pistas), y Paul Smith. Entre los bajistas se encuentran Red Callendar, Curtis Counce, Ray Brown, Red Mitchell y Milt Hinton; otros músicos importantes son Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell y el violinista Ray Nance. Smith toca bastantes originales agradables (incluyendo su ardiente "Hillcrest", el muy pegajoso "Calypso" y el exótico "Desert Sands"), pero también cubre una extensa colección de canciones de Gershwin y otros estándares de algunos de los mejores compositores del Great American Songbook, y canciones clásicas de los libros de canciones de Duke Ellington y Fletcher Henderson. Aunque algunas canciones son claramente más fuertes que otras, no hay una sola canción que no sea devorada con entusiasmo por los fans del violín de jazz de Smith.

 

 

Stuff Smith • The Complete Verve Stuff Smith Sessions Vol.2

It is a shame that Stuff Smith did not live to see the revival of interest in swing violin due to his premature death in 1967, almost three decades prior to the passing of fellow violinist Stephane Grappelli. Almost all of Smith's recordings languished out of print until a two-CD set finally appeared on Verve, soon followed by this more complete four-CD Mosaic collection of Smith's recordings for the label, which adds three completely unissued sessions and five additional previously unreleased tracks.
The first two studio dates were scheduled for release but never put out by Verve, yet the music is simply astonishing. Smith is in top form throughout all ten sessions. The supporting cast is tremendous: pianists include Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (who was overlooked and credit was originally given to John Eaton, who likely appears on two tracks), and Paul Smith. Bassists include Red Callendar, Curtis Counce, Ray Brown, Red Mitchell, and Milt Hinton; other important musicians are Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell, and fellow violinist Ray Nance. Smith plays quite a few enjoyable originals (including his blazing "Hillcrest," the very catchy "Calypso," and the exotic "Desert Sands"), but he also covers an extensive collection of Gershwin songs and other standards from some of the best composers of the Great American Songbook, and classic songs from the playbooks of Duke Ellington and Fletcher Henderson. While some tracks are clearly stronger performances than others, there is not one song that won't be devoured eagerly by fans of Smith's swinging jazz violin.

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Es una lástima que Stuff Smith no viviera para ver el resurgimiento del interés por el violín swing debido a su muerte prematura en 1967, casi tres décadas antes del fallecimiento de su compañero violinista Stéphane Grappelli. Casi todas las grabaciones de Smith languidecieron fuera de circulación hasta que finalmente apareció un conjunto de dos CD en Verve, seguido pronto por esta colección más completa de mosaicos de cuatro CD de las grabaciones de Smith para el sello, que añade tres sesiones completamente inéditas y cinco temas adicionales no publicados anteriormente.
Las dos primeras fechas de estudio estaban programadas para su lanzamiento pero nunca fueron editadas por Verve, sin embargo la música es simplemente asombrosa. Smith está en plena forma durante las diez sesiones. El reparto de apoyo es tremendo: los pianistas incluyen a Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (que fue pasada por alto y se le dio crédito originalmente a John Eaton, que probablemente aparece en dos pistas), y Paul Smith. Entre los bajistas se encuentran Red Callendar, Curtis Counce, Ray Brown, Red Mitchell y Milt Hinton; otros músicos importantes son Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell y el violinista Ray Nance. Smith toca bastantes originales agradables (incluyendo su ardiente "Hillcrest", el muy pegajoso "Calypso" y el exótico "Desert Sands"), pero también cubre una extensa colección de canciones de Gershwin y otros estándares de algunos de los mejores compositores del Great American Songbook, y canciones clásicas de los libros de canciones de Duke Ellington y Fletcher Henderson. Aunque algunas canciones son claramente más fuertes que otras, no hay una sola canción que no sea devorada con entusiasmo por los fans del violín de jazz de Smith.

 

 

Stuff Smith • The Complete Verve Stuff Smith Sessions Vol.3

It is a shame that Stuff Smith did not live to see the revival of interest in swing violin due to his premature death in 1967, almost three decades prior to the passing of fellow violinist Stephane Grappelli. Almost all of Smith's recordings languished out of print until a two-CD set finally appeared on Verve, soon followed by this more complete four-CD Mosaic collection of Smith's recordings for the label, which adds three completely unissued sessions and five additional previously unreleased tracks.
The first two studio dates were scheduled for release but never put out by Verve, yet the music is simply astonishing. Smith is in top form throughout all ten sessions. The supporting cast is tremendous: pianists include Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (who was overlooked and credit was originally given to John Eaton, who likely appears on two tracks), and Paul Smith. Bassists include Red Callendar, Curtis Counce, Ray Brown, Red Mitchell, and Milt Hinton; other important musicians are Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell, and fellow violinist Ray Nance. Smith plays quite a few enjoyable originals (including his blazing "Hillcrest," the very catchy "Calypso," and the exotic "Desert Sands"), but he also covers an extensive collection of Gershwin songs and other standards from some of the best composers of the Great American Songbook, and classic songs from the playbooks of Duke Ellington and Fletcher Henderson. While some tracks are clearly stronger performances than others, there is not one song that won't be devoured eagerly by fans of Smith's swinging jazz violin.

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Es una lástima que Stuff Smith no viviera para ver el resurgimiento del interés por el violín swing debido a su muerte prematura en 1967, casi tres décadas antes del fallecimiento de su compañero violinista Stéphane Grappelli. Casi todas las grabaciones de Smith languidecieron fuera de circulación hasta que finalmente apareció un conjunto de dos CD en Verve, seguido pronto por esta colección más completa de mosaicos de cuatro CD de las grabaciones de Smith para el sello, que añade tres sesiones completamente inéditas y cinco temas adicionales no publicados anteriormente.
Las dos primeras fechas de estudio estaban programadas para su lanzamiento pero nunca fueron editadas por Verve, sin embargo la música es simplemente asombrosa. Smith está en plena forma durante las diez sesiones. El reparto de apoyo es tremendo: los pianistas incluyen a Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (que fue pasada por alto y se le dio crédito originalmente a John Eaton, que probablemente aparece en dos pistas), y Paul Smith. Entre los bajistas se encuentran Red Callendar, Curtis Counce, Ray Brown, Red Mitchell y Milt Hinton; otros músicos importantes son Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell y el violinista Ray Nance. Smith toca bastantes originales agradables (incluyendo su ardiente "Hillcrest", el muy pegajoso "Calypso" y el exótico "Desert Sands"), pero también cubre una extensa colección de canciones de Gershwin y otros estándares de algunos de los mejores compositores del Great American Songbook, y canciones clásicas de los libros de canciones de Duke Ellington y Fletcher Henderson. Aunque algunas canciones son claramente más fuertes que otras, no hay una sola canción que no sea devorada con entusiasmo por los fans del violín de jazz de Smith.

 

 

Stuff Smith • The Complete Verve Stuff Smith Sessions Vol.4

It is a shame that Stuff Smith did not live to see the revival of interest in swing violin due to his premature death in 1967, almost three decades prior to the passing of fellow violinist Stephane Grappelli. Almost all of Smith's recordings languished out of print until a two-CD set finally appeared on Verve, soon followed by this more complete four-CD Mosaic collection of Smith's recordings for the label, which adds three completely unissued sessions and five additional previously unreleased tracks.
The first two studio dates were scheduled for release but never put out by Verve, yet the music is simply astonishing. Smith is in top form throughout all ten sessions. The supporting cast is tremendous: pianists include Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (who was overlooked and credit was originally given to John Eaton, who likely appears on two tracks), and Paul Smith. Bassists include Red Callendar, Curtis Counce, Ray Brown, Red Mitchell, and Milt Hinton; other important musicians are Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell, and fellow violinist Ray Nance. Smith plays quite a few enjoyable originals (including his blazing "Hillcrest," the very catchy "Calypso," and the exotic "Desert Sands"), but he also covers an extensive collection of Gershwin songs and other standards from some of the best composers of the Great American Songbook, and classic songs from the playbooks of Duke Ellington and Fletcher Henderson. While some tracks are clearly stronger performances than others, there is not one song that won't be devoured eagerly by fans of Smith's swinging jazz violin.

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Es una lástima que Stuff Smith no viviera para ver el resurgimiento del interés por el violín swing debido a su muerte prematura en 1967, casi tres décadas antes del fallecimiento de su compañero violinista Stéphane Grappelli. Casi todas las grabaciones de Smith languidecieron fuera de circulación hasta que finalmente apareció un conjunto de dos CD en Verve, seguido pronto por esta colección más completa de mosaicos de cuatro CD de las grabaciones de Smith para el sello, que añade tres sesiones completamente inéditas y cinco temas adicionales no publicados anteriormente.
Las dos primeras fechas de estudio estaban programadas para su lanzamiento pero nunca fueron editadas por Verve, sin embargo la música es simplemente asombrosa. Smith está en plena forma durante las diez sesiones. El reparto de apoyo es tremendo: los pianistas incluyen a Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (que fue pasada por alto y se le dio crédito originalmente a John Eaton, que probablemente aparece en dos pistas), y Paul Smith. Entre los bajistas se encuentran Red Callendar, Curtis Counce, Ray Brown, Red Mitchell y Milt Hinton; otros músicos importantes son Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell y el violinista Ray Nance. Smith toca bastantes originales agradables (incluyendo su ardiente "Hillcrest", el muy pegajoso "Calypso" y el exótico "Desert Sands"), pero también cubre una extensa colección de canciones de Gershwin y otros estándares de algunos de los mejores compositores del Great American Songbook, y canciones clásicas de los libros de canciones de Duke Ellington y Fletcher Henderson. Aunque algunas canciones son claramente más fuertes que otras, no hay una sola canción que no sea devorada con entusiasmo por los fans del violín de jazz de Smith.

 

 

Jimmy Raney • Jimmy Raney Quartet Featuring Hal Overton

 

Raney Legacy ...

Jako Organ Trio • Safe Place

 

I first met Iakovos Symeonidis as a student at the Prince Claus Conservatoire in Groningen Netherlands. I’ve since watched him to continue to grow and develop as a player. Iakovos embraces the great Jazz guitar tradition, and he has a strong blues foundation and beautiful tone. With his new recording Safe Place Iakovos Symeonidis shows where he’s at in the classic organ trio setting. I look forward to hearing where he heads in the future.
- Dave Stryker -

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Conocí a Iakovos Symeonidis cuando era estudiante en el Conservatorio Príncipe Claus de Groningen (Países Bajos). Desde entonces le he visto crecer y desarrollarse como músico. Iakovos abraza la gran tradición de la guitarra de jazz, y tiene una fuerte base de blues y un hermoso tono. Con su nueva grabación Safe Place, Iakovos Symeonidis muestra dónde está en el entorno del trío de órgano clásico. Estoy deseando escuchar hacia dónde se dirige en el futuro.
- Dave Stryker -

Rhythm 55 • Mess Around

 

Gene Ammons • Boss Tenor

 

Clifton Chenier • Frenchin The Blues - The Blues Collection Vol.42

 

Earl Grant • The End [EP]

 

Earl Grant (January 20, 1931 – June 10, 1970) was an American pianist, organist, and vocalist popular in the 1950s and 1960s.
Grant was born in Idabel, Oklahoma. Though he would be known later for his keyboards and vocals, Grant also played trumpet and drums. Grant attended four music schools, eventually becoming a music teacher. He augmented his income by performing in clubs during his army service, throughout which he was stationed in Fort Bliss, Texas. Grant signed with Decca Records in 1957 and his first single "The End" reached number 7 on the Billboard Hot 100 chart. The single "Ebb Tide" sold over one million copies, gaining gold disc status. He recorded five more singles that made the charts, including "Swingin' Gently" (from Beyond the Reef), and six additional albums (mostly on the Decca label) through 1968. He also recorded the album Yes Sirree and the instrumental album Trade Winds, single-tracked on the Hammond organ and piano, featuring the love theme from the film El Cid and Chaplin's "Eternally". This album featured some realistic sounding "tropical bird calls" produced by his electric organ. "The House of Bamboo" was another big-selling single. In all, Grant recorded 30 albums for Decca.
Several of his albums featured tenor saxophonist Plas Johnson.[citation needed]
Grant also made a few appearances in film and television, including Tender Is the Night (1962), Juke Box Rhythm (1959), and The Ed Sullivan Show (1961).
Grant sings the title theme for the 1959 film Imitation of Life in a way very close to an imitation of Nat King Cole
He died instantly in a car accident in Lordsburg, New Mexico, at the age of 39 when the car he was driving ran off Interstate 10. He was driving from Los Angeles to an intended destination in Juarez, Mexico. His 17-year-old cousin was also killed in the accident.

 

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Earl Grant (20 de enero de 1931 - 10 de junio de 1970) fue un pianista, organista y vocalista estadounidense muy popular en las décadas de 1950 y 1960.
Grant nació en Idabel, Oklahoma. Aunque más tarde sería conocido por sus teclados y su voz, Grant también tocaba la trompeta y la batería. Grant asistió a cuatro escuelas de música y finalmente se convirtió en profesor de música. Aumentó sus ingresos actuando en clubes durante su servicio militar, durante el cual estuvo destinado en Fort Bliss, Texas. Grant firmó con Decca Records en 1957 y su primer sencillo "The End" alcanzó el número 7 en la lista Billboard Hot 100. El sencillo "Ebb Tide" vendió más de un millón de copias, obteniendo el estatus de disco de oro. Grabó cinco sencillos más que entraron en las listas, incluido "Swingin' Gently" (de Beyond the Reef), y seis álbumes más (la mayoría en el sello Decca) hasta 1968. También grabó el álbum Yes Sirree y el álbum instrumental Trade Winds, con una sola pista en el órgano Hammond y el piano, con el tema de amor de la película El Cid y "Eternally" de Chaplin. Este álbum incluía algunos "cantos de pájaros tropicales" de sonido realista producidos por su órgano eléctrico. "The House of Bamboo" fue otro sencillo de gran éxito. En total, Grant grabó 30 álbumes para Decca.
Varios de sus álbumes contaron con la participación del saxofonista tenor Plas Johnson[cita requerida].
Grant también hizo algunas apariciones en el cine y la televisión, incluyendo Tender Is the Night (1962), Juke Box Rhythm (1959), y The Ed Sullivan Show (1961).
Grant canta el tema principal de la película de 1959 Imitation of Life de una forma muy cercana a una imitación de Nat King Cole
Murió instantáneamente en un accidente de coche en Lordsburg, Nuevo México, a la edad de 39 años, cuando el coche que conducía se salió de la Interestatal 10. Conducía desde Los Ángeles a un destino previsto en Juárez, México. Su primo de 17 años también murió en el accidente.

The Mal Waldron Trio • The Blues Minus You - Ten Shades Of Blue

 

Groovin' Highː The Life of Dizzy Gillespie

Dizzy Gillespie was one of the most important and best-loved musicians in jazz history. With his horn-rimmed glasses, goatee, jive talk, and upraised trumpet bell, he was the hipster who most personified bebop. The musical heir to Louis Armstrong, he created the modern jazz trumpet-playing style and dazzled aficionados and popular audiences alike for over 50 years.

In this first full biography, Alyn Shipton covers all aspects of Dizzy's remarkable life and career, taking us through his days as a flashy trumpet player in the swing bands of the 1930s, his innovative bebop work in the 1940s, the worldwide fame and adoration he earned through his big band tours in the 1950s, and the many recordings and performances which defined a career that extended into the early 1990s. Along the way, Shipton convincingly argues that Gillespie--rather than Charlie Parker as is widely believed--had the greatest role in creating bebop, playing in key jazz groups, teaching the music to others, and helping to develop the first original bebop repertory. Shipton also explores the dark side of Dizzy's mostly sunny personal life, his womanizing, the illegitimate daughter he fathered and supported--now a respected jazz singer in her own right--and his sometimes needless cruelty to others.

For anyone interested in jazz and one of its most innovative and appealing figures, Groovin' High is essential reading.

Amazon ...

Waging Heavy Peace (Neil Young)

 

The perfect gift for music lovers and Neil Young fans, telling the story behind Neil Young's legendary career and his iconic, beloved songs. 

“I think I will have to use my time wisely and keep my thoughts straight if I am to succeed and deliver the cargo I so carefully have carried thus far to the outer reaches.”—Neil Young, from Waging Heavy Peace
 
Legendary singer and songwriter Neil Young’s storied career has spanned over forty years and yielded some of the modern era’s most enduring music. Now for the first time ever, Young reflects upon his life—from his Canadian childhood, to his part in the sixties rock explosion with Buffalo Springfield and Crosby, Stills, Nash & Young, through his later career with Crazy Horse and numerous private challenges. An instant classic, Waging Heavy Peace is as uncompromising and unforgettable as the man himself. 

 

Electronic music machines the new musical instruments

 

 

Since 1960, with the advent of musical electronics, composers and musicians have been using ever more sophisticated machines to create sonic material that presents innovation, color and new styles: electro-acoustic, electro, house, techno, etc. music. The music of Pierre Henry, Kraftwerk, Pink Floyd, Daft Punk and many others has introduced new sounds, improbable rhythms and a unique approach to composition and notation.

Electronic machines have become essential: they have built and influenced the music of the most recent decades and set the trend for future productions.

This book explores the theory and practice related to the different machines which constitute the universe of musical electronics, omitting synthesizers which are treated in other works. Sequencers, drum machines, samplers, groove machines and vocoders from 1960 to today are studied in their historical, physical and theoretical context. More detailed approaches to the Elektron Octatrack sequencer-sampler and the Korg Electribe 2 groove machine are also included. 

 

Curious and Modern Inventions Instrumental Music as Discovery in Galileo’s Italy

 

Early seventeenth-century Italy saw a revolution in instrumental music. Large, varied, and experimental, the new instrumental repertoire was crucial for the Western tradition—but until now, the impulses that gave rise to it had yet to be fully explored. Curious and Modern Inventions offers fresh insight into the motivating forces behind this music, tracing it to a new conception of instruments of all sorts—whether musical, artistic, or scientific—as vehicles of discovery.

Rebecca Cypess shows that early modern thinkers were fascinated with instrumental technologies. The telescope, the clock, the pen, the lute—these were vital instruments for leading thinkers of the age, from Galileo Galilei to Giambattista Marino. No longer used merely to remake an object or repeat a process already known, instruments were increasingly seen as tools for open-ended inquiry that would lead to new knowledge. Engaging with themes from the history of science, literature, and the visual arts, this study reveals the intimate connections between instrumental music and the scientific and artisanal tools that served to mediate between individuals and the world around them.

 

Gustave Courbet

 

Ornans, Courbet’s birthplace, is near the beautiful valley of the Doubs River, and it was here as a boy, and later as a man, that he absorbed the love of landscape.
He was by nature a revolutionary, a man born to oppose existing order and to assert his independence; he had that quality of bluster and brutality which makes the revolutionary count in art as well as in politics. In both directions his spirit of revolt manifested itself. He went to Paris to study art, yet he did not attach himself to the studio of any of the prominent masters. Already in his country home he had had a little instruction in painting, and preferred to study the masterpieces of the Louvre. At first his pictures were not sufficiently distinctive to arouse any opposition, and were admitted to the Salon. Then followed the Funeral at Ornans, which the critics violently assailed: “A masquerade funeral, six metres long, in which there is more to laugh at than to weep over.” Indeed, the real offence of Courbet’s pictures was that they represented live flesh and blood. They depicted men and women as they really are and realistically doing the business in which they are engaged. His figures were not men and women deprived of personality and idealised into a type, posed in positions that will decorate the canvas. He advocated painting things as they are, and proclaimed that la vérité vraie must be the aim of the artist. So at the Universal Exposition of 1855 he withdrew his pictures from the exhibition grounds and set them in a wooden booth, just outside the entrance. Over the booth he posted a sign with large lettering. It read, simply: “Courbet – Realist.” Like every revolutionary, he was an extremist. He ignored the fact that to every artist the truth of nature appears under a different guise according to his way of seeing and experiencing. Instead, he adhered to the notion that art is only a copying of nature and not a matter also of selection and arrangement. In his contempt for prettiness Courbet often chose subjects which may fairly be called ugly. But that he also had a sense of beauty may be seen in his landscapes. That sense, mingled with his capacity for deep emotion, appears in his marines – these last being his most impressive work. Moreover, in all his works, whether attractive or not to the observer, he proved himself a powerful painter, painting in a broad, free manner, with a fine feeling for colour, and with a firmness of pigment that made all his representations very real and stirring.

 

Coleman Hawkins • Hollywood Stampede

 

Charlie Hunter • Ready ... Set ... Shango!

 

Review
by Scott Yanow
Although it is never clear what "shango" is, this set by guitarist Charlie Hunter's quartet is quite accessible and enjoyable. Marketed as some type of new alternative jazz, the music in reality is bop-based and not that far from soul-jazz. The most unusual aspect of the set is that Hunter plays an eight-string guitar, which not only allows him to play basslines (there is no bassist on the CD) but at times to emulate an organ. Both tenorman Dave Ellis, who would soon start his own solo career, and altoist Calder Spanier have plenty of solo space, while drummer Scott Amendola keeps the music grooving and moving. The nine selections may all be originals, but the music is also tied to the swinging tradition. Recommended.
https://www.allmusic.com/album/readysetshango%21-mw0000183580

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Reseña
por Scott Yanow
Aunque nunca está claro qué es el "shango", este conjunto del cuarteto del guitarrista Charlie Hunter es bastante accesible y agradable. Comercializado como una especie de nuevo jazz alternativo, la música en realidad está basada en el bop y no está tan lejos del soul-jazz. El aspecto más inusual del conjunto es que Hunter toca una guitarra de ocho cuerdas, que no sólo le permite tocar líneas de bajo (no hay bajista en el CD) sino que a veces emula un órgano. Tanto el tenor Dave Ellis, que pronto comenzaría su propia carrera en solitario, como el contralto Calder Spanier tienen mucho espacio para sus solos, mientras que el batería Scott Amendola mantiene la música con ritmo y movimiento. Las nueve selecciones pueden ser todas originales, pero la música también está ligada a la tradición del swing. Recomendado.
https://www.allmusic.com/album/readysetshango%21-mw0000183580


www.charliehunter.com ...

 

Christian Madden • The Wrecking Place

 

Christian Madden is a keyboardist and composer based in the North of England, currently touring with Liam Gallagher whenever National and International restrictions permit.

Born in the unlikely Northern music hub of  Burnley, Lancashire Christian was thrust into Joe Madden's legendary Uptown Band at the age of 15 leading to hundreds of local live performances before moving onto larger stages. In his 20s recording sessions in Manchester introduced Christian to Giles Hatton, John Mark Lapham and later Brandon Carr. Together the four of them formed a transatlantic, psychedelic collective known as the Earlies who released two albums through Warner Brothers imprint Names Records to fervent critical acclaim.  In addition the Earlies began to forge a reputation as producers and session players, enhancing albums by Micah P Hinson, King Creosote and Plan B.

As the geography eventually got the better of the Earlies, Madden moved into a steady stream of session work performing and recording with Cherry Ghost, Paul Heaton, King Creosote, Jimi Goodwin (Doves), Liam Frost and many more.In 2017 Christian released his first solo album, the Wrecking Place followed in 2020 by Understand the Rules. Both albums explore his love of keyboard driven instrumentals featuring many of the talented colleagues met throughout 25 years of touring and recording. A third album is nearing completion for release in 2022.
https://www.christianmadden.co.uk/about

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Christian Madden es un teclista y compositor afincado en el norte de Inglaterra, que actualmente está de gira con Liam Gallagher siempre que las restricciones nacionales e internacionales lo permiten.

Nacido en el improbable centro musical del norte, Burnley (Lancashire), Christian se incorporó a la legendaria Uptown Band de Joe Madden a la edad de 15 años, lo que le llevó a realizar cientos de actuaciones locales en directo antes de pasar a escenarios más grandes. A los 20 años, las sesiones de grabación en Manchester presentaron a Christian a Giles Hatton, John Mark Lapham y, más tarde, a Brandon Carr. Juntos formaron un colectivo transatlántico y psicodélico conocido como los Earlies, que publicaron dos álbumes a través del sello Names Records de Warner Brothers con gran éxito de crítica.  Además, los Earlies comenzaron a forjarse una reputación como productores y músicos de sesión, mejorando los álbumes de Micah P Hinson, King Creosote y Plan B.

A medida que la geografía eventualmente sacó lo mejor de los Earlies, Madden pasó a un flujo constante de trabajo de sesión actuando y grabando con Cherry Ghost, Paul Heaton, King Creosote, Jimi Goodwin (Doves), Liam Frost y muchos más.En 2017 Christian lanzó su primer álbum en solitario, el Wrecking Place seguido en 2020 por Understand the Rules. Ambos álbumes exploran su amor por los instrumentales impulsados por teclados, presentando a muchos de los talentosos colegas conocidos a lo largo de 25 años de giras y grabaciones. Un tercer álbum está a punto de ser lanzado en 2022.
https://www.christianmadden.co.uk/about

www.christianmadden.co.uk ...

Lalo Schifrin • Music From Mission Impossible

 

Review by Adam Greenberg

Before the days of "Music from and inspired by," there was "Music from." The album is solely comprised of music used in the Mission: Impossible TV series. All of it was composed by Lalo Schifrin for the show and is played on the album by his band, with him on the piano. This in and of itself is something special for the listener, as Schifrin is an amazing jazz player (played with Dizzy Gillespie's small band for a number of years, still occasionally plays here and there). The compositions are, of course, outstanding, as can be expected, as Schifrin spent quite a bit of time writing themes, etc., for the Hollywood set. He also shows his wide range on the album, spending some time away from his leanings on softer, lounge type songs, such as "Cinnamon (The Lady Was Made to be Loved)" for Barbara Bain's character. Most of the album, though, follows through mainly with much more exciting tracks from the series. These more exciting ones are mainly single character "themes," such as "Wide Willy" for Peter Lupus' character and "Barney Does It All" for Greg Morris' character. The highlights of the album are, of course, the opening theme, "Mission: Impossible," with its pounding bass piano riffs, and the ending theme, "Mission: Accomplished." Any fan of the show should try and find this album at a used music shop, but more specifically fans of Lalo Schifrin (and that could be quite a few, as he remained uncredited on some of his TV themes) should definitely check the album out. It's a good buy if you can find it.

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Review by Adam Greenberg

Before the days of "Music from and inspired by," there was "Music from." The album is solely comprised of music used in the Mission: Impossible TV series. All of it was composed by Lalo Schifrin for the show and is played on the album by his band, with him on the piano. This in and of itself is something special for the listener, as Schifrin is an amazing jazz player (played with Dizzy Gillespie's small band for a number of years, still occasionally plays here and there). The compositions are, of course, outstanding, as can be expected, as Schifrin spent quite a bit of time writing themes, etc., for the Hollywood set. He also shows his wide range on the album, spending some time away from his leanings on softer, lounge type songs, such as "Cinnamon (The Lady Was Made to be Loved)" for Barbara Bain's character. Most of the album, though, follows through mainly with much more exciting tracks from the series. These more exciting ones are mainly single character "themes," such as "Wide Willy" for Peter Lupus' character and "Barney Does It All" for Greg Morris' character. The highlights of the album are, of course, the opening theme, "Mission: Impossible," with its pounding bass piano riffs, and the ending theme, "Mission: Accomplished." Any fan of the show should try and find this album at a used music shop, but more specifically fans of Lalo Schifrin (and that could be quite a few, as he remained uncredited on some of his TV themes) should definitely check the album out. It's a good buy if you can find it.

schifrin.com ...

Brian Setzer • 13

Review by Jeff Tamarkin

Throughout his career, Brian Setzer has successfully led two bands that have explored, and expanded upon, specific areas of pre-'60s American music: the Stray Cats virtually created the rockabilly revival of the '80s and the Brian Setzer Orchestra mined and updated the big band swing and jump-boogie of the '40s. In both contexts, the prescient Setzer proved a winner, an inspired and knowledgeable craftsman armed with truckloads of sizzling, pinpointed guitar licks and terrific songs. On occasion he's chosen, with mixed results, to break out of those molds and piece together solo albums that extend his reach into more mainstream, albeit still retro-based areas of rock. His first, 1986's The Knife Feels Like Justice, was a left-field surprise that seemed to indicate that Setzer was primed to abandon, at least partially, his obsession with the past and to try his luck in the modern rock world. That didn't quite happen, as he returned repeatedly to the more familiar territory, but on 13 -- so named because it's his 13th studio album of new material -- Setzer once again branches out, and this time he's got the balance just right. 13 is stocked with 13 (of course) diverse tracks gliding easily from straight-ahead rock & roll (among the best: "Rocket Cathedrals," "Broken Down Piece of Junk" and the anthemic "We Are the Marauders," which declares that "American Idol is a bunch of crap") to slick instrumental blues ("Mini Bar Blues"). That doesn't mean he leaves the vintage Americana behind, but one of the album's strongest tunes, the hilarious "Really Rockabilly" (which includes Stray Cats drummer Slim Jim Phantom) leaves no doubt that Setzer's fed up with the many poseurs who've co-opted and diluted the style without having much of a clue about its origins or rebel spirit. Just to show them how it's really done, he unleashes a series of short-burst licks that provide a crash course in rockabilly guitar. "Don't Say You Love Me" crosses harmonic pop/rock with smooth rockabilly economy, and "When Hepcat Gets the Blues" walks the tightrope between Stray Cats and BSO territory. But although several songs touch on familiar ground, 13 is not intended to be, not does it feel like, a rockabilly or swing album. The opening track, the crunching "Drugs and Alcohol (Bullet Holes)" (it's anything but an endorsement of said substances) takes a look at the hard life of a high-schooler who's been through way too much, while "Everybody's Up to Somethin'," with its stacked Southern rock-style guitars, casts just about everyone into the role of no-goodnik. Setzer closes out 13 with the mostly acoustic "The Hennepin Avenue Bridge," something that might have felt at home in the early-'60s folk revival. Gotta keep 'em guessing, after all.

https://www.allmusic.com/album/13-mw0000555835

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Reseña de Jeff Tamarkin

A lo largo de su carrera, Brian Setzer ha dirigido con éxito dos bandas que han explorado y ampliado áreas específicas de la música estadounidense anterior a los años 60: los Stray Cats crearon virtualmente el renacimiento del rockabilly de los años 80 y la Brian Setzer Orchestra minó y actualizó el swing de la big band y el jump-boogie de los años 40. En ambos contextos, el presciente Setzer demostró ser un ganador, un inspirado y entendido artesano armado con camiones cargados de chisporroteos, lame guitarras puntiagudas y canciones fantásticas. En ocasiones ha elegido, con resultados mixtos, romper esos moldes y componer álbumes en solitario que extienden su alcance hacia áreas de rock más convencionales, aunque todavía retro. Su primer libro, The Knife Feels Like Justice, de 1986, fue una sorpresa en el campo izquierdo que pareció indicar que Setzer estaba preparado para abandonar, al menos parcialmente, su obsesión con el pasado y probar suerte en el mundo del rock moderno. Eso no sucedió, ya que regresó repetidamente al territorio más familiar, pero el 13 -- así llamado porque es su 13º álbum de estudio de nuevo material -- Setzer una vez más se diversifica, y esta vez tiene el equilibrio perfecto. 13 está repleto de 13 (por supuesto) pistas diversas que se deslizan fácilmente desde el rock & roll de frente (entre las mejores): "Rocket Cathedrals", "Broken Down Piece of Junk" y el himno "We Are the Marauders", que declara que "American Idol es un montón de basura") a un deslumbrante blues instrumental ("Mini Bar Blues"). Eso no significa que deje atrás la vintage americana, pero una de las canciones más fuertes del álbum, la hilarante "Really Rockabilly" (que incluye al baterista de Stray Cats Slim Jim Phantom) no deja duda de que Setzer está harto de los muchos poseedores que se han apoderado del estilo y lo han diluido sin tener ni idea de sus orígenes ni de su espíritu rebelde. Sólo para mostrarles cómo se hace realmente, desencadena una serie de golpes cortos que proporcionan un curso intensivo de guitarra rockabilly. "Don't Say You Love Me" cruza el pop/rock armónico con una suave economía rockabilly, y "When Hepcat Gets the Blues" camina por la cuerda floja entre Stray Cats y el territorio de BSO. Pero aunque varias canciones se tocan en terreno familiar, 13 no pretende ser, ni se siente como, un álbum de rockabilly o swing. El tema de apertura, el crujiente "Drugs and Alcohol (Bullet Holes)" (es cualquier cosa menos un apoyo a dichas sustancias) echa un vistazo a la dura vida de un estudiante de secundaria que ha pasado por mucho, mientras que "Everybody's Up to Somethin' (Todos están tramando algo), con sus apiladas guitarras de rock sureño, hace que casi todo el mundo asuma el papel de no-goodnik. Setzer cierra el 13 con el mayormente acústico "The Hennepin Avenue Bridge", algo que podría haberse sentido como en casa a principios de los años 60. Tengo que seguir adivinando, después de todo.

https://www.allmusic.com/album/13-mw0000555835

briansetzer.com ...

  

Larry Coryell-Philip Catherine • Twin House

 

Review by Robert Taylor
The first of two fine guitar duet recordings with Phillip Catherine. Of the two, Catherine's sound is more rooted in the tradition of Django Reinhardt and tends to be more introspective. Coryell is his usual incorrigible self; however, Catherine's presence seemed to inspire more experimentation and intelligent playing on Coryell's part. As expected, this session will appeal primarily to guitarists -- and for good reason, as both players exploit their chops -- but it should be noted that the compositions here are quite memorable. Whether soloing over one riff ("Mortgage on Your Soul"), playing the blues ("Twin House"), or showing off ("Airpower"), this is an excellent collaboration and one of Coryell's most ambitious performances.
https://www.allmusic.com/album/twin-house-mw0000497028

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Reseña de Robert Taylor
La primera de dos grabaciones de dúos de guitarra con Phillip Catherine. De los dos, el sonido de Catherine está más enraizado en la tradición de Django Reinhardt y tiende a ser más introspectivo. Coryell es el incorregible de siempre; sin embargo, la presencia de Catherine parece inspirar más experimentación e interpretación inteligente por parte de Coryell. Como era de esperar, esta sesión atraerá principalmente a los guitarristas, y con razón, ya que ambos músicos explotan sus habilidades, pero hay que señalar que las composiciones son bastante memorables. Ya sea haciendo un solo sobre un riff («Mortgage on Your Soul»), tocando blues («Twin House»), o luciéndose («Airpower»), ésta es una excelente colaboración y una de las actuaciones más ambiciosas de Coryell.
https://www.allmusic.com/album/twin-house-mw0000497028


 

James Newton • Axum

 

Review by Scott Yanow
James Newton's set of unaccompanied flute solos is generally more intriguing and diverse than one might expect. An expert at multiphonics (often humming through his flute in order to get more than one note at a time), Newton is also very strong at constructing logical yet utterly unpredictable improvisations. His playing on nine of his originals covers a fair amount of ground, and he alternates between three different types of flutes (his regular horn, alto flute and bass flute). Still, the results are more for specialized tastes.
https://www.allmusic.com/album/axum-mw0000651795

Biography by Matt Collar
 California-based flutist James Newton a boundary-breaking performer, known for his sophisticated, high-minded albums that reflect a wide variety of jazz and classical influences. Possessed of a warm tone, Newton's flute work is technically impressive and resourceful, making use of multi-phonics, flutter-tonguing, and concurrent vocal/flute lines that push the envelope of the instrument's sound. He emerged in the Los Angeles area in the 1970s playing alongside such similarly minded artists Arthur Blythe, Anthony Davis, and David Murray, and issuing albums like 1978's quartet date Paseo del Mar, 1979's Crystal Texts, and 1981's solo flute album Axum. As a composer, Newton draws from a deep well of influences including John Coltrane and Charles Mingus, as well as Igor Stravinsky, György Ligeti, and Duke Ellington -- the latter of whose music he explored on his inventive 1985 album The African Flower. Along with performing, Newton holds professorships at University of California at Los Angeles. He has worked increasingly as a composer, issuing Suite for Frida Kahlo in 1994 and premiering the "St. Matthew Passion" mass at the Torino Jazz Festival in 2015. A collection of chamber music and solo pieces, The Manual of Light, arrived in 2018.
Born in Los Angeles in 1953, Newton grew up in the San Pedro community where he first began playing alto sax, tenor sax, and flute in high school. Along with his interest in jazz, his first forays into performing were as a bassist in a Motown cover band. He also briefly formed his own Jimi Hendrix-style trio. It was after high school, while studying classical music at Cal State Los Angeles, that he began to focus on playing avant-garde jazz. Heavily influenced by Eric Dolphy, and Roland Kirk, Newton began seeking out like-minded performers. By the mid-'70s, he had joined Black Music Infinity, a group led by drummer Stanley Crouch, with saxophonists Arthur Blythe and David Murray. It was during this period, with two formidable saxophonists already in the band, that Newton made the decision to concentrate solely on the flute. In 1977 he made his recorded debut alongside Murray on Solomon's Sons.
In 1978, following his graduation from college, he moved to New York with Murray. There he befriended pianist Anthony Davis, joining him on several albums. He played with pianist Cecil Taylor's big band and started recording as a leader, issuing albums like Crystal Texts with pianist Davis, From Inside, and Paseo del Mar. The chamber jazz-influenced Mystery School arrived in 1979, and found him leading an unconventional group featuring clarinetist John Carter, bassoonist John Nunez, oboist/English Horn player Charles Owens, and tuba player Red Callender.
In the early '80s, he moved back to San Pedro where he expanded his experience into education, teaching jazz history, composition, and jazz ensemble at the California Institute of the Arts in Valencia. He stayed active, issuing 1981's Axum, a set of unaccompanied flute solos. The eponymous James Newton arrived the following year and featured a group with violinist John Blake, trombonist Slide Hampton, vibraphonist Jay Hoggard, pianist Anthony Davis, bassist Cecil McBee, and drummer Billy Hart. A similar group, augmented by cellist Abdul Wadud and pianist Kenny Kirkland, also recorded 1983's Luella. He then reconvened his Mystery School ensemble for 1985's Water Mystery. That same year, he reinterpreted the music of Duke Ellington and Billy Strayhorn on The African Flower. Another tribute album, Romance and Revolution, followed in 1987 and found Newton exploring the music of Charles Mingus.
 Over the next decade, Newton shifted more into classical composition, writing several commissions for various-sized ensembles. In 1990, he also published a book, Improvising Flute. That same year, he issued If Love with drummer Billy Hart, bassist Anthony Cox, and pianist Mike Cain. The classical- and jazz-inflected Suite for Frida Kahlo arrived in 1994. Three years later, he explored the use of electronics, mixing in hip-hop, Latin, and jazz traditions on Above Is Above All.
Away from performing, Newton has continued to teach, having held professorships at the University of California at Los Angeles, University of California at Irvine, and Cal State University Los Angeles. In 2005, he was awarded a Doctor of Arts Degree from the California Institute of the Arts. He has also garnered more attention for his composing, premiering his "St. Matthew Passion" mass at the Torino Jazz Festival in 2015. In 2018, he released The Manual of Light, which featured chamber music and solo pieces.
https://www.allmusic.com/artist/james-newton-mn0000141805#biography

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Reseña de Scott Yanow
El conjunto de solos de flauta sin acompañamiento de James Newton es generalmente más intrigante y diverso de lo que cabría esperar. Newton, experto en multifónicos (a menudo tarareando su flauta para obtener más de una nota a la vez), también es muy bueno para construir improvisaciones lógicas pero completamente impredecibles. Su interpretación de nueve de sus originales cubre una buena cantidad de terreno, y alterna entre tres tipos diferentes de flautas (su trompa normal, flauta alta y flauta baja). Aún así, los resultados son más para gustos especializados.
https://www.allmusic.com/album/axum-mw0000651795

Biografía de Matt Collar
 El flautista James Newton, residente en California, un intérprete que rompe fronteras, conocido por sus álbumes sofisticados y de mentalidad elevada que reflejan una amplia variedad de influencias clásicas y de jazz. Poseedor de un tono cálido, el trabajo de flauta de Newton es técnicamente impresionante e ingenioso, haciendo uso de multifónicos, aleteo y líneas vocales/de flauta simultáneas que amplían la envolvente del sonido del instrumento. Surgió en el área de Los Ángeles en la década de 1970 tocando junto a artistas de ideas similares como Arthur Blythe, Anthony Davis y David Murray, y publicando álbumes como quartet date Paseo del Mar de 1978, Crystal Texts de 1979 y Axum, álbum de flauta solista de 1981. Como compositor, Newton se basa en un profundo pozo de influencias que incluyen a John Coltrane y Charles Mingus, así como a Igor Stravinsky, György Ligeti y Duke Ellington, esta última de cuya música exploró en su ingenioso álbum de 1985 The African Flower. Además de actuar, Newton ocupa cátedras en la Universidad de California en Los Ángeles. Ha trabajado cada vez más como compositor, publicando Suite para Frida Kahlo en 1994 y estrenando la misa "Pasión según San Mateo" en el Festival de Jazz de Turín en 2015. Una colección de música de cámara y piezas solistas, El Manual de la Luz, llegó en 2018.
Nacido en Los Ángeles en 1953, Newton creció en la comunidad de San Pedro, donde comenzó a tocar saxo alto, saxo tenor y flauta en la escuela secundaria. Junto con su interés por el jazz, sus primeras incursiones en la interpretación fueron como bajista en una banda de versiones de Motown. También formó brevemente su propio trío al estilo de Jimi Hendrix. Fue después de la secundaria, mientras estudiaba música clásica en Cal State Los Ángeles, que comenzó a concentrarse en tocar jazz de vanguardia. Fuertemente influenciado por Eric Dolphy y Roland Kirk, Newton comenzó a buscar artistas de ideas afines. A mediados de los 70, se había unido a Black Music Infinity, un grupo liderado por el baterista Stanley Crouch, con los saxofonistas Arthur Blythe y David Murray. Fue durante este período, con dos formidables saxofonistas ya en la banda, que Newton tomó la decisión de concentrarse únicamente en la flauta. En 1977 hizo su debut grabado junto a Murray en Solomon's Sons.
En 1978, después de graduarse de la universidad, se mudó a Nueva York con Murray. Allí se hizo amigo del pianista Anthony Davis, uniéndose a él en varios álbumes. Tocó con la big band del pianista Cecil Taylor y comenzó a grabar como líder, publicando álbumes como Crystal Texts con el pianista Davis, From Inside y Paseo del Mar. La Escuela de Misterio influenciada por el jazz de cámara llegó en 1979 y lo encontró liderando un grupo poco convencional con el clarinetista John Carter, el fagotista John Núñez, el oboísta/trompa inglés Charles Owens y el tuba Red Callender.
A principios de los 80, regresó a San Pedro, donde amplió su experiencia en educación, enseñando historia del jazz, composición y conjunto de jazz en el Instituto de Artes de California en Valencia. Se mantuvo activo, publicando Axum de 1981, un conjunto de solos de flauta sin acompañamiento. El epónimo James Newton llegó al año siguiente y contó con un grupo con el violinista John Blake, el trombonista Slide Hampton, el vibrafonista Jay Hoggard, el pianista Anthony Davis, el bajista Cecil McBee y el baterista Billy Hart. Un grupo similar, aumentado por el violonchelista Abdul Wadud y el pianista Kenny Kirkland, también grabó Luella de 1983. Luego volvió a convocar a su conjunto de Escuela de Misterios para Water Mystery de 1985. Ese mismo año, reinterpretó la música de Duke Ellington y Billy Strayhorn en The African Flower. Otro álbum tributo, Romance and Revolution, siguió en 1987 y encontró a Newton explorando la música de Charles Mingus.
 Durante la siguiente década, Newton cambió más a la composición clásica, escribiendo varios encargos para conjuntos de varios tamaños. En 1990, también publicó un libro, Improvisando flauta. Ese mismo año, publicó If Love con el baterista Billy Hart, el bajista Anthony Cox y el pianista Mike Cain. La Suite con inflexiones clásicas y de jazz para Frida Kahlo llegó en 1994. Tres años después, exploró el uso de la electrónica, mezclando tradiciones de hip-hop, latín y jazz en Above Is Above All.
Lejos de actuar, Newton ha continuado enseñando, habiendo ocupado cátedras en la Universidad de California en Los Ángeles, la Universidad de California en Irvine y la Universidad Estatal de California en Los Ángeles. En 2005, recibió un título de Doctor en Artes del Instituto de Artes de California. También ha atraído más atención por su composición, estrenando su misa "Pasión según San Mateo" en el Festival de Jazz de Turín en 2015. En 2018, lanzó The Manual of Light, que presentaba música de cámara y piezas en solitario.
https://www.allmusic.com/artist/james-newton-mn0000141805#biography

jamesnewtonmusic.com ...

B3 • Bom De Três

 

Bill Frisell • The Intercontinentals

 

Bill Frisell’s career as a guitarist and composer has spanned more than 40 years and many celebrated recordings, whose catalog has been cited by Downbeat as "the best recorded output of the decade."

In recent years, Frisell has forged a distinctive and fruitful collaboration with the Blue Note label, releasing HARMONY, Valentine and FOUR to great acclaim.

"Frisell has had a lot of practice putting high concept into a humble package. Long hailed as one of the most distinctive and original improvising guitarists of our time, he has also earned a reputation for teasing out thematic connections with his music... There’s a reason that Jazz at Lincoln Center had him program a series called Roots of Americana."  - New York Times

Recognized as one of America’s 21 most vital and productive performing artists, Frisell was named an inaugural Doris Duke Artist in 2012.  He is also a recipient of grants from United States Artists, Meet the Composer among others.  In 2016, he was a beneficiary of the first FreshGrass Composition commission to preserve and support innovative grassroots music.  Upon San Francisco Jazz opening their doors in 2013, he served as one of their Resident Artistic Directors.  Bill is the subject of a documentary film by director Emma Franz, entitled Bill Frisell: A Portrait, which examines his creative process in depth, as well as an extensive biography by Philip Watson, Beautiful Dreamer: The Guitarist Who Changed The Sound of American Music.
https://www.billfrisell.com/biography

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La carrera de Bill Frisell como guitarrista y compositor ha abarcado más de 40 años y muchas grabaciones celebradas, cuyo catálogo ha sido citado por Downbeat como "la mejor producción grabada de la década."

En los últimos años, Frisell ha forjado una colaboración distintiva y fructífera con el sello Blue Note, lanzando HARMONY, Valentine y FOUR con gran éxito.

"Frisell ha tenido mucha práctica poniendo un alto concepto en un paquete humilde. Aclamado durante mucho tiempo como uno de los guitarristas improvisadores más distintivos y originales de nuestro tiempo, también se ha ganado la reputación de desentrañar las conexiones temáticas con su música... Hay una razón por la que Jazz at Lincoln Center lo hizo programar una serie llamada Roots of Americana."- New York Times

Reconocida como una de las 21 artistas escénicas más vitales y productivas de Estados Unidos, Frisell fue nombrada Artista inaugural de Doris Duke en 2012.  También es beneficiario de becas de Artistas de Estados Unidos, Conoce al Compositor entre otros.  En 2016, fue beneficiario de la primera comisión de Composición de FreshGrass para preservar y apoyar la música innovadora de base.  Cuando San Francisco Jazz abrió sus puertas en 2013, se desempeñó como uno de sus Directores Artísticos Residentes.  Bill es el tema de un documental de la directora Emma Franz, titulado Bill Frisell: A Portrait, que examina en profundidad su proceso creativo, así como una extensa biografía de Philip Watson, Beautiful Dreamer: The Guitarist Who Changed The Sound of American Music.
https://www.billfrisell.com/biography

www.billfrisell.com ...

Andre Previn, Mundell Lowe & Ray Brown • Uptown

Andre Previn, Ray Brown and Mundell Lowe play the music of Duke Ellington and Harold Arlen. This was André Previn's second album after his long, symphonically enforced absence from jazz, and it sounds noticeably more fluid and relaxed than his first. No longer apprehensive about dusting off his old skills, Previn is delightfully confident and breezy (dig his sly turns on "Come Rain or Come Shine" and "C Jam Blues", taking some chances as he re-phrases and paraphrases a collection of revivified standards, mostly Harold Arlen and assorted Duke Ellington. Even if Previn, that noted wit, sometimes sounds as if he is kidding the pants off these old tunes, it's great to hear him having such a good time playing jazz again. Mundell Lowe is Previn's new guitar partner, and Ray Brown returns on bass; both are right at home in this refined brand of chamber jazz grooving. Adding to the CD's appeal are some marvelously (and typically) graceful liner notes by Mel Powell, an old pal of Previn's and a lively fellow defector from the jazz piano ranks to the classical world. ~ Richard S. Ginell Personnel: André Previn (piano); Mundell Lowe (guitar).

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Andre Previn, Ray Brown and Mundell Lowe play the music of Duke Ellington and Harold Arlen. This was André Previn's second album after his long, symphonically enforced absence from jazz, and it sounds noticeably more fluid and relaxed than his first. No longer apprehensive about dusting off his old skills, Previn is delightfully confident and breezy (dig his sly turns on "Come Rain or Come Shine" and "C Jam Blues", taking some chances as he re-phrases and paraphrases a collection of revivified standards, mostly Harold Arlen and assorted Duke Ellington. Even if Previn, that noted wit, sometimes sounds as if he is kidding the pants off these old tunes, it's great to hear him having such a good time playing jazz again. Mundell Lowe is Previn's new guitar partner, and Ray Brown returns on bass; both are right at home in this refined brand of chamber jazz grooving. Adding to the CD's appeal are some marvelously (and typically) graceful liner notes by Mel Powell, an old pal of Previn's and a lively fellow defector from the jazz piano ranks to the classical world. ~ Richard S. Ginell Personnel: André Previn (piano); Mundell Lowe (guitar).