Free Jazz: A Research and Information Guide

 

Free Jazz: A Research and Information Guide offers carefully selected and annotated sources on free jazz, with comprehensive coverage of English-language academic books, journal articles, and dissertations, and selective coverage of trade books, popular periodicals, documentary films, scores, Masters’ theses, online texts, and materials in other languages.

Free Jazz will be a major reference tool for students, faculty, librarians, artists, scholars, critics, and serious fans navigating this literature.

 

Jeff Schwartz (Author)  

 

Cal Tjader • Grace Cathedral Concert

 

 About Cal Tjader

Cal Tjader was undoubtedly the most famous non-Latino leader of Latin jazz bands, an extraordinary distinction. From the 1950s until his death, he was practically the point man between the worlds of Latin jazz and mainstream bop; his light, rhythmic, joyous vibraphone manner could comfortably embrace both styles. His numerous recordings for Fantasy and Verve and long-standing presence in the San Francisco Bay Area eventually had a profound influence upon Carlos Santana, and thus Latin rock. He also played drums and bongos, the latter most notably on the George Shearing Quintet's puckishly titled "Rap Your Troubles in Drums," and would occasionally sit in on piano as well.
Tjader studied music and education at San Francisco State College before hooking up with fellow Bay Area resident Dave Brubeck as the drummer in the Brubeck Trio from 1949 to 1951. He then worked with Alvino Rey, led his own group, and in 1953, joined George Shearing's then hugely popular quintet as a vibraphonist and percussionist. It was in Shearing's band that Tjader's love affair with Latin music began, ignited by Shearing's bassist Al McKibbon, nurtured by contact with Willie Bobo, Mongo Santamaria, and Armando Peraza, and galvanized by the '50s mambo craze. When he left Shearing the following year, Tjader promptly formed his own band that emphasized the Latin element yet also played mainstream jazz. Bobo and Santamaria eventually joined Tjader's band as sidemen, and Vince Guaraldi served for a while as pianist and contributor to the band's songbook ("Ginza," "Thinking of You, MJQ"). Tjader recorded a long series of mostly Latin jazz albums for Fantasy from the mid-'50s through the early '60s, switching in 1961 to Verve, where under Creed Taylor's aegis he expanded his stylistic palette and was teamed with artists like Lalo Schifrin, Anita O'Day, Kenny Burrell, and Donald Byrd. Along the way, Tjader managed to score a minor hit in 1965 with "Soul Sauce," a reworking of Dizzy Gillespie/Chano Pozo's "Guacha Guaro," which Tjader had previously cut for Fantasy. Tjader returned to Fantasy in the 1970s, then in 1979 moved over to the new Concord Picante label, where he remained until his death. ~ Richard S. Ginell


Review by Scott Yanow
Unlike Vince Guaraldi's Grace Cathedral concert, vibraphonist Cal Tjader's was not a religious event. In fact, this quintet outing (which includes Lonnie Hewitt on electric piano and the young Poncho Sanchez on congas) is a fairly typical concert for the era, despite the location. As it turned out, Tjader was a replacement for Guaraldi, who had originally been scheduled but had recently passed away. The vibist's Latin jazz group performs the leader's "I Showed Them," Milt Jackson's swinging "Bluesology," a medley from Black Orpheus, and "Body and Soul."

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Acerca de Cal TjaderCal Tjader fue, sin lugar a dudas, el líder no latino más famoso de las bandas de jazz latino, una distinción extraordinaria. Desde la década de 1950 hasta su muerte, fue prácticamente el hombre clave entre los mundos del jazz latino y el bop principal; Su estilo vibráfono ligero, rítmico y alegre podría abarcar cómodamente ambos estilos. Sus numerosas grabaciones para Fantasy y Verve y su larga presencia en el Área de la Bahía de San Francisco eventualmente tuvieron una profunda influencia sobre Carlos Santana y, por lo tanto, sobre el rock latino. También tocaba la batería y los bongos, este último sobre todo en el puckishly titulado "Rap Your Troubles in Drums" de George Shearing Quintet, y ocasionalmente también participaba en el piano.Tjader estudió música y educación en el San Francisco State College antes de relacionarse con el también residente del Área de la Bahía Dave Brubeck como baterista en el Brubeck Trio de 1949 a 1951. Luego trabajó con Alvino Rey, dirigió su propio grupo y, en 1953, se unió a George. El entonces quinteto enormemente popular de Shearing como vibrafonista y percusionista. Fue en la banda de Shearing que comenzó la historia de amor de Tjader con la música latina, iniciada por el bajista de Shearing Al McKibbon, alimentada por el contacto con Willie Bobo, Mongo Santamaria y Armando Peraza, y galvanizada por la locura del mambo de los '50. Cuando se fue de Shearing al año siguiente, Tjader formó rápidamente su propia banda que enfatizaba el elemento latino, pero que también tocaba el jazz principal. Bobo y Santamaria finalmente se unieron a la banda de Tjader como sidemen, y Vince Guaraldi sirvió por un tiempo como pianista y colaborador del cancionero de la banda ("Ginza", "Thinking of You, MJQ"). Tjader grabó una larga serie de álbumes de jazz, en su mayoría latinos, desde mediados de los cincuenta hasta principios de los sesenta, pasando a Verve en 1961, donde bajo la égida de Creed Taylor expandió su paleta estilística y formó equipo con artistas como Lalo Schifrin, Anita. O'Day, Kenny Burrell y Donald Byrd. En el camino, Tjader logró marcar un golpe menor en 1965 con "Soul Sauce", una reelaboración de "Guacha Guaro" de Dizzy Gillespie / Chano Pozo, que Tjader había cortado previamente para Fantasy. Tjader regresó a Fantasy en la década de 1970, luego en 1979 se trasladó al nuevo sello Concord Picante, donde permaneció hasta su muerte. ~ Richard S. Ginell

Kunihiko Sugano • Finger Popping

 

A real finger-popper from Japanese pianist Kunihiko Sugano -- a sweet 60s album that has him playing like the best American players of the soul jazz generation! There's a boldness to the left hand that echoes bits of Ray Bryant or Junior Mance -- yet Sugano can also tipple the keys with a lyrical sensitivity that's got a bit of Barry Harris or maybe even Ahmad Jamal -- often complex, yet still swinging beautifully -- always aware of the groove, yet never totally subsumed by it! The trio features Yoshio Ikeda on bass and Hiroshi Yamazaki on drums -- and the album feels like some lost treasure on Argo or Prestige Records. Titles include "For Karl", "Finger Popping", "I Can't Get Started", "Barbados", and "Blues For Jiro".
https://www.dustygroove.com/item/649986/Kunihiko-Sugano-Trio:Finger-Popping

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¡Una auténtica delicia para los oídos del pianista japonés Kunihiko Sugano: un dulce álbum de los años 60 en el que toca como los mejores músicos estadounidenses de la generación del soul jazz! Hay una audacia en la mano izquierda que recuerda a Ray Bryant o Junior Mance, pero Sugano también es capaz de tocar las teclas con una sensibilidad lírica que recuerda un poco a Barry Harris o incluso a Ahmad Jamal, a menudo compleja, pero siempre con un swing precioso, siempre consciente del groove, ¡pero sin dejarse llevar por él! El trío cuenta con Yoshio Ikeda al bajo y Hiroshi Yamazaki a la batería, y el álbum parece un tesoro perdido de Argo o Prestige Records. Entre los títulos se incluyen «For Karl», «Finger Popping», «I Can't Get Started», «Barbados» y «Blues For Jiro».
https://www.dustygroove.com/item/649986/Kunihiko-Sugano-Trio:Finger-Popping

Uptrio • Uplifting

 

UPTRIO is comprised of three dedicated musicians all living in Sao Paulo, Brazil…

Dani Andreotti began playing guitar when he was 15 years old. Jimi Hendrix was one of his first influences but soon after, a recording of Miles Davis would point him in the direction of jazz. Daniel’s improvisational skills excel when matched with fine melodies and advanced harmonies. He has written over eighty songs and is furthering his catalog as a member of UPTRIO.

Drummer Thiago Pinheiro began playing piano when he was two years old and at four, he composed his first song. When he was eleven years old, Thiago actually played with Stevie Wonder. Over his twenty year career, he has played with such distinguished musicians as DJ Patife, Men at Work, Paralamas do Sucesso, Billy Cobham and Toninho Horta. Today Thiago devotes his heart and soul to the task of drumming for UPTRIO.

Organist and keyboard wizard Charlie Dennard comes to UPTRIO from the Crescent City aka New Orleans, LA. Over the years, Charlie has performed in a number of interesting settings - not the least of which was the internationally recognized act known as ‘Cirque du Soleil’. His love for the Hammond began when he played with Louis “Beaver” Hite - Jack McDuff’s nephew. Beaver introduced Charlie to great jazz organists like Jimmy Smith and Larry Goldings.

In fact, here is Larry Goldings with his take on the UPTRIO…

“Why is it that if a jazz organ trio doesn't focus primarily on the blues, they are often dubbed ‘a thinking man's organ trio’? Personally, as someone whose group has been given this label by more than a few critics, I find this to be somewhat objectionable on two counts. First, ‘thinking man's organ trio’ implies the players and/or the music they play are lacking in feeling, and can be appreciated only on a cerebral level. Second, it implies that a blues-oriented organ group doesn't do a whole lot of thinking. Both assumptions are misguided. We're all aware of the organ's rich and wonderful role in the history of Gospel, Blues, and Soul, but when an organ group deviates from these traditions, we need not become suspicious, or confused, or over-analytical. We just need to listen.

The UPTRIO is one such group that deserves to be listened to, with no predetermined expectations of what an organ trio should sound like. While Daniel Andreotti is often out front stating the melodies (historically the guitarist took the backseat in the organ trio format), there still is plenty of space for organist Charlie Dennard and drummer Thiago Pinheiro to make their distinct voices known. Throughout this disc of original compositions, the UPTRIO deals in strong melodies, unexpected chord progressions, lyrical improvisations, and high-spirited group interaction. They can swing, groove, and emote on many levels.

This is not "thinking man's music." It's just plain good music.

Larry Goldings
September 2009 

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UPTRIO está formado por tres músicos dedicados que viven en São Paulo, Brasil...

Dani Andreotti comenzó a tocar la guitarra cuando tenía 15 años. Jimi Hendrix fue una de sus primeras influencias, pero poco después, una grabación de Miles Davis le orientó hacia el jazz. Las habilidades improvisadoras de Daniel destacan cuando se combinan con melodías refinadas y armonías avanzadas. Ha compuesto más de ochenta canciones y sigue ampliando su catálogo como miembro de UPTRIO.

El baterista Thiago Pinheiro comenzó a tocar el piano a los dos años y a los cuatro compuso su primera canción. A los once años, Thiago tocó con Stevie Wonder. A lo largo de sus veinte años de carrera, ha tocado con músicos tan distinguidos como DJ Patife, Men at Work, Paralamas do Sucesso, Billy Cobham y Toninho Horta. Hoy en día, Thiago se dedica en cuerpo y alma a tocar la batería para UPTRIO.

El organista y mago del teclado Charlie Dennard llega a UPTRIO desde Crescent City, también conocida como Nueva Orleans, Luisiana. A lo largo de los años, Charlie ha actuado en numerosos escenarios interesantes, entre los que destaca el espectáculo de renombre internacional conocido como «Cirque du Soleil». Su amor por el Hammond comenzó cuando tocó con Louis «Beaver» Hite, sobrino de Jack McDuff. Beaver le presentó a Charlie a grandes organistas de jazz como Jimmy Smith y Larry Goldings.

De hecho, aquí está Larry Goldings con su opinión sobre UPTRIO...

«¿Por qué cuando un trío de órgano de jazz no se centra principalmente en el blues, se le suele llamar «trío de órgano para pensadores»? Personalmente, como miembro de un grupo al que más de un crítico ha puesto esta etiqueta, encuentro esto algo objetable por dos motivos. En primer lugar, «trío de órgano para pensadores» implica que los músicos y/o la música que tocan carecen de sentimiento y solo pueden apreciarse a nivel intelectual. En segundo lugar, implica que un grupo de órgano orientado al blues no piensa mucho. Ambas suposiciones son erróneas. Todos somos conscientes del rico y maravilloso papel del órgano en la historia del gospel, el blues y el soul, pero cuando un grupo de órgano se desvía de estas tradiciones, no debemos sospechar, confundirnos ni analizar en exceso. Solo tenemos que escuchar.

UPTRIO es uno de esos grupos que merece ser escuchado, sin expectativas predeterminadas sobre cómo debe sonar un trío de órgano. Aunque Daniel Andreotti suele estar al frente interpretando las melodías (históricamente, el guitarrista ocupaba un segundo plano en el formato de trío de órgano), todavía hay mucho espacio para que el organista Charlie Dennard y el baterista Thiago Pinheiro den a conocer sus voces distintivas. A lo largo de este disco de composiciones originales, el UPTRIO ofrece melodías potentes, progresiones de acordes inesperadas, improvisaciones líricas y una interacción grupal llena de energía. Son capaces de swingear, groovear y emocionar a muchos niveles.

No se trata de «música para pensadores». Es simplemente buena música.

Larry Goldings
Septiembre de 2009

Willie 'Bunk' Johnson • The Complete Jazz Information Recordings

 

A jazz legend from before the music existed in name; separating the truth from the myth in the life of trumpeter Bunk Johnson has never been simple - While Johnson claimed he was born in Louisiana in 1879, it's become generally accepted that his birth was actually 10 years later - He’s said that he performed with Adam Olivier and Buddy Bolden's orchestras in the 1890s, as well as with circuses, minstrel shows and on ocean liners - Whether or not that was all true, is not proven.

Louis Armstrong did hear him in New Orleans around 1915 and recalled, "Bunk played funeral marches that made me cry!" Johnson continued to tour throughout the South at one point backing early blues queen Ma Rainey until dental problems forced him to retire in 1933 - After Armstrong and Clarence Williams celebrated Johnson's music skills, authors Frederick Ramsey and William Russell located him in 1939.

After getting a new trumpet and set of teeth, Johnson recorded extensively in the early and mid 1940s - His work at this time (1946) was a part of a jazz revivalist movement along with the work of other New Orleans musicians, including clarinetist George Lewis and drummer Baby Dodds - Johnson's temper also became known and after this band broke up, he performed as a soloist and in the movie New Orleans with Armstrong and Billie Holiday.

Bunk Johnson died after a series of strokes in New Iberia, La., in 1949 - 
https://www.allaboutjazz.com/musicians/bunk-johnson/

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Una leyenda del jazz de antes de que existiera el nombre de este género musical; separar la verdad del mito en la vida del trompetista Bunk Johnson nunca ha sido fácil - Aunque Johnson afirmaba haber nacido en Luisiana en 1879, hoy en día se acepta de forma generalizada que en realidad nació diez años más tarde - Afirmaba haber tocado con las orquestas de Adam Olivier y Buddy Bolden en la década de 1890, así como en circos, espectáculos de minstrel y transatlánticos - No se ha demostrado si todo eso era cierto o no.

Louis Armstrong lo escuchó en Nueva Orleans alrededor de 1915 y recordó: «¡Bunk tocaba marchas fúnebres que me hacían llorar!» - Johnson continuó de gira por todo el sur, en un momento dado acompañando a la reina del blues Ma Rainey, hasta que problemas dentales le obligaron a retirarse en 1933 - Después de que Armstrong y Clarence Williams elogiaran las habilidades musicales de Johnson, los autores Frederick Ramsey y William Russell lo localizaron en 1939.

Después de conseguir una nueva trompeta y una dentadura nueva, Johnson grabó mucho a principios y mediados de la década de 1940 - Su trabajo en esa época (1946) formó parte de un movimiento de renacimiento del jazz junto con el trabajo de otros músicos de Nueva Orleans, como el clarinetista George Lewis y el baterista Baby Dodds - El temperamento de Johnson también se hizo famoso y, tras la disolución de esta banda, actuó como solista y en la película New Orleans con Armstrong y Billie Holiday.

Bunk Johnson murió tras sufrir una serie de derrames cerebrales en Nueva Iberia, Luisiana, en 1949 -
https://www.allaboutjazz.com/musicians/bunk-johnson/

Harold Smart • Smart Latin

Britsh organist (born December 7, 1921, died November 6, 1980). 

 

Freddie Hubbard • On Fire Live From The Blue Morocco

On Fire: Live from the Blue Morocco is a never-before-released recording of jazz trumpet icon Freddie Hubbard captured live at the Blue Morocco jazz club in The Bronx, NY in 1967 featuring Bennie Maupin, Kenny Barron, Herbie Lewis and Freddie Waits. Transferred from the original tape reels that were recorded by legendary engineer Bernard Drayton, the album download and 2-CD set includes an elaborate 32-page booklet includes liner notes by producer John Koenig; plus interviews/statements with Kenny Barron and Bennie Maupin, plus other artists who knew or were inspired by Freddie Hubbard such as Eddie Henderson, Charles Tolliver, Jeremy Pelt, Steven Bernstein and more.

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On Fire: Live from the Blue Morocco es una grabación inédita del icono del jazz Freddie Hubbard, capturada en directo en el club de jazz Blue Morocco del Bronx, Nueva York, en 1967, con Bennie Maupin, Kenny Barron, Herbie Lewis y Freddie Waits. Transferido desde las cintas originales grabadas por el legendario ingeniero Bernard Drayton, el álbum descargable y el set de 2 CD incluyen un elaborado libreto de 32 páginas con notas del productor John Koenig, además de entrevistas y declaraciones de Kenny Barron y Bennie Maupin, así como de otros artistas que conocieron o se inspiraron en Freddie Hubbard, como Eddie Henderson, Charles Tolliver, Jeremy Pelt, Steven Bernstein y muchos más.

Johnny O'Neal • Everybody Loves

 

 In the pantheon of jazz pianists and entertainers, Johnny O'Neal occupies a special niche—equal parts master technician, soulful interpreter, and irrepressible entertainer. Everybody Loves Johnny O'Neal, recorded live at Pyatt Hall, Vancouver, BC, captures the pianist and vocalist at his most relaxed and radiant. The date finds O'Neal in the company of two exceptional rhythm players -bassist Luke Sellick and drummer Itay Morchi, who anticipate his every move, no matter how sudden the detour.

The set opens with "Chicago," a joyful gallop through this Fred Fisher chestnut. O'Neal wastes no time establishing his command of swing with his propulsive, effortless rhythmic precision. The playing has a theatrical flair, which is ably supported by Sellick's bass lines and Morchi's flashy stick work. The first of the O'Neal vocals is "Love Letters," a ballad that is given a tender interpretation. Although O'Neal's vocal stylings are an acquired taste, his romanticism is not syrupy, but sincere and laced with wistful knowingness.

The combination of the Duke Ellington spiritual " Come Sunday" and the lesser-known "Did I Ever Really Live" makes for an interesting juxtaposition. On the former, O'Neal performs the number steeped in the blues, restrained yet emotionally resonant. On the latter, O'Neal's vocal is intimate yet fragile, with sympathetic support from the rhythm section. The rendition is honest, exposed and deeply human. The energy level is returned with "Destination Moon," a sly mid-tempo swinger. O'Neal's vocal is playful, and when he falls into scat mode, he spins long vocalese lines. Sellick and Morchi drive the tune forward without overwhelming the space. The arrangement, has an airy quality, a testament to the trio's collective touch.

The Rodgers and Hart ballad "Where or When" opens with a strong solo from Sellick and then is taken up a notch with O'Neal's up-tempo vocal followed by some stellar scat figures. As he shifts into the piano solo, he pushes the envelope with a barrage of right-hand flurries, locking into tight motifs that build intensity. Sellick and Morchi keep the momentum urgent. The concert closes affectionately with the timeless favourite "The More I See You."O'Neal's vocal swings with grace and charisma, and his scatting is relaxed and inviting. The trio falls into a tight, easy groove, navigating the shifting dynamics and rhythmic turns with complete assurance. This album is not just a live date—it is a document of three musicians perfectly attuned to one another in time and space. 
By Pierre Giroux
June 4, 2025 
https://www.allaboutjazz.com/everybody-loves-jonnny-oneal-johnny-oneal-cellar-music-group

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 En el panteón de los pianistas y artistas de jazz, Johnny O'Neal ocupa un lugar especial: es a partes iguales un maestro técnico, un intérprete conmovedor y un artista incontenible. Everybody Loves Johnny O'Neal, grabado en directo en el Pyatt Hall de Vancouver, Columbia Británica, captura al pianista y vocalista en su momento más relajado y radiante. En esta ocasión, O'Neal está acompañado por dos excepcionales músicos rítmicos: el bajista Luke Sellick y el baterista Itay Morchi, que anticipan cada uno de sus movimientos, por muy repentinos que sean los cambios de rumbo.

El álbum se abre con «Chicago», una alegre galopada a través de este clásico de Fred Fisher. O'Neal no tarda en demostrar su dominio del swing con su precisión rítmica impulsiva y sin esfuerzo. La interpretación tiene un toque teatral, que se ve hábilmente respaldado por las líneas de bajo de Sellick y el llamativo trabajo de Morchi con las baquetas. La primera de las voces de O'Neal es «Love Letters», una balada que recibe una tierna interpretación. Aunque el estilo vocal de O'Neal es una cuestión de gustos, su romanticismo no es empalagoso, sino sincero y salpicado de una melancólica sabiduría.

La combinación del espiritual de Duke Ellington «Come Sunday» y el menos conocido «Did I Ever Really Live» crea una interesante yuxtaposición. En el primero, O'Neal interpreta el tema impregnado de blues, comedido pero emocionalmente resonante. En el segundo, la voz de O'Neal es íntima pero frágil, con el apoyo comprensivo de la sección rítmica. La interpretación es honesta, expuesta y profundamente humana. El nivel de energía vuelve con «Destination Moon», un astuto tema de swing a medio tiempo. La voz de O'Neal es juguetona y, cuando entra en modo scat, traza largas líneas vocales. Sellick y Morchi impulsan la melodía sin abrumar el espacio. El arreglo tiene una calidad aireada, testimonio del toque colectivo del trío.

La balada de Rodgers y Hart «Where or When» comienza con un potente solo de Sellick y luego sube un peldaño con la voz up-tempo de O'Neal, seguida de algunas figuras de scat estelares. Al pasar al solo de piano, va más allá con una ráfaga de notas rápidas con la mano derecha, encajando en motivos ajustados que aumentan la intensidad. Sellick y Morchi mantienen el impulso urgente. El concierto se cierra con cariño con el clásico «The More I See You». La voz de O'Neal oscila con gracia y carisma, y su scat es relajado y atractivo. El trío cae en un groove ajustado y fácil, navegando por los cambios dinámicos y los giros rítmicos con total seguridad. Este álbum no es solo una grabación en directo, es un documento de tres músicos perfectamente sintonizados entre sí en el tiempo y el espacio. 
Por Pierre Giroux
4 de junio de 2025 
https://www.allaboutjazz.com/everybody-loves-jonnny-oneal-johnny-oneal-cellar-music-group


www.johnnyoneal.net ...


 

Creedence Clearwater Revival • Creedence Anniversary Edition

 

Archie Shepp • Archie Shepp & Philly Joe Jones

 

Review by Scott Yanow
This intriguing LP does not live up to its potential. Three generations of jazzmen were involved in this 1969 project, with veteran drummer Philly Joe Jones and the great avant-garde tenor Archie Shepp meeting up with two of the top "new jazz" players (altoist Anthony Braxton and violinist Leroy Jenkins). Unfortunately, both of the sidelong pieces have recitations, the performances are overly long, and there is quite a bit of rambling. This is a lesser effort that has been long out-of-print. 
https://www.allmusic.com/album/archie-shepp-philly-joe-jones-mw0000919801

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Reseña de Scott Yanow
Este intrigante LP no está a la altura de su potencial. Tres generaciones de músicos de jazz participaron en este proyecto de 1969, en el que el veterano baterista Philly Joe Jones y el gran tenor vanguardista Archie Shepp se reunieron con dos de los mejores intérpretes del «nuevo jazz» (el saxofonista alto Anthony Braxton y el violinista Leroy Jenkins). Desgraciadamente, las dos piezas laterales incluyen recitaciones, las interpretaciones son excesivamente largas y hay bastante divagación. Se trata de un trabajo menor que lleva mucho tiempo descatalogado. 
https://www.allmusic.com/album/archie-shepp-philly-joe-jones-mw0000919801

Al Di Meola • Diabolic Inventions And Seduction For Solo Guitar

Review by Greg Prato

Too some, Al di Meola is best known for is shredding guitar work as part of Return to Forever, and also his early solo albums. But di Meola has always had an interest in flamenco styled acoustic playing ("Mediterranean Sundance" off of Elegant Gypsy, anyone?) -- which is the six-string style that he fully embraces on his 2007 release, Diabolic Inventions and Seduction for Solo Guitar, Vol. 1: Music of Astor Piazzolla. Like its title says, the album is comprised solely of renditions of tunes by Argentine tango composer Astor Piazzolla, who is best known for trailblazing the nuevo tango style (which contained traces of both jazz and classical). And di Meola has no problem offering up a fine tribute, especially on such tracks as "Campero" and "Romantico." With Diabolic Inventions and Seduction for Solo Guitar, one of the world's most technically gifted guitarists proves once and for all that he is also one of the most versatile, as well.

https://www.allmusic.com/album/diabolic-inventions-and-seduction-for-solo-guitar-vol-1-music-of-astor-piazzolla-mw0000795093

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Reseña de Greg Prato

También algunos, Al di Meola es más conocido por su trabajo de trituración de guitarra como parte de Return to Forever, y también por sus primeros álbumes en solitario. Pero di Meola siempre ha tenido un interés en el estilo flamenco de tocar en acústico ("Mediterranean Sundance" de Elegant Gypsy, ¿alguien?) - que es el estilo de seis cuerdas que abraza completamente en su lanzamiento de 2007, Diabolic Inventions and Seduction for Solo Guitar, Vol. 1: Music of Astor Piazzolla. Como su título indica, el álbum está compuesto únicamente por interpretaciones de temas del compositor de tango argentino Astor Piazzolla, que es más conocido por ser el precursor del nuevo estilo de tango (que contenía trazas tanto de jazz como de música clásica). Y di Meola no tiene problemas en ofrecer un buen homenaje, especialmente en temas como "Campero" y "Romantico". Con "Diabolic Inventions" y "Seduction for Solo Guitar", uno de los guitarristas más técnicamente dotados del mundo demuestra de una vez por todas que también es uno de los más versátiles.

https://www.allmusic.com/album/diabolic-inventions-and-seduction-for-solo-guitar-vol-1-music-of-astor-piazzolla-mw0000795093

aldimeola.com ...

 

Bill Frisell & Elvis Costello • The Sweetest Punch

 

Review by Stephen Thomas Erlewine
Elvis Costello's collaboration with Burt Bacharach produced the exquisite Painted From Memory, an unabashedly classicist pop album that recalled Bacharach's heyday with Hal David. It was such an individual album, unlike anything in Costello's catalog, that it's a wonder that the same batch of songs could produce another album as equally compelling and unique, which is exactly what Bill Frisell's The Sweetest Punch is. Costello sent Frisell demos of every song on Painted From Memory after they were completed. As Costello and Bacharach worked on their album, Frisell wrote his own arrangements of the songs, assembling a stellar band -- including Don Byron, Brian Blade, Billy Drewes, Curtis Fowlkes, Viktor Krauss, and Ron Miles -- to record an alternate album. Neither group of musicians heard the others work, which meant each record developed its own personality. Indeed, it's fascinating to hear The Sweetest Punch after living with Painted From Memory for a year -- it's like passing through the looking glass. Frisell stays true to his own music and the songs, crafting inspired, subtly challenging arrangements. They're a far cry from the lavish orchestrations of the Costello-Bacharach affair, but Frisell's mild dissonance and elegant flow feels equally luxurious. These versions emphasize the strength of the songs. The musicians on The Sweetest Punch open the songs up, just as numerous jazz artists have with pop standards, discovering new emotional and musical layers to the melodies. And that's the key to the record's success: Not only does it work as a companion piece to Painted From Memory, but it's a wonderful work in its own right that can be appreciated without knowledge of its predecessor. 
https://www.allmusic.com/album/the-sweetest-punch-the-songs-of-costello-and-bacharach-mw0000047290

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Reseña de Stephen Thomas Erlewine
La colaboración de Elvis Costello con Burt Bacharach dio como resultado el exquisito Painted From Memory, un álbum pop descaradamente clasicista que recordaba el apogeo de Bacharach con Hal David. Era un álbum tan personal, diferente a todo lo que había en el catálogo de Costello, que es sorprendente que el mismo conjunto de canciones pudiera dar lugar a otro álbum igual de atractivo y único, que es precisamente lo que es The Sweetest Punch, de Bill Frisell. Costello envió a Frisell maquetas de todas las canciones de Painted From Memory una vez terminadas. Mientras Costello y Bacharach trabajaban en su álbum, Frisell escribió sus propios arreglos de las canciones y reunió a una banda estelar, que incluía a Don Byron, Brian Blade, Billy Drewes, Curtis Fowlkes, Viktor Krauss y Ron Miles, para grabar un álbum alternativo. Ninguno de los dos grupos de músicos escuchó el trabajo del otro, lo que significó que cada disco desarrolló su propia personalidad. De hecho, es fascinante escuchar The Sweetest Punch después de haber convivido con Painted From Memory durante un año: es como atravesar el espejo. Frisell se mantiene fiel a su propia música y a las canciones, creando arreglos inspirados y sutilmente desafiantes. Están muy lejos de las lujosas orquestaciones de la colaboración entre Costello y Bacharach, pero la suave disonancia y el elegante flujo de Frisell resultan igualmente lujosos. Estas versiones enfatizan la fuerza de las canciones. Los músicos de The Sweetest Punch abren las canciones, al igual que han hecho numerosos artistas de jazz con los estándares del pop, descubriendo nuevas capas emocionales y musicales en las melodías. Y esa es la clave del éxito del disco: no solo funciona como complemento de Painted From Memory, sino que es una obra maravillosa por derecho propio que se puede apreciar sin conocer su predecesor. 
https://www.allmusic.com/album/the-sweetest-punch-the-songs-of-costello-and-bacharach-mw0000047290


www.billfrisell.com ...
www.elviscostello.com ...

Flyjack • On The One

 

Flyjack is the brainchild of Buck McKinney and Brad Bradburn of Austin, TX funk group Gnappy and features the electrifying vocals of Tameca Jones, the raw funk drum power of Jab'o Starks (James Brown Band), and the screamin' keys of Paolo 'Apollo' Negri. Flyjack draws inspiration from the hard-hitting funk of the late 60's and 70's - bands like the JB's, Mandrill, Rufus and The Bar-Kays. Deep hooks, ominous horns, and heavy strutting make for a chunky dance floor workout.

Charles Mingus • In Argentina The Buenos Aires Concerts

 

Mingus In Argentina: The Buenos Aires Concerts is a never-before-released pair of recordings of legendary bassist Charles Mingus captured live in Buenos Aires, Argentina in June 1977 featuring Ricky Ford (tenor saxophone), Jack Walrath (trumpet), Robert Neloms (piano) and Dannie Richmond (drums). Transferred from the original tape reels the 2-CD set includes an elaborate 36-page booklet featuring rare photos from the concert with liner notes by author and jazz historian Brian Priestley; plus interviews with Ricky Ford and Jack Walrath. This is an official release in cooperation with Jazz Workshop, Inc. and the Charles Mingus Estate. 
https://www.jazzmessengers.com/es/103871/charles-mingus/mingusinargentina

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Mingus en Argentina: Los conciertos de Buenos Aires es un álbum inédito con dos grabaciones del legendario bajista Charles Mingus, captadas en directo en Buenos Aires, Argentina, en junio de 1977, con Ricky Ford (saxo tenor), Jack Walrath (trompeta), Robert Neloms (piano) y Dannie Richmond (batería). Transferido desde las cintas originales, el conjunto de 2 CD incluye un elaborado folleto de 36 páginas con fotos poco comunes del concierto y notas del autor e historiador del jazz Brian Priestley, además de entrevistas con Ricky Ford y Jack Walrath. Se trata de un lanzamiento oficial en colaboración con Jazz Workshop, Inc. y el patrimonio de Charles Mingus.
https://www.jazzmessengers.com/es/103871/charles-mingus/mingusinargentina

John Stein • Watershed

 

It’s familiar, yet not . . . As always, John Stein gently pushes the familiar into unfamiliar territory. The performance is accessible, yet challenging. It’s the subtle insurrection of John Stein’s music that slays me . . . Stein surreptitiously inserts rhythms, melodies, and, well, insurrection, in a way that seduces you. His touch on the strings is lyrical, graceful, and emotional. The keyboard . . . demonstrates Daniel Grajew’s incredible rhythmic sophistication, as well as his soulful, melodic sense, and is propelled by the deep grooves created by the rhythm section (John Thomas, from the liner notes).

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Es familiar, pero a la vez no lo es... Como siempre, John Stein empuja suavemente lo familiar hacia un territorio desconocido. La interpretación es accesible, pero a la vez desafiante. Es la sutil rebelión de la música de John Stein lo que me cautiva... Stein inserta subrepticiamente ritmos, melodías y, bueno, rebelión, de una manera que te seduce. Su toque en las cuerdas es lírico, elegante y emotivo. El teclado... demuestra la increíble sofisticación rítmica de Daniel Grajew, así como su sentido melódico y conmovedor, y está impulsado por los profundos grooves creados por la sección rítmica (John Thomas, de las notas del disco).


johnstein.com ...

Jimmy Smith • Finest Hour

 

Weather Report • The Legendary Live Tapes 1978-1981

 

These four discs offer completely unreleased performances by the Weather Report lineup of keyboardist Joe Zawinul, saxophonist Wayne Shorter, bassist Jaco Pastorius, drummer Peter Erskine, and a bit later, percussionist Bobby Thomas, Jr. It was compiled for release by Erskine (whose historical essay and annotated track notes are fantastic) and Tony Zawinul, Joe's son. These are mostly soundboard cassettes made by WR's longtime live sound engineer Brian Risner, with choice audience tapes and commercial mobile rig selections mixed in. While it (mostly) sounds like an excellent bootleg, the sound here is remarkable given the root sources. Similar to 2002's Live and Unreleased, the material is not arranged chronologically. Disc one begins with the quintet in 1980/1981; disc four is from the quartet in 1978, and it skips around in between. The sequencing is peculiar to Erskine's and Zawinul's personal notions about what best constituted raw evidence of the band's collective ability on any given night of a tour -- warts and all. (An example is the inclusion of an abrupt, incomplete "Jaco's Solo" on disc one. It's here as a metaphor for the bassist's mercurial personality and the gap his absence leaves, but it's too much of a quirk for most listeners. (Thankfully, there is a full, more inspired version on disc four from 1978.) But the many highlights offset these moments. On disc one, "Brown Street" is taken from a rehearsal vastly overdubbed later for 8:30; the root version is revelatory. The scorching medley of "Badia/Boogie Woogie Waltz" is fiery and intense -- tape collectors feel free to compare. Shorter's brief quote from "What's Goin' On" in "The Orphan" reveals how much R&B was part of his playing during this period, and his seven-plus-minute solo spot is magnificent. Disc two offers a gorgeous medley of Pastorius' "Continuum"/"River People" -- played in his hometown of Philly -- and is followed by a 21-minute, newly discovered "Gibraltar" from Erskine's second gig with WR. Disc three by the quintet is from 1980-1981 and contains excellent performances of "Madagascar," followed by a hard-grooving "Night Passage." (The latter tune was eventually dropped from public performance.) These tracks -- plus two more -- are from proper mobile recording equipment and as such they stand out. A spacy bebop reading of Duke Ellington's "Rockin' in Rhythm" precedes a ragged "Port of Entry" -- the only known version recorded by the quartet (just prior to Thomas' joining). The final disc offers long, kinetic versions of "Elegant People," "Scarlet Woman," and "Black Market," as well as a raucous "Teen Town" and a spacy, dubby version of "Directions." While The Legendary Live Tapes, 1978-81 is a glimpse of the complex, multifaceted -- and controversial -- persona that was WR, it is a long and fruitful one. It showcases the band at their jazz-funk best with improvisational and collective intuitive chops usually on stun. Hopefully there is more where this came from.
http://www.allmusic.com/album/the-legendary-live-tapes-1978-1981-mw0002889417

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Estos cuatro discos ofrecen interpretaciones completamente inéditas de la formación de Weather Report, integrada por el teclista Joe Zawinul, el saxofonista Wayne Shorter, el bajista Jaco Pastorius, el baterista Peter Erskine y, un poco más tarde, el percusionista Bobby Thomas, Jr. La recopilación fue realizada por Erskine (cuyo ensayo histórico y notas comentadas de las pistas son fantásticos) y Tony Zawinul, hijo de Joe. Se trata en su mayoría de cintas de mesa de mezclas realizadas por Brian Risner, ingeniero de sonido en directo de WR desde hace mucho tiempo, con una selección de cintas del público y de equipos móviles comerciales. Aunque (en su mayor parte) suena como un excelente bootleg, el sonido es notable teniendo en cuenta las fuentes originales. Al igual que en Live and Unreleased, de 2002, el material no está ordenado cronológicamente. El disco uno comienza con el quinteto en 1980/1981; el disco cuatro es del cuarteto en 1978, y se salta entre medias. La secuencia es peculiar de las ideas personales de Erskine y Zawinul sobre lo que mejor constituía la prueba fehaciente de la capacidad colectiva de la banda en cualquier noche dada de una gira, con todos sus defectos. (Un ejemplo es la inclusión de un «Jaco's Solo» abrupto e incompleto en el disco uno. Está ahí como metáfora de la personalidad voluble del bajista y del vacío que deja su ausencia, pero es demasiado peculiar para la mayoría de los oyentes. (Afortunadamente, hay una versión completa y más inspirada en el disco cuatro, de 1978). Pero los muchos momentos destacados compensan estos momentos. En el disco uno, «Brown Street» está tomada de un ensayo que más tarde se regrabó ampliamente para 8:30; la versión original es reveladora. El abrasador popurrí de «Badia/Boogie Woogie Waltz» es ardiente e intenso; los coleccionistas de cintas pueden compararlo libremente. La breve cita de Shorter de «What's Goin' On» en «The Orphan» revela lo mucho que el R&B formaba parte de su forma de tocar durante este periodo, y su solo de más de siete minutos es magnífico. El segundo disco ofrece un magnífico popurrí de «Continuum»/«River People» de Pastorius, interpretado en su ciudad natal, Filadelfia, seguido de un «Gibraltar» de 21 minutos, recientemente descubierto, de la segunda actuación de Erskine con WR. El tercer disco del quinteto es de 1980-1981 y contiene excelentes interpretaciones de «Madagascar», seguidas de un «Night Passage» con un ritmo muy marcado. (Esta última canción acabó siendo eliminada de las actuaciones públicas). Estas pistas, más otras dos, proceden de un equipo de grabación móvil adecuado y, como tales, destacan. Una versión espacial de bebop de «Rockin' in Rhythm» de Duke Ellington precede a una irregular «Port of Entry», la única versión conocida grabada por el cuarteto (justo antes de que Thomas se uniera). El último disco ofrece versiones largas y cinéticas de «Elegant People», «Scarlet Woman» y «Black Market», así como una estridente «Teen Town» y una versión espacial y dub de «Directions». Aunque The Legendary Live Tapes, 1978-81 es solo un atisbo de la compleja, multifacética y controvertida personalidad que era WR, es un atisbo largo y fructífero. Muestra a la banda en su mejor momento jazz-funk, con improvisaciones y una intuición colectiva que suelen ser impresionantes. Esperemos que haya más de donde vino esto.
http://www.allmusic.com/album/the-legendary-live-tapes-1978-1981-mw0002889417

weatherreportmusic.com ...

VA • Lost Legends Of The Surf Guitar - Vol.1

 

VA • Lost Legends Of The Surf Guitar - Vol.2

VA • Lost Legends Of The Surf Guitar - Vol.3

VA • Lost Legends Of The Surf Guitar - Vol.4

Houston Person • Mellow

Review by Michael G. Nastos

Not all mellow, Houston Person's tribute to the softer side of jazz has its moments based on the laid-back timbre of his soul rather than a program consisting of only ballads. The tenor sax he wields certainly reflects the tradition established by Ben Webster in its soul-drenched tone, but is not as vocally pronounced or vibrato-driven. The quite capable pianist John Di Martino is the one whose more enunciated notions are harnessed, while tasteful guitar by the underrated James Chirillo rings out in acceptance of Person's embraceable hues. In a program of standards and two blues jams, Person rounds into shape this quintet of true professionals to render themes that are harder to play slow than fast. The slower material includes the regretful, throaty ballad "Too Late Now," the totally restrained "To Each His Own," a poignant "Two Different Worlds," and the deep, mature take of "God Bless the Child." Ever cognizant of blue moods, Person is masterful in expressing his innermost heartfelt feelings, as on the easy swinger and obvious choice for this date, Duke Ellington's "In a Mellow Tone." Then there's "Blues in the A.M.," a basic jam with Ray Drummond's bass leading out with drummer Lewis Nash in an uptown style as Chirillo's guitar states its wise, sophisticated case. The most upbeat number is the closer, the fast hard bop three-minute quickie "Lester Leaps In," while in midtempo form, the opener, Bobby Hebb's "Sunny," is a typical choice. Conversely, the usual ballad "Who Can I Turn To?" is a bit amped up. Di Martino and Chirillo are known to kick things up several notches, but here are great tastemakers who fully understand Person's persona and growing importance as one who prefers an understated approach. That's not to say this marvelous tenor saxophonist has depreciated his talent as an adept technician, but at this point in his career he prefers this music on the mellow side, and has no problem staying interested in that mood, no matter the tempo.

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Review by Michael G. Nastos

No todo el mellow, Houston Person's tribute to the softer side of jazz tiene sus tiempos basados ​​en el timbre de su alma en lugar de un programa de escucha de sólo bolas. El tenor sax he wields significa que la tradición establecida por Ben Webster en su soul-drenched tone, but is not a vocally pronounced or vibrato-driven. El pianista muy capaz John Di Martino es el que tiene nociones más enunciados se potencian, mientras que la guitarra buen gusto por el subestimado James Chirillo resuena en la aceptación de matices abarcables de la persona. En un programa de estándares y dos blues jams, Person ronda en forma de este quintet de true profesionales para rendir los temas que son difíciles de reproducir en un tiempo lento. En el caso de que se trate de una película de ficción o de ficción, el personaje de la saga de la saga de la saga Crepúsculo. "En el Mellow Tone", en el Mellow Tone. "En el Mellow Tone, Duke Ellington", en el Mellow Tone. En el caso de que se trate de "Blues in the A.M.," a basic jam con Ray Drummond's bass a cabo con el rebrote de Lewis Nash en un ascenso de estilo a las Chirillo's de los Estados Unidos. "El número más alto es el rápido, el rápido rápido bop de tres minutos quickie" Lester Leaps In, "mientras que en el midtempo form, el opener, Bobby Hebb's" Sunny, "es una típica opción. La canción de la canción "Who Can I Turn To?" es a bit amped up. Di Martino y Chirillo se conocen como las cosas más altas, pero aquí son grandes tastemakers que cumplen el personaje de la persona y el crecimiento de sus creadores. En el caso de que se trate de una persona que no sea de su agrado, no se deje engañar a los demás.

Ben Patterson Jazz Orchestra • Mad Scientist Music

 

One night, after a set by my “Way of the Groove” band at Washington, D.C.’s jazz club, Blues Alley, the owner, Harry Schnipper approached me excitedly and exclaimed, “I finally figured out what this music is: it’s mad scientist music and you’re Dr. Frankenstein!” The tune that had him most worked up was a small group version of The Misinformation Age which I adapted for big band for this recording. I like the idea of my office (where I write) being my mad scientist’s laboratory where I’m creating things that will eventually have a life of their own…things that some might find strange, unusual, or possibly even monstrous…though hopefully most find to be fun and exciting. Some of the ideas on this recording are among the most complicated I’ve ever put to paper, so I thought this title worked pretty well. Of course the real fun happens when I get to leave my evil lair and make music with my good friends, who just happen to be some of the best large-ensemble jazz musicians on the planet.

I have to say a word about the recording team. Recording wizard Bob Dawson has made more big band records than anyone else I know. He has recorded the Airmen of Note for nearly fifty years. I truly believe he is one of the great engineers of our age and his big band work is second to none in my opinion. As music director of the Note and on my own, I have worked closely with Bob and Note alum Rich Sigler (who has done all the Note’s editing for many years) to produce 19 records. My sonic goal for each has been to be able to look inside the ensemble and hear every piece clearly. I think we’ve gotten pretty close several times and I’m quite proud of our work together.  

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Una noche, después de una actuación de mi banda «Way of the Groove» en el club de jazz Blues Alley de Washington D. C., el propietario, Harry Schnipper, se me acercó emocionado y exclamó: «¡Por fin he descubierto qué es esta música: es música de científico loco y tú eres el doctor Frankenstein!». La melodía que más le emocionó fue una versión para grupo reducido de The Misinformation Age, que adapté para big band para esta grabación. Me gusta la idea de que mi oficina (donde escribo) sea el laboratorio de mi científico loco, donde creo cosas que acabarán teniendo vida propia... cosas que algunos pueden encontrar extrañas, inusuales o incluso monstruosas... aunque espero que la mayoría las encuentre divertidas y emocionantes. Algunas de las ideas de esta grabación se encuentran entre las más complicadas que he plasmado en papel, así que pensé que este título funcionaba bastante bien. Por supuesto, lo realmente divertido es cuando salgo de mi guarida malvada y hago música con mis buenos amigos, que casualmente son algunos de los mejores músicos de jazz de grandes conjuntos del planeta.

Tengo que decir unas palabras sobre el equipo de grabación. El mago de la grabación Bob Dawson ha hecho más discos de big band que nadie que yo conozca. Ha grabado a los Airmen of Note durante casi cincuenta años. Creo sinceramente que es uno de los grandes ingenieros de nuestra época y, en mi opinión, su trabajo con big bands es insuperable. Como director musical de los Note y por mi cuenta, he trabajado estrechamente con Bob y con Rich Sigler, antiguo miembro de los Note (que se ha encargado de toda la edición de los Note durante muchos años), para producir 19 discos. Mi objetivo sonoro para cada uno de ellos ha sido poder ver el interior del conjunto y escuchar cada pieza con claridad. Creo que lo hemos conseguido varias veces y estoy muy orgulloso de nuestro trabajo conjunto.

Young-Holt Unlimited • Plays Super Fly

 

Review by Jason Ankeny
The final Young-Holt Unlimited album captures their seamless transition into a new era of Chicago soul heralded by Curtis Mayfield's landmark Superfly score. A skilled and deeply funky interpretation of the emerging blaxploitation sound that sacrifices none of the group's signature groove, Plays Super Fly is the rare cash-in record with integrity and invention to spare. Only half of the album reprises Superfly material, most notably a percolating rendition of "Freddie's Dead" -- the remainder of the set casts Y-HU in dramatically different directions, including the loping original "Hey Pancho," a sweet but never saccharine cover of "Could It Be I'm Falling in Love" and a mind-boggling rendition of "Close to You" spotlighting Ken Chaney's future-forward electric piano. 
https://www.allmusic.com/album/plays-super-fly-mw0000599654

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Reseña de Jason Ankeny
El último álbum de Young-Holt Unlimited captura su transición fluida hacia una nueva era del soul de Chicago, anunciada por la emblemática banda sonora Superfly de Curtis Mayfield. Plays Super Fly es una interpretación hábil y profundamente funky del emergente sonido blaxploitation que no sacrifica nada del groove característico del grupo, y es uno de esos raros discos comerciales con integridad e inventiva de sobra. Solo la mitad del álbum retoma material de Superfly, sobre todo una versión vibrante de «Freddie's Dead»; el resto del álbum lleva a Y-HU en direcciones radicalmente diferentes, incluyendo el original «Hey Pancho», una versión dulce pero nunca empalagosa de «Could It Be I'm Falling in Love» y una interpretación alucinante de «Close to You» en la que destaca el piano eléctrico vanguardista de Ken Chaney. 
https://www.allmusic.com/album/plays-super-fly-mw0000599654

 

Hammond Organ Trio • Hammond Organ Trio Interplay

Ruby Braff & Ellis Larkins • The Complete Duets

 

VA • Ultra Rare Rockabilly's [13 Vols]

 

Bill Charlap Trio •Written In The Stars

 

Charlie Rouse & Paul Quinichette • The Chase Is On

 

Sonny Phillips • I Concentrate On You

Review:
This is the second LP by organist Sonny Phillips on Muse Records from 1977. Phillips is heard playing a range of keyboard instruments, predominately the organ but at times and in particular on the album's title track he lays down some masterful piano work. He is joined by quite a stellar array players including Virgil Jones on trumpet, Eddie McFadden on guitar, Lawrence Killian on congas and percussion, Charlie Persip on drums, Mervin Bronson on bass and John Stubblefield on tenor saxophone. The tunes chosen for the album range from a number jazz standards and some more contemporary compositions; included are two of Phillips' own compositions. Phillips although considered a junior amongst his fellow organists clearly displays his own manner and style of playing, which in many ways cannot be aligned to any major influence. His ability to write and play piano sets him outside the core of the modern jazz organists that maintained popularity throughout the 60's and 70's. Overall the music comes across as very melodic and all players harmonize and interact seamlessly. This is enhanced by Houston Person as producer and the resulting tracks are captured by the masterful skills of Rudy Van Gelder as the engineer. Recommended.

 

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Reseña:
Este es el segundo LP del organista Sonny Phillips en Muse Records de 1977. Se escucha a Phillips tocando una gama de instrumentos de teclado, predominantemente el órgano, pero a veces, y en particular en la canción que da título al álbum, realiza un trabajo de piano magistral. Le acompaña un grupo estelar de músicos, como Virgil Jones a la trompeta, Eddie McFadden a la guitarra, Lawrence Killian a las congas y la percusión, Charlie Persip a la batería, Mervin Bronson al bajo y John Stubblefield al saxo tenor. Los temas elegidos para el álbum abarcan desde varios estándares de jazz hasta algunas composiciones más contemporáneas; se incluyen dos composiciones propias de Phillips. Phillips, aunque está considerado como un joven entre sus colegas organistas, muestra claramente su propia manera y estilo de tocar, que en muchos aspectos no se puede alinear con ninguna influencia importante. Su habilidad para escribir y tocar el piano le sitúa fuera del núcleo de los organistas de jazz modernos que mantuvieron su popularidad durante los años 60 y 70. En general, la música es muy melódica y todos los músicos armonizan e interactúan a la perfección. Esto se ve reforzado por Houston Person como productor y las pistas resultantes son capturadas por las habilidades magistrales de Rudy Van Gelder como ingeniero. Recomendado.

The Nashville Sound Bright Lights and Country Music

 

 

While on a Nieman Fellowship at Harvard, journalist and novelist Paul Hemphill wrote of that pivotal moment in the late sixties when traditional defenders of the hillbilly roots of country music were confronted by the new influences and business realities of pop music. The demimonde of the traditional Nashville venues (Tootsie’s Orchid Lounge, Robert’s Western World, and the Ryman Auditorium) and first-wave artists (Roy Acuff, Ernest Tubb, and Lefty Frizzell) are shown coming into first contact, if not conflict, with a new wave of pop-influenced and business savvy country performers (Jeannie C. “Harper Valley PTA” Riley, Johnny Ryles, and Glen Campbell) and rock performers (Bob Dylan, Gram Parsons, the Byrds, and the Grateful Dead) as they took the form well beyond Music City. Originally published in 1970, The Nashville Sound shows the resulting identity crisis as a fascinating, even poignant, moment in country music and entertainment history. 

 

Paul Hemphill (Author) 

 

The Many Lives of James Bond: How the Creators of 007 Have Decoded the Superspy

 

Lots of people love James Bond. But how many have actually been Bond? The Many Lives of James Bond offers the largest ever collection of original interviews with actors who have played Bond in different media, as well as in-depth interviews with many of the diverse artists who have contributed their talents to the making of James Bond movies, television shows, novels, radio dramas, comic books, and video games. These wide-ranging interviews provide a behind-the-scenes look at the artists' goals, the challenges they faced, and how they met them. This book is also the first to examine the Bond character through the eyes of the artists who interpret him. As the author talked with these creative people, a through-line emerged. It involves a series of related fundamental questions about Bond that artists must reckon with when interpreting Bond. Who is James Bond and what, if anything, beyond successfully completing a mission does he really want? What drives him? Why did he become an agent? What is the nature of his inner-life? Would he be capable of a satisfying life away from high-octane adventure and danger? These questions challenge and inspire the creators to pull back the curtain on a deliberately opaque figure in an attempt to explore and analyze Bond's interior life and thought processes, and how the Bond actors have interpreted the role.

Mark Edlitz (Author)

John Williams's Film Music

 

John Williams is one of the most renowned film composers in history. He has penned unforgettable scores for Star Wars, the Indiana Jones series, E.T. the Extra-Terrestrial, Jaws, Superman, and countless other films. Fans flock to his many concerts, and with forty-nine Academy Award nominations as of 2014, he is the second-most Oscar-nominated person after Walt Disney. Yet despite such critical acclaim and prestige, this is the first book in English on Williams’s work and career.
            Combining accessible writing with thorough scholarship, and rigorous historical accounts with insightful readings, John Williams’s Film Music explores why Williams is so important to the history of film music. Beginning with an overview of music from Hollywood’s Golden Age (1933–58), Emilio Audissino traces the turning points of Williams’s career and articulates how he revived the classical Hollywood musical style. This book charts each landmark of this musical restoration, with special attention to the scores for Jaws and Star Wars, Williams’s work as conductor of the Boston Pops Orchestra, and a full film/music analysis of Raiders of the Lost Ark. The result is a precise, enlightening definition of Williams’s “neoclassicism” and a grounded demonstration of his lasting importance, for both his compositions and his historical role in restoring part of the Hollywood tradition.

 

amazon.com ...

 

The Musical Shape of the Liturgy

 

The Musical Shape of the Liturgy, by William Mahrt, is the first full treatise that maps out -- historically, theologically, musically, and practically -- the musical framework of the Roman Rite in a way that can inform audiences of all types.

Mahrt is professor of music at Stanford University, president of the Church Music Association of America, editor of the journal Sacred Music, and a parish music in Palo Alto, California.

Mahrt demonstrates that the Roman Rite is not only a ritual text of words. It is a complete liturgical experience that embeds within it a precise body of music that is absolutely integral to the rite itself. This integration is not only stylistic. The music is structured to provide a higher-level elucidation of the themes of the Mass ritual itself. In other words, the music at Mass is not arbitrary. It is wedded to the rite as completely as the prayers, rubrics, and the liturgical calendar itself. Everything in the traditional music books has a liturgical purpose. When they are neglected or ignored, the rite is truncated and the experience reduced in splendor.

These claims will amount to a total revelation to most all Catholic musicians working today, most of whom are under the impression that it is merely a matter of personal judgement whether this or that is played or sung. As Mahrt points out, genuine Catholic music for Mass is bound by an ideal embodied in the chant tradition. This tradition is far more rich, varied, and artistically sophisticated that is normally supposed. It is the music that is proper to the Roman Rite.

The opening section of the book provides a four-part course in the musical structure of the liturgy covering the origin, history, and liturgical purpose of the ordinary chants. He covers the propers of the Mass and their meaning, and why they cannot be replaced by something with a completely different text and music without impoverishing the liturgy. He discusses how the Roman Rite is really a sung ritual with parts for the celebrant, the schola, and the people. Everything has a place, purpose, rationale. It’s all part of a prayer. Even the tones for the readings are structured to signal themes and fit into an overall aesthetic and spiritual tableau.

The second section explores the particulars with detailed commentary on particular chants and their meaning. He covers entrance chants, offertory, communions, Psalms, alleluias, and sequences. He helps the reader understand their intricate structure and theological meanings, and provides a commentary that only a musicologist on his level can provide. The reader can appreciate to extent to which chant is far more profound than is usually supposed.

Further commentaries reflect on the polyphonic tradition that became part of the ritual experience of Mass in the middle ages. He explains how this music is an elaboration on the chant tradition and why it is included by the Church as part of the treasury. He writes on all the great composers of this period from Josquin to William Byrd, then covers the issue and question of the Viennese classical Masses, explaining why they continue to be appropriate for liturgy despite their apparent stylistic departure from the pure chant tradition. He covers the use of organ in Mass as well.

The third section turns to the specifics of putting all of this into practice in the contemporary world. He deals with English chant, offers specific commentaries on the case for “praise music,” investigates the meaning of inculturation and musical taste, and tackles problems like what to do when a parish has no budget or singers. This section is the one that is of the highest practical value for pastors and musicians today, so much so that it would be tempting to read it apart from the rest. Yet this would be a mistake: what is missing most from today’s Catholic world is the awareness of the the musical shape of the liturgy - that essential structure of what is supposed to take place in the Roman Ritual itself.

 

  William Peter Mahrt (Author)