Dr. Lonnie Smith & David 'Fathead' Newman • Boogaloo to Beck

Review by Scott Yanow
On this unusual set, organist Dr. Lonnie Smith, with guitarist Doug Munro, and (on five of the 11 selections) tenor-saxophonist David "Fathead" Newman do the improbable. On Boogaloo to Beck: A Tribute, Smith takes a full set of songs by rock performer Beck and turns them into funky soul-jazz. In fact, the results often sound like a late-1960s Blue Note album. The individual selections are not all that memorable or inspiring (it is doubtful that any of these Beck tunes will catch on in jazz), but Smith and his bandmates play quite well and deserve credit for trying to come up with fresh material for their grooves.

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Reseña de Scott Yanow
En este inusual conjunto, el organista Dr. Lonnie Smith, con el guitarrista Doug Munro, y (en cinco de las 11 selecciones) el tenor-saxofonista David "Fathead" Newman hacen lo improbable. En Boogaloo to Beck: A Tribute, Smith toma un conjunto completo de canciones del intérprete de rock Beck y las convierte en funky soul-jazz. De hecho, los resultados a menudo suenan como un álbum de Blue Note de finales de los 60. Las selecciones individuales no son tan memorables o inspiradoras (es dudoso que alguna de estas melodías de Beck se pongan de moda en el jazz), pero Smith y sus compañeros de banda tocan bastante bien y merecen el crédito por tratar de encontrar material fresco para sus surcos.

www.drlonniesmith.com ...

Herbie Mann • Afro-Jazziac Bop

Review - by John Bush

Few jazz musicians did more to introduce American audiences to the Latin-jazz fusion than flutist Herbie Mann, whose pop crossovers -- a generous soul would describe them as "easy to digest" -- were heard by many more listeners than the work of artistic innovators like Machito or Antonio Carlos Jobim. Though he wasn't exactly a trailblazer, Mann recorded a lot of exemplary music, and two of his earliest and most vital dates are heard on Afro-Jazziac Bop, a 2003 compilation released by Fuel 2000. (The same items also appear on a 1999 Entertainers collection titled Brazilian Soft Shoe.) Comprising a pair of co-billed LPs recorded just before he formed his Afro-Jazz Sextet in 1959, the disc includes music originally heard on the 1959 Roulette LP Machito With Flute to Boot and the 1958 Mode LP Flute Fraternity (with Buddy Collette). For the first, Mann is featured in front of Machito's Orchestra, with the addition of Johnny Griffin on tenor and Curtis Fuller on trombone. His jaunty solos fit in well with Machito's stately swing, while the titles alternate boppish experiments ("To Birdland and Hurry") with evocative overseas postcards ("African Flute," "Calypso John"). The other session is a slim and limber West Coast date, featuring Mann and fellow reed player Collette playfully trading solos -- in fact, "Herbie's Buddy" has them interacting first on flute, then tenor, then clarinet. Taken together, the two sets heard on Afro-Jazziac Bop don't equal his Savoy work of the same time, but both of them equal or go beyond his more popular Atlantic records.

Biography by Scott Yanow

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.

Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute.

After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc.

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Review - by John Bush

Few jazz musicians did more to introduce American audiences to the Latin-jazz fusion than flutist Herbie Mann, whose pop crossovers -- a generous soul would describe them as "easy to digest" -- were heard by many more listeners than the work of artistic innovators like Machito or Antonio Carlos Jobim. Though he wasn't exactly a trailblazer, Mann recorded a lot of exemplary music, and two of his earliest and most vital dates are heard on Afro-Jazziac Bop, a 2003 compilation released by Fuel 2000. (The same items also appear on a 1999 Entertainers collection titled Brazilian Soft Shoe.) Comprising a pair of co-billed LPs recorded just before he formed his Afro-Jazz Sextet in 1959, the disc includes music originally heard on the 1959 Roulette LP Machito With Flute to Boot and the 1958 Mode LP Flute Fraternity (with Buddy Collette). For the first, Mann is featured in front of Machito's Orchestra, with the addition of Johnny Griffin on tenor and Curtis Fuller on trombone. His jaunty solos fit in well with Machito's stately swing, while the titles alternate boppish experiments ("To Birdland and Hurry") with evocative overseas postcards ("African Flute," "Calypso John"). The other session is a slim and limber West Coast date, featuring Mann and fellow reed player Collette playfully trading solos -- in fact, "Herbie's Buddy" has them interacting first on flute, then tenor, then clarinet. Taken together, the two sets heard on Afro-Jazziac Bop don't equal his Savoy work of the same time, but both of them equal or go beyond his more popular Atlantic records.

Biografía de Scott Yanow

Herbie Mann tocó una gran variedad de música a lo largo de su carrera. Se hizo muy popular en la década de 1960, pero en la década de los 70 se sumergió tanto en el pop como en varios tipos de músicas del mundo que parecía perdido en el jazz. Sin embargo, Mann nunca perdió su capacidad de improvisar creativamente como lo atestiguan sus últimas grabaciones.

Herbie Mann comenzó a tocar el clarinete cuando tenía nueve años, pero pronto también tocaba flauta y tenor. Después de servir en el Ejército, estuvo con Mat Mathews 'Quintet (1953-1954) y luego comenzó a trabajar y grabar como líder. Durante 1954-1958, Mann se dedicó principalmente a jugar bop, a veces colaborando con jugadores como Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar y Charlie Rouse. Se dobló con un tenor de tono frío y fue uno de los pocos músicos de jazz en los años 50 que grabaron en el clarinete bajo; también grabó un álbum completo en 1957 (para Savoy) de flauta no acompañada.

Después de pasar el tiempo tocando y escribiendo música para la televisión, Mann formó su Sexteto Afro-Jazz, en 1959, un grupo que utiliza varios percusionistas, vibraciones (ya sea Johnny Rae, Hagood Hardy o Dave Pike) y la flauta del líder. Realizó una gira por África (1960) y Brasil (1961), tuvo un éxito con "Comin 'Home Baby" y grabó con Bill Evans. El flautista de jazz más popular durante la era, Mann exploró la bossa nova (incluso grabando en Brasil en 1962), incorporó música de muchas culturas (más las melodías pop actuales) en su repertorio, y tuvo entre sus dirigentes a músicos jóvenes tan importantes como Willie Bobo. Chick Corea (1965), Attila Zoller y Roy Ayers; en el Festival de Newport de 1972, su sexteto incluía a David Newman y Sonny Sharrock. Para entonces, Mann había sido productor en Embroyo (una subsidiaria de Atlantic) durante tres años y frecuentemente estaba extendiendo su música fuera del jazz. A medida que avanzaban los años 70, Mann se involucró mucho más en el rock, el pop, el reggae e incluso la discoteca. Después de dejar Atlantic a finales de los años 70, Mann tuvo su propio sello por un tiempo y gradualmente volvió al jazz. Grabó para Chesky, grabó un disco con Dave Valentin, y en los años 90 fundó el sello Kokopelli, en el cual, antes de separarse en 1996, tenía libertad para dedicarse a su amplia gama de intereses musicales. A través de los años, grabó como líder para Belén, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli y, lo más importante, Atlantic. Falleció el 1 de julio de 2003, luego de una prolongada batalla contra el cáncer de próstata. Su último disco fue 2004, lanzado póstumamente Beyond Brooklyn para Telarc.

David Grisman Quintet • Dawgwood

 

 

David Grisman's self-named "Dawg" music defies traditional categories, as it is such a unique blend of many influences, including bluegrass, jazz, gypsy music, Latin, and so much more. He's joined by flutist Matt Eakle, percussionist and violinist Joe Craven, bassist Jim Kerwin, and guitarist Rick Montgomery. The veteran mandolinist wrote six of the eight songs, starting with the cheerful opener, which features everyone in turn.  ... Full Description The intricate waltz "Dawgmatism" adds an exotic flavor with Craven's violin and Eakle's haunting flute. "Jazzin' (With Joe-Bob)" is a wild masterpiece (later appearing in slightly different form on his compilation DGQ-20 with jazz DJ Al "Jazzbeaux" Collins as "Jazzin' With Jazzbeaux"), with Craven providing percussion on bongos (and vocals with assorted hisses and comments) as well as overdubbing a slashing violin solo. "Steppin' With Stephane" was originally recorded by Grisman with its honoree, jazz violin great Stephane Grappelli. This version is lighter but every bit as swinging. "Bolero de Django," composed by Django Reinhardt, has a definite gypsy air, though Eakle's alto flute gives the piece a more modern flavor. "New Dawg's Rag" is an updated arrangement of an earlier Grisman chart; while the instrumentation has been changed, the impact of this brilliant performance is still pure magic. Throughout this release, Grisman's playing is nothing short of phenomenal. It should come as no surprise that fans of David Grisman should consider this CD an essential purchase. ~ Ken Dryden Live Recording David Grisman Quintet: David Grisman (mandolin); Rick Montgomery (guitar); Joe Craven (violin, percussion); Matt Eakle (flute); Jim Kerwin (bass). Composer: David Grisman. Personnel: David Grisman (mandolin); Rick Montgomery (guitar); Joe Graven, Joe Craven (violin, percussion); Matt Eakle (flute). Audio Mixer: David Grisman. Recording information: Dawg Studios. Photographer: Gary Nichols. Unknown Contributor Role: Steve Gilchrist


“Dawgwood features the David Grisman Quintet with David on mandolin, Jim Kerwin on bass, Matt Eakle on flute, Rick Montgomery on guitar, and Joe Craven on percussion and violin. The breadth and beauty of this collection-from David’s own award-winning dawg music to jazz by Django Reinhardt and Latin by Jacob do Bandolim - make it one of Grisman’s most satisfying yet. Dawgwood captures the personality, talents, and charm of a band that has been captivating audiences for several years. On it you will hear some of the finest acoustic music played by some of the best acoustic musicians of our time.” 
Dawgnet 
“Again, the DGQ has given us a C.D. of “dawg music” that combines the best of jazz, classical, and mountain string music. The entire C.D. can be enjoyed as “background” music, but it is difficult to listen to it without being distracted to it because of all the intricate solos and complicated duets, trios, etc. There is not a “bad” track on the entire C.D. and each song is uplifting to the spirit much as the Dogwood blooming in Spring. 
AMAZON

Buddie Emmons • Steel Guitar Jazz

Biography by Sandra Brennan
Buddy Emmons earned a place among Nashville's elite as one of the finest steel guitar players in the business. Born in Mishawaka, Indiana, he first fell in love with the instrument at age 11 when he received a six-string lap steel guitar as a gift. As a teen, he enrolled at the Hawaiian Conservatory of Music in South Bend, Indiana, and began playing professionally in Calumet City and Chicago at age 16. In 1956, Emmons went to Detroit to fill in for Walter Haynes during a performance with Little Jimmy Dickens; soon afterward he was invited to join Dickens' Country Boys. He appeared with them a few times on The Grand Ole Opry and recorded with them on a few singles, including "Buddy's Boogie" (1957). He also recorded a pair of solo singles for Columbia, "Cold Rolled Steel" (1956) and "Silver Bells" (1957).

In the late '50s, Emmons began playing occasionally with Ernest Tubb's band on Midnight Jamboree. In 1963, he began a five-year stint with Ray Price & the Cherokee Cowboys, and in 1965 teamed up with fellow steel player Shot Jackson to record the LP The Steel Guitar & Dobro Sounds. This led the two to create the Sho-Bud Company, which sold an innovative steel guitar that used push-rod pedals. In 1969, Emmons joined Roger Miller's Los Angeles-based band as a bass player. When not touring with Miller, he did session work for a variety of artists. He quit Miller's band in 1973 and signed a solo contract, releasing several albums in the late '70s.

After 1978, Emmons began playing for a number of small labels, where he and Ray Pennington occasionally collaborated with some of Nashville's finest sidemen as the Swing Shift Band. In 1993, Emmons began touring with the Everly Brothers. He continued to play in recording sessions throughout the '90s and into the new millennium, but was forced to stop playing around 2001 due to a repetitive motion injury. Emmons fully recovered but decided not to return to regular session work, preferring to record only with selected artists and to perform intermittently. He died in Hermitage, Tennessee, outside Nashville, in July 2015 at the age of 78.
https://www.allmusic.com/artist/buddy-emmons-mn0000536035/biography

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Biografía de Sandra Brennan
Buddy Emmons se ha ganado un lugar entre la élite de Nashville como uno de los mejores guitarristas de acero del sector. Nacido en Mishawaka, Indiana, se enamoró por primera vez del instrumento a los 11 años, cuando le regalaron una guitarra lap steel de seis cuerdas. De adolescente, se matriculó en el Conservatorio de Música de Hawai en South Bend, Indiana, y a los 16 años empezó a tocar profesionalmente en Calumet City y Chicago. En 1956, Emmons fue a Detroit para sustituir a Walter Haynes durante una actuación con Little Jimmy Dickens; poco después fue invitado a unirse a los Country Boys de Dickens. Apareció con ellos algunas veces en The Grand Ole Opry y grabó con ellos algunos singles, incluyendo "Buddy's Boogie" (1957). También grabó un par de singles en solitario para Columbia, "Cold Rolled Steel" (1956) y "Silver Bells" (1957).

A finales de los 50, Emmons comenzó a tocar ocasionalmente con la banda de Ernest Tubb en Midnight Jamboree. En 1963, comenzó una temporada de cinco años con Ray Price & the Cherokee Cowboys, y en 1965 se asoció con su colega Shot Jackson para grabar el LP The Steel Guitar & Dobro Sounds. Esto llevó a los dos a crear la empresa Sho-Bud, que vendía una innovadora guitarra de acero que utilizaba pedales de varilla. En 1969, Emmons se unió a la banda de Roger Miller en Los Ángeles como bajista. Cuando no estaba de gira con Miller, hacía trabajos de sesión para diversos artistas. Dejó la banda de Miller en 1973 y firmó un contrato en solitario, publicando varios álbumes a finales de los años 70.

Después de 1978, Emmons comenzó a tocar para una serie de pequeños sellos, donde él y Ray Pennington colaboraron ocasionalmente con algunos de los mejores músicos de Nashville como la Swing Shift Band. En 1993, Emmons empezó a hacer giras con los Everly Brothers. Siguió tocando en sesiones de grabación a lo largo de los años 90 y en el nuevo milenio, pero se vio obligado a dejar de tocar alrededor de 2001 debido a una lesión por movimientos repetitivos. Emmons se recuperó por completo, pero decidió no volver a trabajar regularmente en sesiones, prefiriendo grabar sólo con artistas seleccionados y actuar de forma intermitente. Murió en Hermitage (Tennessee), a las afueras de Nashville, en julio de 2015 a la edad de 78 años.
https://www.allmusic.com/artist/buddy-emmons-mn0000536035/biography

Yuji Ohno • Cafe Relaxin' Lupin

 

 

www.vap.co.jp/ohno ...

 

Big Rhythm Combo • Too Small To Dance

Christian Eckert, Gary Versace & Matt Jorgensen • NY3

 

christianeckert.com ...

instagram.com/garyversace ... 

mattjorgensen.com ...

Sadik Hakim Trio • Witches, Goblins, etc

 

Biography by Scott Yanow
Argonne Thornton (who in the late '40s changed his name to Sadik Hakim) had a particularly unusual boppish style in the '40s, playing dissonant lines, using repetition to build suspense, and certainly standing out from the many Bud Powell impressionists. Later in his career his playing became more conventional. Hakim originally studied music with his grandfather and started performing at local gigs in Minnesota. After a period in Chicago, he was heard by Ben Webster, who hired him to play with his group in New York (1944-1945). Hakim recorded with Webster and Dexter Gordon, was on part of Charlie Parker's famous "Ko Ko" session, and gigged regularly with Lester Young during 1946-1948, appearing on many recordings with Pres. After playing with Slam Stewart in 1949, in the 1950s Hakim worked fairly regularly with James Moody (1951-1954) and Buddy Tate's Orchestra (1956-1960) but never became too well known himself. Later in life he lived for a period in Montreal (the second half of the 1960s), performed in Europe often, and toured Japan (1979-1980). Other than sharing an album for the Charlie Parker label with fellow pianist Duke Jordan in 1962, Hakim did not record as a leader until 1973; during the next seven years he would lead dates for CBC, Japanese Progressive, SteepleChase, and finally in 1980 for Storyville. 
https://www.allmusic.com/artist/sadik-hakim-mn0000279338#biography

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Biografía por Scott Yanow
Argonne Thornton (que a finales de los años 40 cambió su nombre por el de Sadik Hakim) tenía un estilo boppish particularmente inusual en los años 40, tocando líneas disonantes, utilizando la repetición para crear suspense y, sin duda, destacando entre los muchos imitadores de Bud Powell. Más adelante en su carrera, su forma de tocar se volvió más convencional. Hakim estudió música con su abuelo y comenzó a actuar en locales de Minnesota. Tras un periodo en Chicago, Ben Webster lo escuchó y lo contrató para tocar con su grupo en Nueva York (1944-1945). Hakim grabó con Webster y Dexter Gordon, participó en la famosa sesión «Ko Ko» de Charlie Parker y actuó regularmente con Lester Young entre 1946 y 1948, apareciendo en muchas grabaciones con Pres. Después de tocar con Slam Stewart en 1949, en la década de 1950 Hakim trabajó con bastante regularidad con James Moody (1951-1954) y la Orquesta de Buddy Tate (1956-1960), pero nunca llegó a ser muy conocido. Más tarde vivió durante un tiempo en Montreal (segunda mitad de la década de 1960), actuó a menudo en Europa y realizó una gira por Japón (1979-1980). Aparte de compartir un álbum para el sello Charlie Parker con su compañero pianista Duke Jordan en 1962, Hakim no grabó como líder hasta 1973; durante los siete años siguientes lideró sesiones para CBC, Japanese Progressive, SteepleChase y, finalmente, en 1980, para Storyville. 
https://www.allmusic.com/artist/sadik-hakim-mn0000279338#biography


 

Vincent Herring, Bobby Watson & Gary Bartz • Bird at 100

 

THREE OF THE MOST ACCLAIMED VOICES OF MODERN JAZZ: VINCENT HERRING, BOBBY WATSON, AND GARY BARTZ, an alto saxophone summit for the ages, celebrate the centennial of one of music’s most iconic figures, Charlie Parker. Along with a superb rhythm section, the three distinctive altoists pay tribute to Parker’s legacy in the most apt fashion for this ground-breaking pioneer: by carrying his innovations forward in their own utterly singular styles.

The soul-stirring Bird at 100 traces a direct lineage from Parker’s birthplace in Kansas City to the stage of Smoke Jazz & Supper Club, where these three influential acolytes look back from the vantage point of jazz in 2019, with a combination of reverence, respect and adventure. The program offers a buoyant mix of classic Parker tunes, familiar standards once recorded by Bird (and the generations since) and new compositions written in honor of the master.

The three are ably backed on Bird at 100 by a rhythm section that has deeply imbibed the entire sweep of that history: pianist David Kikoski, bassist Yasushi Nakamura, and drummer Carl Allen. All three are regular collaborators with Herring, thus bringing a well-established chemistry to this all-star outing.

“The influence of Charlie Parker is a constant thread that runs through all of us,” says Herring, who brainstormed the date. “It’s amazing how much Charlie Parker has touched so many different people in their pursuit of music. We certainly take in other influences as well, and of course we all hope to put our own stamp on it, but Bird is always there through his vocabulary and his way of interpreting of the music.”
https://smokesessionsrecords.com/shop/albums/bird-at-100/

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TRES DE LAS VOCES MÁS ACLAAMADAS DEL JAZZ MODERNO: VINCENT HERRING, BOBBY WATSON Y GARY BARTZ, una cumbre del saxofón alto para la posteridad, celebran el centenario de una de las figuras más emblemáticas de la música, Charlie Parker. Junto con una magnífica sección rítmica, los tres distintivos saxofonistas altos rinden homenaje al legado de Parker de la manera más adecuada para este pionero revolucionario: llevando adelante sus innovaciones con sus propios estilos absolutamente singulares.

El conmovedor Bird at 100 traza un linaje directo desde el lugar de nacimiento de Parker en Kansas City hasta el escenario del Smoke Jazz & Supper Club, donde estos tres influyentes discípulos miran atrás desde la perspectiva del jazz en 2019, con una combinación de reverencia, respeto y aventura. El programa ofrece una animada mezcla de temas clásicos de Parker, estándares familiares que Bird (y las generaciones posteriores) grabaron en su día y nuevas composiciones escritas en honor al maestro.

Los tres cuentan con el hábil respaldo en Bird at 100 de una sección rítmica que ha asimilado profundamente toda esa historia: el pianista David Kikoski, el bajista Yasushi Nakamura y el baterista Carl Allen. Los tres colaboran habitualmente con Herring, lo que aporta una química bien establecida a esta salida estelar.

«La influencia de Charlie Parker es un hilo conductor que nos une a todos», afirma Herring, quien ideó la fecha. «Es increíble cómo Charlie Parker ha influido en tantas personas diferentes en su búsqueda de la música. Por supuesto, también recibimos otras influencias y todos esperamos dejar nuestra propia huella, pero Bird siempre está presente a través de su vocabulario y su forma de interpretar la música».
https://smokesessionsrecords.com/shop/albums/bird-at-100/

bandcamp.com/bird-at-100 ...
    

Steely Dan • The Royal Scam.

 

www.steelydan.com ...

Colaborador / Contributor:  Ketmokin

Si Zentner & Martin Denny • Exotica Suite

Flow, Gesture, and Spaces in Free Jazz: Towards a Theory of Collaboration

 

Free jazz, as performed by such artists as John Coltrone and Archie Shepp, is a creative, collaborative art form. This book examines free jazz and develops geometric theories of gestures and distributed identities, also known as swarm intelligence.

 

Country Music USAː 50th Anniversary Edition

    “Fifty years after its first publication, Country Music USA still stands as the most authoritative history of this uniquely American art form. Here are the stories of the people who made country music into such an integral part of our nation’s culture. We feel lucky to have had Bill Malone as an indispensable guide in making our PBS documentary; you should, too.”

    —Ken Burns and Dayton Duncan, Country Music: An American Family Story

From reviews of previous editions:

    “Considered the definitive history of American country music.”

    —Los Angeles Times

    “If anyone knows more about the subject than [Malone] does, God help them.”

    —Larry McMurtry, from In a Narrow Grave

    “With Country Music USA, Bill Malone wrote the Bible for country music history and scholarship. This groundbreaking work, now updated, is the definitive chronicle of the sweeping drama of the country music experience.”

    —Chet Flippo, former editorial director, CMT: Country Music Television and CMT.com

    “Country Music USA is the definitive history of country music and of the artists who shaped its fascinating worlds.”

    —William Ferris, University of North Carolina at Chapel Hill, former chairman of the National Endowment for the Humanities and coeditor of the Encyclopedia of Southern Culture

Since its first publication in 1968, Bill C. Malone’s Country Music USA has won universal acclaim as the definitive history of American country music. Starting with the music’s folk roots in the rural South, it traces country music from the early days of radio into the twenty-first century. In this fiftieth-anniversary edition, Malone, the featured historian in Ken Burns’s 2019 documentary on country music, has revised every chapter to offer new information and fresh insights. Coauthor Tracey Laird tracks developments in country music in the new millennium, exploring the relationship between the current music scene and the traditions from which it emerged.

Over the Top and Back: The Autobiography

 

In a career that has spanned six decades, Sir Tom Jones has performed with almost every major recording artist, from Jerry Lee Lewis, Elvis and Sinatra, to Robbie Williams, Van Morrison and Jessie J, across every imaginable genre, from rock and pop to country, blues and soul. The one constant throughout has been his unique musical gift and unmistakable voice.
In this, his first ever autobiography, Tom will revisit his past, both personal and professional, exploring the twists of fate that took a boy from a poor Welsh coal-mining family to global celebrity status. He will chart the stories behind the hits as well as the ups and downs of his professional life - from the heyday in Las Vegas and subsequent fallow years in the 1980s to his renaissance and comeback, thanks to the direction and management of his son, Mark - as well as shedding a light on the life he has led behind the cameras and the stage.

 

Music in Medieval Europe

 

This book presents the most recent findings of twenty of the foremost European and North American researchers into the music of the Middle Ages. The chronological scope of their topics is wide, from the ninth to the fifteenth century.
Wide too is the range of the subject matter: included are essays on ecclesiastical chant, early and late (and on the earliest and latest of its supernumerary tropes, monophonic and polyphonic); on the innovative and seminal polyphony of Notre-Dame de Paris, and the Latin poetry associated with the great cathedral; on the liturgy of Paris, Rome and Milan; on musical theory; on the emotional reception of music near the end of the medieval period and the emergence of modern sensibilities; even on methods of encoding the melodies that survive from the Middle Ages, encoding that makes it practical to apply computer-assisted analysis to their vast number.
The findings presented in this book will be of interest to those engaged by music and the liturgy, active researchers and students.
All the papers are carefully and extensively documented by references to medieval sources.

Expressionism • Ashley Bassie, pdf / inglés

Reuben Wilson • A Groovy Situation

Bio

Reuben Wilson es un organista estadounidense de jazz y soul jazz, y uno de los músicos pioneros del movimiento acid jazz.
Nacido en Mounds, Oklahoma, Reuben Wilson se trasladó de niño a Pasadena, California, donde tuvo como compañeros de escuela a futuros músicos de jazz como Bobby Hutcherson y Herb Lewis. Wilson aprendió a tocar piano de forma autodidacta, pero cuando un amigo suyo le mostró el órgano Hammond, supo que ése era su instrumento.
Sus primeras influencias fueron Billy Larkin de the Delegates y, por supuesto, Jimmy Smith,1 pero pronto derivó su atención hacia el mundo del boxeo. Con 17 años se dirige a Los Ángeles y se casa con una cantante de nightclubs, a través de la cual conoce a un buen número de músicos profesionales, lo que redirige nuevamente sus pasos hacia la música. Wilson, en lugar de dedicarse al piano, se hace con un órgano Hammond, y en poco tiempo se encuentra trabajando con el baterista Eddie Williams, con el guitarrista George Freeman, y con el saxofonista Clifford Scott. El músico permanece en el circuito de Los Ángeles durante unos años antes de probar suerte -sin éxito- en Las Vegas, tras lo cual regresa a Los Ángeles, donde establece una fuerte amistad con el también organista Richard "Groove" Holmes.
En Diciembre de 1966, Wilson se marcha a Nueva York, donde forma el trío de soul jazz the Wildcare Express con el baterista Tommy Derrick. Tras seis meses de trabajo, el organista decide concentrarse en variaciones más complejas dentro del estilo, introduciendo elementos más bop, lo que atrae a músicos como Grant Green, Roy Haynes, o Sam Rivers a la banda de WIlson. En esa época, la prestigiosa Blue Note Records le ofrece un contrato que Wilson no duda en aceptar.
El primer disco de Wilson con el nuevo sello ve la luz en 1968, bajo el título "On Broadway". En marzo de 1969 publica "Love Bug", con Lee Morgan, mientras que "Blue Mode" se edita en diciembre de ese mismo año. En 1970 sale a la venta "A Groovy Situation", en la nueva dirección, más comercial, que estaban siguiendo la mayoría de los artistas de Blue Note. "Set Us Free", de 1971, señala el fin de la relación de Wilson con la famosa editorial, pero éste sigue editando trabajos bajo otros señños menos conocidos durante el resto de la década, además de llevar a cabo trabajos de sesión con distintos artistas de funk y de jazz. Durante el final de la década de los 70, Wilson sólo graba esporádicamente y finalmente, a principios de los 80 tiene lugar su retiro.
En 1995, en pleno auge del movimiento acid jazz, y tras el redescubrimiento de su música en samples de artistas como A Tribe Called Quest, Us3, o Brand New Heaviess, Reuben Wilson vuelve a los escenarios con el proyecto Jazzmatazz de DJ Guru. En 1996 firma con el sello Hip Bop para editar dos álbumes, y desde entonces la actividad de estudio de Reuben Wilson ha sido incesante.
Referencia imprescindible en la historia del funk y del órgano Hammond,1 Reuben Wilson fue uno de los muchos organistas de soul jazz que emergieron a finales de la década de los 60, con la suerte de estar entre los pocos que lograron firmar con Blue Note Records. En una época en la que la editorial apostaba por una dirección menos purista, ninguno de sus trabajos para el sello lograron una fuerte aceptación en su época, pero fueron redescubiertos mucho más tarde por una nueva generación de fans que no desdeñaban sus licencias comerciales para convertirse instantáneamente en objetos de culto entre los aficionados al género. La música de Wilson, una mezcla de jazz, pop, jazz fusion y funk inspiró a gente como Sly Stone y George Clinton, y a través de los trabajos de los artistas del sello "Acid Jazz", de Gilles Peterson y de los samples de DJs contemporáneos, continúa ejerciendo una profunda influencia en la escena musical.

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Reuben Wilson (born April 9, 1935) is a jazz organist. He performs soul jazz and acid jazz, and is best known for his title track "Got To Get Your Own".
He was born in Mounds, Oklahoma and his family moved to Pasadena when he was. He played with in L.A. with drummer Al Bartee, then moved to New York to begin a recording career. In addition to playing with jazz greats Melvin Sparks and Willis Jackson, Wilson led the local band Wildare Express. He remains an active musician, and still resides in New York City.

full bio ...

 

Christian McBride & Inside Straight • People Music

 

Review by Matt Collar
Christian McBride's 2013 studio album, People Music, is the bassist's fourth release on Mack Avenue Records and second with his quintet Inside Straight. Although the lineup has changed slightly, this is the same group of musicians that delivered the equally as stellar 2009 album Kind of Brown. Featured here are vibraphonist Warren Wolf, pianist Peter Martin, alto saxophonist Steve Wilson, and drummer Carl Allen, with drummer Ulysses Owens Jr. jumping on board for a few cuts as well. As with Kind of Brown, People Music features McBride in straight-ahead, acoustic jazz mode with a bent toward the expansive and soulful '60s and '70s recordings of the Bobby Hutcherson-Harold Land quintet. These are no-nonsense songs that showcase McBride's band's swinging, harmonically adroit style of post-bop improvisation and sympathetic group interplay. Easily one of the most gifted and mature bassists of his generation, McBride continues to make music that challenges himself while also aiming to please his audience. In the best sense, People Music is music for everyone to enjoy.
https://www.allmusic.com/album/people-music-mw0002521714

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Reseña de Matt Collar
El álbum de estudio de Christian McBride de 2013, People Music, es el cuarto lanzamiento del bajista en Mack Avenue Records y el segundo con su quinteto Inside Straight. Aunque la alineación ha cambiado ligeramente, este es el mismo grupo de músicos que entregó el igualmente estelar álbum de 2009 Kind of Brown. Aquí aparecen el vibrafonista Warren Wolf, el pianista Peter Martin, el saxofonista alto Steve Wilson, y el baterista Carl Allen, con el baterista Ulysses Owens Jr. saltando a bordo para algunos cortes también. Al igual que en Kind of Brown, People Music presenta a McBride en modo de jazz acústico directo con una inclinación hacia las grabaciones expansivas y conmovedoras de los años 60 y 70 del quinteto Bobby Hutcherson-Harold Land. Se trata de canciones sin complicaciones que muestran el estilo de improvisación post-bop de la banda de McBride, con una gran habilidad armónica y una simpática interacción de grupo. McBride, uno de los bajistas más talentosos y maduros de su generación, sigue haciendo música que se desafía a sí mismo al tiempo que pretende complacer a su público. En el mejor sentido, People Music es música para que la disfrute todo el mundo.
https://www.allmusic.com/album/people-music-mw0002521714

www.christianmcbride.com ...

 

Cal Tjader • Sentimental Moods

Review by Nick Dedina 
Fantasy Records is to be commended for re-releasing so many of their classic Cal Tjader albums in the budget-priced two-for-one CD format, even if Sentimental Moods features one of their odder pairings. The first ten selections are culled from the dreamy mood music album Latin for Lovers (aka Latin for Lovers With Strings), and the final ten are from San Francisco Moods, a lean and mean West Coast jazz ode to his hometown. While these two sessions don't really go together, they do show you the breadth of what Tjader was recording for Fantasy at the time. While the Latin for Lovers selections aren't really Latin jazz (or even "Latin" or "jazz," for that matter), it is superior mood music with fine string arrangements written by Jack Weeks. If all lounge music was this good, the term couldn't be used as an insult. The soloists don't really stretch out at all, but Tjader, pianist Vince Guaraldi, and flutist Paul Horn each make their presence felt on regal, melodic passages. Willie Bobo and Mongo Santamaria are on the session, but unlike their sizzling one-track cameo on the next session's "Viva Cepeda," they are only around to keep strict time. So while the first half of the disc is upscale easy listening, those culled from San Francisco Moods show how underrated Tjader was at mainstream small-group jazz. Tjader starts out the session on piano, but on most tracks his vibraphone skills are given a real chance to shine. Tjader was always a giving group leader and guitarist Eddie Duran and the rest of the quartet are featured prominently. San Francisco Moods is an exhilarating session, one that veers from gritty, hard-swinging romps to uptown "chamber jazz" and back again without a hitch. Cal Tjader had such great success with Latin jazz that listeners and critics have tended to forget that he really was a major part of the cool West Coast jazz scene and that he recorded all kinds of music throughout his career. This CD reissue is a must-have for Cal Tjader fans and one that reminds people how far-reaching the vibraphonist's mainstream musical talent really was.
https://www.allmusic.com/album/sentimental-moods-mw0000646495

Biography by Richard S. Ginell

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.

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Reseña de Nick Dedina 
Fantasy Records es digno de elogio por relanzar tantos de sus clásicos álbumes de Cal Tjader en el formato de CD dos por uno, a un precio asequible, incluso si Sentimental Moods presenta uno de sus pares más extraños. Las primeras diez selecciones se seleccionan del álbum de música de estado de ánimo de ensueño Latin for Lovers (también conocido como Latin for Lovers With Strings), y las últimas diez son de San Francisco Moods, una oda magra y mezquina de jazz de la Costa Oeste a su ciudad natal. Aunque estas dos sesiones no van realmente juntas, muestran la amplitud de lo que Tjader estaba grabando para Fantasy en ese momento. Mientras que las selecciones de Latin for Lovers no son realmente jazz latino (o incluso "Latin" o "jazz," para el caso), es música de ambiente superior con arreglos de cuerdas finos escritos por Jack Weeks. Si toda la música de salón fuera tan buena, el término no podría ser usado como un insulto. Los solistas no se estiran en absoluto, pero Tjader, el pianista Vince Guaraldi y el flautista Paul Horn hacen sentir su presencia en pasajes reales y melódicos. Willie Bobo y Mongo Santamaría están en la sesión, pero a diferencia de su chisporroteante camafeo de una pista en la siguiente sesión de "Viva Cepeda", sólo están aquí para mantener un tiempo estricto. Así que mientras que la primera mitad del disco es de alta calidad y fácil de escuchar, los seleccionados de San Francisco Moods muestran lo infravalorado que estaba Tjader en el jazz de grupos pequeños. Tjader comienza la sesión con el piano, pero en la mayoría de los temas sus habilidades vibrafónicas tienen una oportunidad real de brillar. Tjader siempre fue un líder de grupo y el guitarrista Eddie Duran y el resto del cuarteto son protagonistas. San Francisco Moods es una sesión estimulante, una que va desde los arenosos y duros retozos hasta el "jazz de cámara" de la parte alta de la ciudad y regresa de nuevo sin problemas. Cal Tjader tuvo tanto éxito con el jazz latino que los oyentes y la crítica han tendido a olvidar que él realmente era una parte importante de la fresca escena del jazz de la Costa Oeste y que grabó todo tipo de música a lo largo de su carrera. Esta reedición de CD es una necesidad para los fans de Cal Tjader y una que le recuerda a la gente cuán lejos estaba el talento musical principal del vibrafonista.
https://www.allmusic.com/album/sentimental-moods-mw0000646495



Biografía de Richard S. Ginell

Cal Tjader fue sin duda 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; su manera ligera, rítmica y alegre de vibráfono podía abrazar cómodamente ambos estilos. Sus numerosas grabaciones para Fantasy y Verve y su larga presencia en el área de la bahía de San Francisco tuvieron una profunda influencia en Carlos Santana, y por lo tanto en el rock latino. También tocaba la batería y el bongos, este último en particular en el pícaro Quinteto George Shearing titulado "Rap Your Troubles in Drums", y ocasionalmente también tocaba el piano.

Tjader estudió música y educación en el San Francisco State College antes de unirse a su compatriota Dave Brubeck como baterista del Brubeck Trio de 1949 a 1951. Luego trabajó con Alvino Rey, dirigió su propio grupo y en 1953 se unió al entonces popular quinteto de George Shearing como vibrafonista y percusionista. Fue en la banda de Shearing que comenzó el romance de Tjader con la música latina, encendida por el bajista de Shearing Al McKibbon, alimentada por el contacto con Willie Bobo, Mongo Santamaría y Armando Peraza, y galvanizada por la locura del mambo de los años 50. Cuando se fue de Shearing al año siguiente, Tjader formó su propia banda que enfatizó el elemento latino, pero también tocó jazz convencional. Bobo y Santamaría eventualmente se unieron a la banda de Tjader como sidemen, y Vince Guaraldi sirvió por un tiempo como pianista y contribuyente al cancionero de la banda ("Ginza," "Thinking of You, MJQ"). 

Tjader grabó una larga serie de álbumes, en su mayoría de jazz latino, para Fantasy desde mediados de los años 50 hasta principios de los 60, cambiando en 1961 a Verve, donde bajo la égida de Creed Taylor amplió su paleta estilística y formó equipo con artistas como Lalo Schifrin, Anita O'Day, Kenny Burrell y Donald Byrd. En el camino, Tjader logró anotar un éxito menor en 1965 con "Soul Sauce", una reelaboración de "Guacha Guaro" de Dizzy Gillespie/Chano Pozo, que Tjader había cortado previamente para Fantasy. Tjader volvió a Fantasy en los años 70, y en 1979 se trasladó al nuevo sello Concord Picante, donde permaneció hasta su muerte.

Bob Brookmeyer • Traditionalism Revisited

 Review by Scott Yanow
This Pacific Jazz album is a bit unusual. Bob Brookmeyer (on valve trombone and piano), Jimmy Giuffre (switching between clarinet, baritone and tenor), guitarist Jim Hall, either Joe Benjamin or Ralph Pena on bass and drummer Dave Bailey perform eight songs from the 1920s and '30s including some obscurities. While these selections have occasionally been revived by Dixieland and swing bands, Brookmeyer and his group use harmonies that were modern for the 1950s to update such tunes as "Louiaiana," "Truckin'," "Honeysuckle Rose" and even "Santa Claus Blues." Because the musicians have a respect for the older styles, they extend rather than break the tradition; the results are quite enjoyable.
https://www.allmusic.com/album/traditionalism-revisited-mw0000040330

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 Reseña de Scott Yanow
Este álbum de Pacific Jazz es un poco inusual. Bob Brookmeyer (en el trombón de válvulas y el piano), Jimmy Giuffre (cambiando entre el clarinete, el barítono y el tenor), el guitarrista Jim Hall, Joe Benjamin o Ralph Pena en el bajo y el baterista Dave Bailey interpretan ocho canciones de los años 20 y 30 incluyendo algunas obscuridades. Aunque estas selecciones han sido revividas ocasionalmente por bandas de Dixieland y swing, Brookmeyer y su grupo utilizan armonías que eran modernas para los años 50 para actualizar melodías como "Louiaiana", "Truckin'", "Honeysuckle Rose" e incluso "Santa Claus Blues". Como los músicos respetan los estilos más antiguos, amplían la tradición en lugar de romperla; los resultados son bastante agradables.
https://www.allmusic.com/album/traditionalism-revisited-mw0000040330

Stephane Grappelli Quartet • Live Hamburg

 

Here is another one that is from 1957 and it is short but sweet - I saw Stephane Grappelli back in the late 80s and he was old but full of fire - He wasn't old during this recording but he was great back then too.

Walter Wanderley • Bossa Nova

Artist Biography by Alvaro Neder

Walter Wanderley was a talented and gifted organist with an acute ear for new harmonies. With 46 recorded solo albums in his entire career, both in Brazil and the U.S., he reached number 26 on the Billboard pop charts in September 1966, opening a large pathway of success only menaced by himself and his complex character. Ten years after his death from cancer, with a new fad coming, he was repackaged by the entertainment industry as a mere lounge player, carrying his record sales even further and sending the cost of his out-of-print albums to the stratosphere, but all at the cost of minimizing his significance. It is forgotten that the time lag worked against him and what today is lounge music was then innovative and revolutionary. With all those fans of samba-canção divas feeling personally insulted by those percussive rhythms reminiscent of a Brazilian black tradition that was not dear to the average Brazilian, it has to be stressed that the bossa nova movement, and Wanderley within it, had the role of affirming Brazilian identity in a broader cultural industry which was developed out of the folkloric redoubts. In fact, he also has an upbeat production full of that energy provided by his distinctive staccato stuttering style, immediately reminiscent of authentic Brazilian rhythmic and percussive impetus. He also improvised extended melodic solos without reheated licks, but that was obviously also left out of his most popular albums.

At five, he was already playing the piano. At 12, he attended the Licee of Arts for a year of theory classes, later studying harmony and arranging. Beginning his professional career while still in Recife, a most lively city with a vibrant cultural life, he worked every night either at the piano or at the organ. At 26, in 1958, he moved to São Paulo and immediately became an active player in nightclubs such as the Claridge, the Captain's Bar, and Oásis. Wanderley's first recording was in August 1959 for Odeon, with Carlos Lyra's "Lobo Bobo." Backing his wife, Brazilian singer Isaurinha Garcia (with whom he had a daughter, Monica), he recorded for the second time one month later. At that time, he was Garcia's accompanist and arranger. He would record another six LPs accompanying Garcia and another 19 solo albums in Brazil for several labels; he was left out of some of the credits because of his contract with Philips. Wanderley became known on the artistic scene for recording young artists, like Marcos Valle, Tom Jobim, João Donato, and others, until then with no expression out of the little nightclubs in which they performed on a nightly basis. But as the tunes and arrangements were fun to dance to, the albums sold very well. João Gilberto's João Gilberto (later reissued as O Mito in Brazil and as The Legendary João Gilberto in the U.S. in 1990 by World Pacific) from 1961 also had Walter in it. An impatient Wanderley then bent under Gilberto's oppressive, meticulous direction on March 10. That was the third album Gilberto was recording for Odeon and would be the last. Until then, Gilberto had Tom Jobim as pianist and Aluísio de Oliveira as producer. In spite of his frequent discussions with de Oliveira, the producer was the person who mediated Gilberto's hard relationship with Jobim. But de Oliveira had left Odeon the previous September, and Jobim didn't want to be scheduled for that recording. Gilberto, not knowing how to write music, insisted on expressing his musical vision of overall arrangements by singing, and that not only included the tones themselves, but the expression, timbre, and articulation. This drove Wanderley mad, especially with a certain sound effect of a boat's siren for "O Barquinho" ("Little Boat"), which was never good enough for Gilberto. The next day, Gilberto interrupted the recording of that album, only resuming it five months later with Jobim as musical director. Wanderley went on with his career and life, beginning an association with singer Claudette Soares in 1963, as an arranger and accompanist. His marriage was broken at this period. He also recorded for several renowned Brazilian singers in that time, among them Dóris Monteiro and Geraldo Vandré. It was when Tony Bennett saw Wanderley during a Brazilian tour and was taken by his playing. He urged Wanderley to move to the U.S. and, he himself talked about him to Verve Records producer Creed Taylor, also giving Taylor some of Wanderley's albums. After some insistence, Taylor sent contracts for Wanderley and his trio to record a single. So in 1966, they recorded brothers Marcos and Paulo Sérgio Valle's "Samba de Verão" ("Summer Samba"). It was an instant success, with radio stations playing it four or five times per hour. In that same year, the LP Rain Forest came out, also selling very well and was certified platinum (one million units sold) in two years. The trio accompanied Astrud Gilberto on her A Certain Smile, a Certain Sadness album, also in 1966. He would record six more solo LPs or singles for Verve until the next year, and ten more in his career in the U.S. He always sold well and had a full performing schedule, in which local presentations at the San Francisco area were interspersed with some tours to Mexico. He never did return to Brazil after moving to the U.S. and he went on with his life until death caught up with him.

https://www.allmusic.com/artist/walter-wanderley-mn0000230478/biography

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 Biografía del artista por Alvaro Neder

Walter Wanderley era un organista talentoso y dotado con un oído agudo para las nuevas armonías. Con 46 discos en solitario grabados en toda su carrera, tanto en Brasil como en Estados Unidos, alcanzó el número 26 en las listas de éxitos de Billboard en septiembre de 1966, abriendo un gran camino de éxito sólo amenazado por él mismo y su complejo personaje. Diez años después de su muerte por cáncer, con una nueva moda que se avecinaba, fue reempaquetado por la industria del entretenimiento como un simple jugador de salón, llevando sus ventas de discos aún más lejos y enviando el costo de sus álbumes agotados a la estratosfera, pero todo a costa de minimizar su importancia. Se olvida que el desfase temporal le perjudicó y que lo que hoy en día es música de salón era entonces innovadora y revolucionaria. Con todos esos fanáticos de las divas de la samba-canção sintiéndose personalmente insultados por esos ritmos percusivos que recuerdan a una tradición negra brasileña que no era querida por el brasileño promedio, hay que subrayar que el movimiento bossa nova, y Wanderley dentro de él, tuvo el papel de afirmar la identidad brasileña en una industria cultural más amplia que se desarrolló a partir de los reductos folclóricos. De hecho, también tiene una producción optimista llena de esa energía que le proporciona su distintivo estilo de tartamudeo del staccato, que recuerda inmediatamente el auténtico impulso rítmico y percusivo brasileño. También improvisó solos melódicos extendidos sin lametones recalentados, pero eso obviamente también fue dejado fuera de sus álbumes más populares.

A los cinco años, ya tocaba el piano. A los 12 años, asistió a la Licenciatura de Artes durante un año de clases de teoría, para luego estudiar armonía y arreglos. Comenzó su carrera profesional en Recife, una ciudad muy animada con una vibrante vida cultural, donde trabajó todas las noches, ya sea en el piano o en el órgano. A los 26 años, en 1958, se trasladó a São Paulo e inmediatamente se convirtió en un jugador activo en clubes nocturnos como el Claridge, el Captain's Bar y Oásis. La primera grabación de Wanderley fue en agosto de 1959 para Odeon, con "Lobo Bobo" de Carlos Lyra. Apoyando a su esposa, la cantante brasileña Isaurinha García (con quien tuvo una hija, Mónica), grabó por segunda vez un mes después. En ese momento, era el acompañante y arreglista de García. Grabaría otros seis LPs acompañando a García y otros 19 álbumes en solitario en Brasil para varios sellos; fue excluido de algunos de los créditos debido a su contrato con Philips. Wanderley se dio a conocer en la escena artística por la grabación de jóvenes artistas, como Marcos Valle, Tom Jobim, João Donato, y otros, hasta entonces sin expresión alguna de los pequeños clubes nocturnos en los que actuaban todas las noches. Pero como las canciones y los arreglos eran divertidos para bailar, los álbumes se vendieron muy bien. João Gilberto de João Gilberto (más tarde reeditado como O Mito en Brasil y como The Legendary João Gilberto en los EE.UU. en 1990 por World Pacific) de 1961 también tenía a Walter en él. Un Wanderley impaciente se inclinó bajo la opresiva y meticulosa dirección de Gilberto el 10 de marzo. Ese fue el tercer álbum que Gilberto estaba grabando para Odeon y sería el último. Hasta entonces, Gilberto tenía a Tom Jobim como pianista y a Aluísio de Oliveira como productor. A pesar de sus frecuentes conversaciones con de Oliveira, el productor fue la persona que mediaba en la dura relación de Gilberto con Jobim. Pero de Oliveira había dejado Odeon el pasado septiembre, y Jobim no quería que se le programara para esa grabación. Gilberto, sin saber escribir música, insistió en expresar su visión musical de los arreglos globales a través del canto, y eso no sólo incluía los tonos en sí mismos, sino también la expresión, el timbre y la articulación. Esto volvió loco a Wanderley, especialmente con un cierto efecto sonoro de la sirena de un barco para "O Barquinho" ("El Barquito"), que nunca fue suficiente para Gilberto. Al día siguiente, Gilberto interrumpió la grabación de ese disco y sólo lo reanudó cinco meses después con Jobim como director musical. Wanderley continuó con su carrera y su vida, comenzando una asociación con la cantante Claudette Soares en 1963, como arreglista y acompañante. Su matrimonio se rompió en este período. También grabó para varios cantantes brasileños de renombre en esa época, entre ellos Dóris Monteiro y Geraldo Vandré. Fue cuando Tony Bennett vio a Wanderley durante una gira brasileña y se dejó llevar por su forma de tocar. Instó a Wanderley a mudarse a los Estados Unidos y él mismo habló de él con el productor de Verve Records, Creed Taylor, dándole también a Taylor algunos de los discos de Wanderley. Después de alguna insistencia, Taylor envió contratos para que Wanderley y su trío grabaran un sencillo. Así que en 1966, grabaron a los hermanos Marcos y Paulo Sérgio Valle "Samba de Verão" ("Samba de verano"). Fue un éxito instantáneo, con estaciones de radio que lo tocaban cuatro o cinco veces por hora. En ese mismo año, el LP Rain Forest salió a la venta, también se vendió muy bien y fue certificado platino (un millón de unidades vendidas) en dos años. El trío acompañó a Astrud Gilberto en su álbum A Certain Smile, a Certain Sadness, también en 1966. Grabaría seis LPs o singles más para Verve hasta el próximo año, y diez más en su carrera en los Estados Unidos. Siempre se vendió bien y tenía un programa completo de presentaciones, en el que las presentaciones locales en el área de San Francisco se intercalaban con algunas giras a México. Nunca regresó a Brasil después de mudarse a Estados Unidos y continuó con su vida hasta que la muerte lo atrapó.

https://www.allmusic.com/artist/walter-wanderley-mn0000230478/biography

Traducción realizada con el traductor www.DeepL.com/Translator

VA • Rock This Town - Rockabilly Hits

 

Jimmy Smith • Organ Grinder's Swing

Eddie Higgins Trio • Standard Higgins

 

 

 

Red Norvo Trio • Move !

 

 

Xavier Cugat • Caricatures

Review

by Tony Wilds
The most irresistible aspect of Cugi's Caricatures may be the jacket's sketches to accompany each title. They are by Cugat, of course. The theme is supposed to be jazz and rock tunes, but popular standards in various Latin and Brazilian styles is more accurate. "Night Train" could be jazz or rock, but here it is a cha-cha, one of the highlights. The tunes leading off each side, "Fly Me to the Moon" and "Desafinado," indicate the peak popularity of bossa nova. Culminating his Mercury years, Cugat Caricatures' smooth consistency indicates the sophisticated, tried-and-true sound that would distinquish his subsequent Decca period. 

 

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 Revisión
por Tony Wilds

El aspecto más irresistible de las Caricaturas de Cugi pueden ser los bocetos de la cubierta que acompañan a cada título. Son de Cugat, por supuesto. Se supone que la temática es de melodías de jazz y rock, pero los estándares populares de diversos estilos latinos y brasileños son más precisos. "Night Train" podría ser de jazz o de rock, pero aquí es un chachachá, uno de los más destacados. Los temas que encabezan cada lado, "Fly Me to the Moon" y "Desafinado", indican el pico de popularidad de la bossa nova. Culminando sus años en Mercury, la suave consistencia de Cugat Caricatures indica el sonido sofisticado y probado que distinguiría su posterior periodo en Decca.

 

 

 

Al Hirt • Trumpet and Strings