Billy Higgins • The Soldier

 

American jazz drummer Billy Higgins recorded his second album The Soldier in 1979. Featured on this album are Monty Waters on alto saxophone, Cedar Walton on the piano, Walter Brooker on bass and vocalist Roberta Davis. The track 'Peace' features guest performer Horace Silver and on 'Sonny Moon For Two', Higgins is accompanied by Sonny Rollins. Higgins mainly played free jazz and hard bop. He was one of the house drummers for Blue Note Records and played dozens of Blue Note albums of the 1960s. His drums were an important addition to many recordings such as Dexter Gordon's Go! and Herbie Hancock's Takin' Off. 

Chet Baker • Late Night Jazz

 

Late Night Jazz de Chet Baker es un viaje introspectivo y conmovedor que nos sumerge en la intimidad del legendario trompetista durante los últimos años de su vida. Grabado en París, pocos meses antes de su trágica muerte, este álbum captura la esencia de un artista que, a pesar de las tormentas personales, seguía creando música de una belleza sublime.

La sesión de grabación, realizada en un ambiente íntimo y relajado, nos presenta a un Chet Baker en estado puro. Su trompeta, de un tono suave y melancólico, se entrelaza con las notas del piano de Egil Kapstad, el bajo de Terje Venaas y la guitarra, superlativa y maravillosa, de Philip Catherine, creando una atmósfera de ensueño que invita a la reflexión.

Con un repertorio que conmueve, el álbum nos ofrece una selección de estándares de jazz y composiciones originales que abarcan una amplia gama de emociones. Desde baladas conmovedoras como Skylark y My Foolish Heart hasta temas más enérgicos como How High The Moon, cada interpretación de Baker es una muestra de su maestría y sensibilidad.

La elección de temas, en su mayoría melancólicos, refleja la propia vida de Baker, marcada por la lucha contra la adicción y los desafíos personales. Sin embargo, en lugar de hundirse en la autocompasión, Baker transforma su dolor en música, creando piezas que trascienden lo personal y conectan con el oyente en un nivel profundo.

Lo que hace de Late Night Jazz un álbum tan especial es la sensación de intimidad que se desprende de cada nota. La interpretación de Baker es tan honesta y vulnerable que parece desnudar su alma ante nosotros. Es como si supiera que estas eran algunas de sus últimas grabaciones y quisiera dejar un legado duradero.

La producción del álbum es impecable, resaltando la belleza de cada instrumento y creando una atmósfera envolvente. Las tomas alternativas incluidas en la reedición nos ofrecen una visión más completa del proceso creativo y nos permiten apreciar aún más la maestría de Baker y sus compañeros músicos.

Late Night Jazz es mucho más que un simple álbum de jazz. Es un testimonio del poder de la música para sanar y trascender. A través de su música, Chet Baker nos invita a reflexionar sobre la vida, la muerte y la belleza de los momentos fugaces. Una Joya Íntima de sus últimos días.
https://www.diariofolk.com/criticadisco/late-night-jazz-chet-baker/

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A unique and poignant jazz album, Chet Baker’s "Late Night Jazz." captures a rare and intimate moment from the final years of the legendary jazz trumpeter Chet Baker.

Recorded on February 17-18, 1988, at Sysmo Studio in Montmartre, Paris, "Late Night Jazz" showcases Baker’s extraordinary talent in a close setting. The session features esteemed musicians including pianist Egil Kapstad, bassist Terje Venaas, and Belgian guitarists Philip Catherine and Nicola Stilo.

This project, initiated by Norwegian poet Jan Erik Vold, envisioned a collaboration that blends jazz with poetic expression. While there were concerns that this might be Baker’s last recording session, he went on to record additional albums shortly after. Nevertheless, "Late Night Jazz" stands as a remarkable document of Baker's artistry during a challenging period in his life.

The album includes jazz standards and original compositions, with Vold's poetry seamlessly woven into the music. Chet Baker's legacy as a jazz icon is celebrated not only for his musical brilliance but also for his enduring presence despite personal struggles. This session captures him in a moment of raw and refined artistic expression, offering listeners an intimate glimpse into his creative process.

Produced by Jon Larsen, the album also features three alternative takes, providing further insight into the magic of the session. "Late Night Jazz" is a testament to Baker's resilience and passion for music, presenting a narrative of an artist who continued to deliver profound performances until the end. 
https://www.allaboutjazz.com/album/late-night-jazz-chet-baker


 

The Jazzinvaders • That's What You Say! (feat. Dr. Lonnie Smith)

 

 

Roby Lakatos • König Der Zigeunergeiger

 

Gypsy violinist Roby Lakatos is not only a scorching virtuoso, but a musician of extraordinary stylistic versatility. Equally comfortable performing classical music as he is playing jazz and in his own Hungarian folk idiom, Lakatos is the rare musician who defies definition. He is referred to as a gypsy violinist or “devil’s fiddler”, a classical virtuoso, a jazz improviser, a composer and arranger, and a 19th-century throwback, and he is actually all of these things at once. He is the kind of universal musician so rarely encountered in our time—a player whose strength as an interpreter derives from his activities as an improviser and composer. He has performed at the great halls and festivals of Europe, Asia and America.

Born in 1965 into the legendary family of gypsy violinists descended from Janos Bihari, “King of Gypsy Violinists”, Roby Lakatos was introduced to music as a child and at age nine he made his public debut as first violin in a gypsy band. His musicianship evolved not only within his own family but also at the Béla Bartók Conservatory of Budapest, where he won the first prize for classical violin in 1984. Between 1986 and 1996, he and his ensemble delighted audiences at “Les Atéliers de la grande Ille” in Brussels, their musical home throughout this period. He has collaborated with Vadim Repin and Stéphane Grappelli, and his playing was greatly admired by Sir Yehudi Menuhin, who always made a point of visiting the club in Brussels to hear Lakatos. In March 2004, Lakatos appeared to great acclaim with the London Symphony Orchestra in the orchestra’s “Genius of the Violin” festival alongside Maxim Vengerov.

When Roby Lakatos mixes the so-called “classical music” with the magic of the Hungarian-gypsy vitality, it does not turn into a disrespectful attitude toward the higher cultural heritage, but it more reflects the deep tradition rooted in the cultural heritage of the Gypsy people and offers new, refreshing pleasures to the listener and music lover. And just as Liszt, Brahms and others used the Hungarian overtones in their compositions, so now the public profits from the confrontation of these classics with the gypsy roots. This enlivens all those men and women in whose veins still pulses at least a little bit of the blood of the wandering spirit.

Roby is not just an extraordinary virtuoso but a magician with a unique technique and his own style upsets more than one. It’s a rare musician who can play Classical music, Jazz and naturally his own Hungarian folk idiom with as much energy and technical qualities, he redefines every genre with his violin. He has performed at the great halls and festivals in Europe, Asia and America and played with de biggest jazz men like Herbie Hancock, Quincy Jones, Stéphane Grappelli…

http://www.roby-lakatos.com/roby-lakatos/

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El violinista gitano Roby Lakatos no sólo es un virtuoso ardiente, sino un músico de extraordinaria versatilidad estilística. Igual de cómodo interpretando música clásica que tocando jazz y en su propio idioma folklórico húngaro, Lakatos es el raro músico que desafía la definición. Se le conoce como un violinista gitano o "violinista del diablo", un virtuoso de la música clásica, un improvisador de jazz, un compositor y arreglista, y un artista del siglo XIX, y en realidad es todas estas cosas a la vez. Es el tipo de músico universal tan poco frecuente en nuestra época, un músico cuya fuerza como intérprete se deriva de sus actividades como improvisador y compositor. Ha actuado en los grandes salones y festivales de Europa, Asia y América.

Nacido en 1965 en el seno de la legendaria familia de violinistas gitanos descendientes de Janos Bihari, "Rey de los violinistas gitanos", Roby Lakatos fue introducido a la música de niño y a los nueve años debutó públicamente como primer violín en una banda gitana. Su musicalidad evolucionó no sólo en el seno de su propia familia, sino también en el Conservatorio Béla Bartók de Budapest, donde obtuvo el primer premio de violín clásico en 1984. Entre 1986 y 1996, él y su conjunto deleitaron al público en "Les Atéliers de la grande Ille" en Bruselas, su hogar musical durante todo este período. Ha colaborado con Vadim Repin y Stéphane Grappelli, y su interpretación fue muy admirada por el señor Yehudi Menuhin, que siempre se ha esforzado por visitar el club de Bruselas para escuchar a Lakatos. En marzo de 2004, Lakatos apareció con la London Symphony Orchestra en el festival "Genius of the Violin" de la orquesta junto a Maxim Vengerov.

Cuando Roby Lakatos mezcla la llamada "música clásica" con la magia de la vitalidad húngaro-gitana, no se convierte en una actitud irrespetuosa hacia la herencia cultural superior, sino que refleja más bien la profunda tradición arraigada en la herencia cultural del pueblo gitano y ofrece nuevos y refrescantes placeres al oyente y al amante de la música. Y así como Liszt, Brahms y otros utilizaron los matices húngaros en sus composiciones, ahora el público se beneficia de la confrontación de estos clásicos con las raíces gitanas. Esto anima a todos aquellos hombres y mujeres en cuyas venas todavía late al menos un poco de la sangre del espíritu errante.

Roby no es sólo un virtuoso extraordinario, sino un mago con una técnica única y un estilo propio que trastorna a más de uno. Es un músico raro que sabe tocar música clásica, jazz y naturalmente su propio idioma folklórico húngaro con tanta energía y cualidades técnicas, redefine cada género con su violín. Ha actuado en los grandes salones y festivales de Europa, Asia y América y ha tocado con los más grandes del jazz como Herbie Hancock, Quincy Jones, Stéphane Grappelli....

http://www.roby-lakatos.com/roby-lakatos/

roby-lakatos.com ...

The Complete Book of 2000s Broadway Musicals

 

In the first decade of the twenty-first century, Broadway was notable for old-fashioned, feel-good shows (Hairspray, Jersey Boys), a number of family-friendly musicals (Little Women, Mary Poppins), plenty of revivals (Follies, Oklahoma!, Wonderful Town), a couple of off-the-wall hits (Avenue Q, Urinetown), several gargantuan flops (Dance of the Vampires, Lestat), and a few serious productions that garnered critical acclaim (The Light in the Piazza, Next to Normal). Unlike earlier decades which were dominated by specific composers, by a new form of musical theatre, or by numerous British imports, the decade is perhaps most notable for the rise of shows which poked fun at the musical comedy form, such as The Producers and Spamalot.

In The Complete Book of 2000s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway from 2000 through the end of 2009. This book discusses the era’s major successes, notorious failures, and musicals that closed during their pre-Broadway tryouts. In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues with such performers as Patti LuPone, Chita Rivera, and Martin Short.

Each entry contains the following information:

1. Plot summary
2. Cast members
3. Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors
4. Opening and closing dates
5. Number of performances
6. Critical commentary
7. Musical numbers and the performers who introduced the songs
8. Production data, including information about tryouts
9. Source material
10. Tony awards and nominations
11. Details about London and other foreign productions

Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and published scripts, as well as lists of black-themed shows and Jewish-themed productions.

This comprehensive book contains a wealth of information and provides a comprehensive view of each show. The Complete Book of 2000s Broadway Musicals will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history. 

 

Brian Setzer And The Bloodless Pharaohs • Brian Setzer And The Bloodless Pharaohs

Biography:

Every decade has its own retro craze spearheaded by a true believer who brings classic sounds and style back into vogue. Brian Setzer performed this trick not just once but twice, first as the leader of the Stray Cats, the trio that brought rockabilly back into the charts during the '80s, then he helped popularize the swing revival of the '90s with the Brian Setzer Orchestra. Both of these sounds were grounded in the '50s -- that's when rockabilly was born but also the heyday of the kind of jump blues Setzer loved, music by Louis Prima and Big Joe Turner -- and while the Stray Cats were purists of sorts, indebted to the big beat of Eddie Cochran and Gene Vincent, as a solo act Setzer wound up fusing these aesthetics together, playing rockabilly guitar to a swinging beat. With this jumping sound, he cultivated a loyal following -- consisting of not a few latter-day disciples -- that stretched well into the new millennium, developing the long-running, successful career that many of his idols never had.

Those idols -- Cochran, Vincent, Elvis, Carl Perkins -- loom large in Setzer's oeuvre, but as a kid growing up in Long Island he initially fell for big-band jazz. His first instrument was the euphonium and he played brass in a variety of jazz bands while in school. He'd sneak into classic clubs like the Village Vanguard but he also developed a taste for blues-rock and punk, which led him down the road to rockabilly. Picking up a guitar, he formed the Tomcats with drummer Gary Setzer and Bob Beecher in 1979, the latter also being a running mate of Brian's in the Bloodless Pharaohs. As his infatuation with rockabilly intensified, Setzer devoted himself to the Tomcats, which evolved into the Stray Cats when bassist Lee Rocker and drummer Slim Jim Phantom entered the lineup in late 1979.

Sensing the U.S. wasn't quite ready for their rock & roll, the Stray Cats departed for London in June of 1980, hawking their instruments to get across the Atlantic. Within a few months, they earned the attention of roots rocker Dave Edmunds -- who just happened to appear in the 1973 film That'll Be the Day, playing in a band called the Stray Cats -- and he took them under his wing, producing their 1981 eponymous debut for Arista. Thanks to the singles "Rock This Town" and "Stray Cat Strut," it was a hit, but its 1982 sequel, Gonna Ball, didn't do as well, but highlights from the two LPs were culled for the American album Built for Speed. Thanks to those aforementioned singles, which both received heavy MTV airplay, Built for Speed turned the Stray Cats into stars in the U.S., paving the way for 1983's Rant n Rave with the Stray Cats, which had another major hit in the form of "(She's) Sexy + 17" and a minor one in the form of "I Won't Stand in Your Way."

Success came to the Stray Cats but the group fractured in 1984 and Setzer responded by acting as a sideman for a variety of rockers, most prominently playing in Robert Plant's oldies band the Honeydrippers on a tour. Setzer launched a solo career in 1986 with The Knife Feels Like Justice, a record that found him right in line with the heartland rock of the mid-'80s but didn't generate any hits and, perhaps coincidentally, Setzer returned to the Stray Cats fold that year for Rock Therapy, a reunion that also failed to stir sales. Next up was 1988's Live Nude Guitars, a record that moved him closer to Stray Cats territory but also failed to gain an audience. Next up was another reunion with the Stray Cats, one that lasted for three albums over four years. First was 1989's Blast Off!, which they supported with a tour opening for Stevie Ray Vaughan, but the record reached no higher than 111 on Billboard and EMI dropped them in America. Undaunted, they teamed with Nile Rodgers in 1990 for Let's Go Faster!, a record that appeared on Liberation to little attention; then they returned to their roots for 1992's Choo Choo Hot Fish, a final record recorded with their original producer, Dave Edmunds.

This was the last go-round for the Stray Cats and it was time for a reset for Setzer. He found one with the Brian Setzer Orchestra, where he refashioned his rockabilly boogie for the neo-swing era. Their eponymous debut appeared on Hollywood in 1994 and it did OK on the charts, reaching 158; then corporate restructuring pushed him over to Interscope Records, which put out Guitar Slinger in 1996. That record failed to chart but it laid the groundwork for 1998's The Dirty Boogie, which was a smash hit thanks to a hit cover of Louis Prima's "Jump Jive & Wail." The single peaked at 23 and the record went all the way to nine on the Billboard 200 and if Setzer never scaled those heights again -- the 2000 follow-up, Vavoom!, reached 62 -- he nevertheless found his niche and he ran with it, releasing all manner of swinging big-band records in the new millennium, ranging from a series of Christmas albums (there are at least five seasonal albums in his discography) to swinging covers of classical compositions, most released on SurfDog Records. At times, Setzer would step outside of the Orchestra to return to his rockabilly roots, beginning with 2003's Nitro Burnin' Funny Daddy, running through Rockabilly Riot, Vol. 1: A Tribute to Sun Records in 2005, and extending to 2014's Rockabilly Riot! All Original. Setzer celebrated the 25th anniversary of forming the Brian Setzer Orchestra with the release of 25 Live!, a limited-edition Record Store Day 45 of "Gene & Eddie" and "Let There Be Rock," in November of 2017.

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Biografía:

Cada década tiene su propia manía retro encabezada por un verdadero creyente que vuelve a poner de moda los sonidos y el estilo clásico. Brian Setzer realizó este truco no sólo una vez sino dos veces, primero como líder de los Stray Cats, el trío que trajo el rockabilly de vuelta a las listas de éxitos durante los'80, y luego ayudó a popularizar el renacimiento del swing de los'90 con la Brian Setzer Orchestra. Ambos sonidos se basaron en los años 50, cuando nació el rockabilly, pero también en el apogeo del Jump-Blues que tanto le gustaba a Setzer, la música de Louis Prima y Big Joe Turner, y mientras que los Stray Cats eran puristas en cierto modo, en deuda con el gran ritmo de Eddie Cochran y Gene Vincent, cuando un solo acto de Setzer acabó fusionando estas estéticas, tocando la guitarra rockabilly con un ritmo de swinging. Con este sonido de salto, cultivó un seguimiento leal -que consistía en no pocos discípulos de los últimos días- que se extendió hasta bien entrado el nuevo milenio, desarrollando la larga y exitosa carrera que muchos de sus ídolos nunca tuvieron.

Esos ídolos -- Cochran, Vincent, Elvis, Carl Perkins -- ocupan un lugar importante en la obra de Setzer, pero cuando era niño y crecía en Long Island se enamoró inicialmente del jazz de grandes bandas. Su primer instrumento fue el eufonio y tocó metales en una variedad de bandas de jazz mientras estaba en la escuela. Se colaba en clubes clásicos como Village Vanguard, pero también desarrolló un gusto por el blues-rock y el punk, lo que le llevó por el camino del rockabilly. Recogiendo una guitarra, formó los Tomcats con el baterista Gary Setzer y Bob Beecher en 1979, siendo este último también compañero de fórmula de Brian en los Bloodless Pharaohs. A medida que se intensificaba su pasión por el rockabilly, Setzer se dedicó a los Tomcats, que evolucionaron hasta convertirse en los Stray Cats cuando el bajista Lee Rocker y el baterista Slim Jim Phantom entraron en la alineación a finales de 1979.

Al sentir que Estados Unidos no estaba preparado para su rock & roll, los Stray Cats partieron a Londres en junio de 1980, vendiendo sus instrumentos para cruzar el Atlántico. A los pocos meses, se ganaron la atención del rockero de raíces Dave Edmunds -que por casualidad apareció en la película That'll Be the Day de 1973, tocando en una banda llamada Stray Cats- y él los tomó bajo su ala, produciendo su debut con el mismo nombre en 1981 para Arista. Gracias a los sencillos "Rock This Town" y "Stray Cat Strut", fue un éxito, pero su secuela de 1982, Gonna Ball, no lo hizo tan bien, pero lo más destacado de los dos LPs fue seleccionado para el álbum estadounidense Built for Speed. Gracias a esos sencillos mencionados, que ambos recibieron un gran éxito en MTV, Built for Speed convirtió a los Stray Cats en estrellas en Estados Unidos, allanando el camino para el Rant n Rave de 1983 con los Stray Cats, que tuvo otro gran éxito en la forma de "(She's) Sexy + 17" y otro menor en la forma de "I Won't Stand in Your Way" (No me interpondré en tu camino).

El éxito llegó a los Stray Cats, pero el grupo se fracturó en 1984 y Setzer respondió actuando como sideman para una variedad de rockeros, tocando principalmente en la banda de Robert Plant, los Honeydrippers, en una gira. Setzer lanzó una carrera en solitario en 1986 con The Knife Feels Like Justice, un disco que lo encontró justo en línea con el rock del corazón de mediados de los 80 pero que no generó ningún éxito y, quizás por casualidad, Setzer regresó al grupo de los Stray Cats ese año para Rock Therapy, un reencuentro que tampoco logró estimular las ventas. Lo siguiente fue Live Nude Guitars de 1988, un disco que lo acercó al territorio de los Stray Cats pero que tampoco logró ganar audiencia. Después hubo otra reunión con los Stray Cats, una que duró tres álbumes a lo largo de cuatro años. Primero fue el despegue de 1989, que ellos apoyaron con la apertura de una gira para Stevie Ray Vaughan, pero el récord no llegó a más de 111 en Billboard y EMI los dejó caer en Estados Unidos. Impertérritos, se asociaron con Nile Rodgers en 1990 para Let's Go Faster, un disco que apareció en Liberation con poca atención; luego regresaron a sus raíces para el Choo Choo Choo Hot Fish de 1992, un disco final grabado con su productor original, Dave Edmunds.

Esta fue la última ronda para los Stray Cats y era hora de un reinicio para Setzer. Encontró uno con la Brian Setzer Orchestra, donde remodeló su boogie rockabilly para la era del neo-swing. Su debut con el mismo nombre apareció en Hollywood en 1994 y le fue bien en las listas de éxitos, llegando a 158; luego la reestructuración corporativa lo empujó a Interscope Records, que lanzó Guitar Slinger en 1996. Ese disco falló, pero sentó las bases para The Dirty Boogie de 1998, que fue un éxito rotundo gracias a una portada de éxito de "Jump Jive & Wail" de Louis Prima. El single llegó a su punto máximo a los 23 años y el disco llegó a nueve en el Billboard 200 y si Setzer nunca escaló esas alturas de nuevo - la continuación del 2000, Vavoom!, llegó a los 62 - sin embargo encontró su nicho y corrió con él, lanzando todo tipo de discos de big-band en el nuevo milenio, desde una serie de álbumes navideños (hay por lo menos cinco álbumes de temporada en su discografía) hasta portadas de composiciones clásicas, la mayoría de las cuales fueron lanzadas en SurfDog Records. A veces, Setzer salía de la Orquesta para volver a sus raíces rockabilly, comenzando con el Nitro Burnin' Funny Daddy de 2003, pasando por Rockabilly Riot, Vol. 1: A Tribute to Sun Records en 2005, y extendiéndose hasta el Rockabilly Riot de 2014. Todo original. Setzer celebró el 25 aniversario de la formación de la Brian Setzer Orchestra con el lanzamiento de 25 Live! en noviembre de 2017, una edición limitada de los discos "Gene & Eddie" y "Let There Be Rock".

  briansetzer.com ... 

Cal Tjader • Plays Afro-Cuban Ritmo Caliente

 

VA • Ace Story

 

Little over 30 years ago, the R&B and rock'n'roll loving directorate of Chiswick Records decided that it might be fun to start a sister label, which did for the recordings of what was then a mere 20 years previously what Chiswick was doing for the more current stuff. Chiswick itself had sprung from small beginnings involving two men with a market stall full of golden oldies both common and rare, so this was not something that surprised too many people who witnessed the birth of this new reissue label which shared the name of one of the most famous imprints in rock'n'roll/R&B history and which, in 2010, still goes by the name of Ace Records.

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Hace poco más de 30 años, la dirección de Chiswick Records, amante del R&B y el rock'n'roll, decidió que sería divertido crear un sello hermano que hiciera por las grabaciones de apenas 20 años antes lo que Chiswick hacía por las más actuales. El propio Chiswick había surgido de unos comienzos modestos en los que dos hombres tenían un puesto en el mercado repleto de viejos éxitos tanto comunes como raros, así que esto no sorprendió a demasiada gente que presenció el nacimiento de este nuevo sello de reediciones que compartía el nombre de uno de los sellos más famosos de la historia del rock'n'roll/R&B y que, en 2010, sigue llamándose Ace Records.
    

Herbie Mann • Discotheque

Walter Wanderley • Organ-ized

From Wikipedia:
Walter Wanderley (12 May 1932 – 4 September 1986) was an organist  and pianist, born in Recife, Brazil and best known for his lounge and bossa nova music.
Already famous in his native country by the late 1950s, he became an internationally renowned star through his collaboration with the singer Astrud Gilberto and her husband, João Gilberto. During 1966–1967, he recorded three notable albums on the Verve label with the a trio consisting of Walter, Claudio Slon (drums) and Jose Marino (bass). These albums, Rainforest, Cheganca and Astrud Gilberto's A Certain Smile, A Certain Sadness were produced in the United States by Creed Taylor, who initially brought the Trio to the U.S. to record. Wanderley's U.S. recording of Summer Samba reached #26 on the Billboard charts in the summer of 1966.
After the Trio disbanded (though they were briefly reunited in 1971 for "The Return of the Original" on Canyon Records), Wanderley himself continued to record albums on Verve, A&M/CTI, and GNP Cresendo. During this time he also made numerous personal appearances, including a concert tour of Mexico.[2]
Wanderley was known for his smooth style and mastery of the Hammond B-3 organ. He died of cancer in 1986.
He was married to Isaurinha Garcia, one of the most popular singers in Brazil.

 

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De Wikipedia:
Walter Wanderley (12 de mayo de 1932 - 4 de septiembre de 1986) fue un organista y pianista nacido en Recife, Brasil, conocido sobre todo por su música lounge y bossa nova.
Ya famoso en su país natal a finales de los años 50, se convirtió en una estrella de renombre internacional gracias a su colaboración con la cantante Astrud Gilberto y su marido, João Gilberto. Durante 1966-1967, grabó tres notables álbumes en el sello Verve con el trío formado por Walter, Claudio Slon (batería) y José Marino (bajo). Estos álbumes, Rainforest, Cheganca y A Certain Smile, A Certain Sadness, de Astrud Gilberto, fueron producidos en Estados Unidos por Creed Taylor, quien inicialmente llevó al trío a Estados Unidos para grabar. La grabación estadounidense de Wanderley de Summer Samba alcanzó el número 26 en las listas de Billboard en el verano de 1966.
Después de que el Trío se disolviera (aunque se reunieron brevemente en 1971 para "The Return of the Original" en Canyon Records), Wanderley siguió grabando álbumes en Verve, A&M/CTI y GNP Cresendo. Durante este tiempo también hizo numerosas apariciones personales, incluyendo una gira de conciertos por México[2].
Wanderley era conocido por su estilo suave y su dominio del órgano Hammond B-3. Murió de cáncer en 1986.
Estaba casado con Isaurinha García, una de las cantantes más populares de Brasil. 

 

 

The Complete Book of 1990s Broadway Musicals

 

Musicals of the 1990s felt the impact of key developments that forever changed the landscape of Broadway. While the onslaught of British imports slowed down, the so-called Disneyfication of Broadway began, a trend that continues today. Beauty and the Beast and The Lion King became long-running hits, followed by more family-friendly musicals. The decade was also distinguished by a new look at revivals—instead of slavishly reproducing old shows or updating them with campy values, Broadway saw a stream of fresh and sometimes provocative reinventions, including major productions of My Fair Lady, Damn Yankees, Carousel, Show Boat, and Chicago.

In The Complete Book of 1990s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway during the 1990s. This book discusses the era’s major hits (Miss Saigon, Crazy for You, Rent), notorious flops (Shogun, Nick & Nora, The Red Shoes), controversial shows (Passion, The Capeman), and musicals that closed during their pre-Broadway tryouts (Annie 2: Miss Hannigan’s Revenge, Whistle Down the Wind). In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues with such performers as Sandra Bernhard, Michael Feinstein, Patti LuPone, Liza Minnelli, and Mandy Patinkin.

Each entry contains the following information:

• Plot summary
• Cast members
• Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors
• Opening and closing dates
• Number of performances
• Critical commentary
• Musical numbers and the performers who introduced the songs
• Production data, including information about tryouts
• Source material
• Tony awards and nominations
• Details about London and other foreign productions

Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and published scripts, as well as lists of Gilbert and Sullivan operettas, black-themed shows, and Jewish-themed productions.

A treasure trove of information, The Complete Book of 1990s Broadway Musicals provides a comprehensive view of each show. This significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.

 

 

Dan Dietz (Author) 

 

Clark Terry & Max Roach • Friendship

 

Tingvall Trio • Birds

 

 

tingvall-trio.de ...

Pasquale Grasso • Solo Be-Bop!

 

 

 

 

www.pasqualegrasso.com ...

Stéphane Grappelli • Meets Barney Kessel

Review by Scott Yanow
This excellent set features a logical combination. Violinist Stephane Grappelli originally came to fame through his recordings with guitarist Django Reinhardt. Barney Kessel, although more influenced by Charlie Christian than by Django, was one of the top jazz guitarists of the 1950s and '60s and his style was quite complementary to Grappelli's. The two teamed up for several albums' worth of material in 1969. This CD reissues the former LP I Remember Django, adding four additional selections and serving as a perfect introduction to the brilliant playing of Stephane Grappelli.

 

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Opinión de Scott Yanow
Este excelente conjunto presenta una combinación lógica. El violinista Stéphane Grappelli alcanzó la fama originalmente a través de sus grabaciones con el guitarrista Django Reinhardt. Barney Kessel, aunque más influenciado por Charlie Christian que por Django, fue uno de los mejores guitarristas de jazz de los años 50 y 60 y su estilo era bastante complementario al de Grappelli. Ambos se asociaron para grabar varios álbumes en 1969. Este CD reedita el antiguo LP I Remember Django, añadiendo cuatro selecciones adicionales y sirviendo como una perfecta introducción a la brillante interpretación de Stephane Grappelli.

The Complete Book of 1980s Broadway Musicals

 

 

For Broadway audiences of the 1980s, the decade was perhaps most notable for the so-called “British invasion.” While concept musicals such as Nine and Stephen Sondheim's Sunday in the Park with George continued to be produced, several London hits came to New York. In addition to shows like Chess, Me and My Girl, and Les Miserables, the decade’s most successful composer Andrew Lloyd Webber was also well represented by Cats, The Phantom of the Opera, Song & Dance, and Starlight Express. There were also many revivals (such as Show Boat and Gypsy), surprise hits (The Pirates of Penzance), huge hits (42nd Street), and notorious flops (Into the Light, Carrie, and Annie 2: Miss Hannigan's Revenge).

In The Complete Book of 1980s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway during the 1980s. In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues with such performers as Sid Caesar, Barry Manilow, Jackie Mason, and Shirley MacLaine.

Each entry includes the following information

1. Opening and closing dates
2. Plot summaries
3. Cast members
4. Number of performances
5. Names of all important personnel including writers, composers, directors, choreographers, producers, and musical directors
6. Musical numbers and the names of performers who introduced the songs
7. Production data, including information about tryouts
8. Source material
9. Critical commentary
10. Tony awards and nominations
11. Details about London and other foreign productions

Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and published scripts, as well as lists of Gilbert and Sullivan operettas, black-themed shows, and Jewish-themed productions.

A treasure trove of information, The Complete Book of 1980s Broadway Musicals provides readers with a comprehensive view of each show. This significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history. 

 

Dan Dietz (Author) 

Return To Forever • Romantic Warrior

 

return2forever.com ...

Big Jay McNeely • Live at Birdland

Review by Bill Dahl

An amazing artifact from 1957, when live recordings like this one didn't happen very often. A Seattle engineer with a spanking-new stereo tape recorder captured the contents of this disc while McNeely and his swinging combo were working out at a Seattle nightspot called the Birdland. He gets plenty of room to peel the paper from the gin joint's walls as he wails on "Flying Home," "How High the Moon," and "Let It Roll."

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Reseña de Bill Dahl

Un artefacto asombroso de 1957, cuando grabaciones en vivo como esta no sucedían muy a menudo. Un ingeniero de Seattle con una nueva grabadora de cinta estereofónica capturó el contenido de este disco mientras McNeely y su combo de swing estaban trabajando en un lugar nocturno de Seattle llamado The Birdland. Tiene mucho espacio para despegar el papel de las paredes del bar mientras se lamenta por "Flying Home", "How High the Moon" y "Let It Roll".

Herbie Mann • Concerto Grosso In D Blues (Live)

Not only is this rare LP one of Herbie Mann's own favorites, it is one of the most moving classical/jazz fusions ever recorded. Right after the 1968 Berlin Jazz Days festival, Mann, his quintet, co-composer/conductor William Fischer, and a team of 80 Berlin musicians entered Teldec studios to record the huge, ambitious title piece, a concerto that successfully spans the decades from Tchaikovsky to Stockhausen, and from New Orleans to free jazz. With some stretches of group improvisation, the piece has structure, memorable yet surprisingly simple motifs, and holds together even when stretched to the limits of coherence by general outbreaks of freeform. To fill out the album, Mann and Fischer came up with three chamber pieces that if anything are even more successful than the main course. The best of the lot, the wistful "My Little Ones" (written for Mann's children), contains what is perhaps Mann's most haunting solo on record, at once loving and soaring, backed perfectly by Fischer's economical writing for double string quartet. Richard S. Ginell, All Music Guide

 

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Este raro LP no sólo es uno de los favoritos del propio Herbie Mann, sino que es una de las fusiones de música clásica y jazz más conmovedoras jamás grabadas. Justo después del festival Berlin Jazz Days de 1968, Mann, su quinteto, el co-compositor y director de orquesta William Fischer y un equipo de 80 músicos berlineses entraron en los estudios Teldec para grabar la enorme y ambiciosa pieza del título, un concierto que abarca con éxito las décadas de Tchaikovsky a Stockhausen, y de Nueva Orleans al free jazz. Con algunos tramos de improvisación en grupo, la pieza tiene estructura, motivos memorables pero sorprendentemente sencillos, y se mantiene unida incluso cuando se estira hasta los límites de la coherencia por los brotes generales de forma libre. Para completar el álbum, Mann y Fischer han creado tres piezas de cámara que, en todo caso, tienen más éxito que el plato principal. La mejor de ellas, la melancólica "My Little Ones" (escrita para los hijos de Mann), contiene lo que quizá sea el solo más inquietante de Mann en el disco, a la vez cariñoso y elevado, respaldado perfectamente por la económica escritura de Fischer para doble cuarteto de cuerda. Richard S. Ginell, All Music Guide

The Complete Book of 1970s Broadway Musicals

 

The 1970s was an exciting decade for musical theatre. Besides shows from legends Stephen Sondheim (Company, Follies, A Little Night Music, and Sweeney Todd) and Andrew Lloyd Webber (Jesus Christ Superstar and Evita), old-fashioned musicals (Annie) and major revivals (No, No, Nanette) became hits. In addition to underappreciated shows like Over Here! and cult musicals such as The Grass Harp and Mack and Mabel, Broadway audiences were entertained by black musicals on the order of The Wiz and Raisin.

In The Complete Book of 1970s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway during the 1970s. In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues with such performers as Tony Bennett, Lena Horne, Bette Midler, and Gilda Radner.

Each entry includes the following information:

• Opening and closing dates
• Plot summaries
• Cast members
• Number of performances
• Names of all important personnel including writers, composers, directors, choreographers, producers, and musical directors
• Musical numbers and the names of performers who introduced the songs
• Production data, including information about tryouts
• Source material
• Critical commentary
• Tony awards and nominations
• Details about London and other foreign productions

Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and published scripts, as well as lists of Gilbert and Sullivan operettas, black-themed shows, and Jewish-themed productions.

A treasure trove of information, The Complete Book of 1970s Broadway Musicals provides readers with a comprehensive view of each show. This significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history. 

 

Dan Dietz (Author)  

 

Nobody Knows Where the Blues Come From: Lyrics and History

 

A vibrant and varied look at African American songs and the history behind the lyrics

 

Robert Springer (Author)  

 

VA • Jazz Dispensaryː Haunted High

 

Charlie Rouse • Soul Mates

 

Colaborador / Contributor:  Ketmokin

Phil Woods with NHØP Trio • Live at Sandviken, Sweden

 

Chick Corea • The Leprechaun

 

chickcorea.com ...

Al Caiola • Hit Instrumentals From Western TV Themes

 Biography by Stephen Thomas Erlewine

Guitarist Al Caiola initially made his reputation as a session musician, playing on records made by Percy Faith and Andre Kostelanetz, among others. Caiola was the conductor and arranger for United Artists Records in the late '40s and early '50s. After leaving UA, he signed with RCA, where he released a number of singles in the '50s. In the early '60s, he went back to United Artists, which is where he scored his first hit with the theme to the film The Magnificent Seven. The single peaked at 35 in early 1961 and it was quickly followed by the theme to the television series Bonanza, which climbed to number 19. For the rest of the '60s, Caiola released a number of easy listening instrumental albums and also hosted a television show, which was only aired for a short while. Caiola continued to record throughout subsequent decades; he died in Allendale, New Jersey in 2016 at the age of 96.

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Biografía de Stephen Thomas Erlewine

El guitarrista Al Caiola inicialmente hizo su reputación como músico de sesión, tocando en discos hechos por Percy Faith y Andre Kostelanetz, entre otros. Caiola fue la directora y arreglista de United Artists Records a finales de los años 40 y principios de los 50. Después de dejar UA, firmó con RCA, donde lanzó una serie de singles en los años 50. A principios de los años 60, regresó a United Artists, que es donde anotó su primer éxito con el tema de la película The Magnificent Seven. El single alcanzó su punto máximo en 35 a principios de 1961 y fue seguido rápidamente por el tema de la serie de televisión Bonanza, que llegó al número 19. Durante el resto de los años 60, Caiola lanzó una serie de álbumes instrumentales fáciles de escuchar y también presentó una televisión. Espectáculo, que solo se emitió por un corto tiempo. Caiola continuó grabando a lo largo de décadas posteriores; murió en Allendale, Nueva Jersey en 2016 a la edad de 96 años.

Dabstep Jazz Band • Tall Cotton

 

Italian jazz band.


www.instagram.com/dabstepjazzband/

Alexandre Cavaliere & Jazzy Strings • Familles

Alexandre Cavaliere was born in 1985 near Mons in Belgium. He was born into a musical family, surrounded by musical instruments. Even at this early age Alexandre begins to develop his sense of rhythm, playing the snare drum in his father's orchestra. At 8 he has already began to master the piano, drums, and of course, the violin, but it is in this last instrument that Alexandre will best expresses his senses of rhythm, his qualities of improvisation, and his great musical sensitivity. Rocked by Django Reinhardt and Stéphane Grappelli's melodies, musical swing is obvious for Alexandre.

In March 1998, fate helps Alexandre along, placing Didier Lockwood and Babik Reinhardt in his path: " These two great musicians are in Brussels for Django d'Or celebration while he is rehearsing for an evening at the Royal Hotel Windsor with his father, who directs the band Jazzy Strings. A few notes are sufficient for Didier Lockwood, Babik Reinhardt and Frank Hagège to detect the talent in the hands of the violinist. What a surprise they have, when, pushing the door of the club open, they discover a 12-year-old child holding the violin.! " Astonished at the amount of virtuosity in one so young, they decide to invite Alexandre to Django d' Or, Brussels, and then Paris, where success is immediate … It is the beginning of a beautiful adventure from which "L'ALBUM " is born (Hébra records).

This young violin virtuoso quickly fulfills his potential. While keeping up his studies, Alexandre moves from television, to radio stations and concerts where his performances shine at various Festivals as Antibes- Juan-les-Pins, Marciac, Samois-sur-Seine, Liege, Liberchies, Gaûme, Maubeuge, the jazz marathon of Brussels, the Belgians Golden Django, French, and at the Eurojazz Awards... Moreover, he has won over his public with performances at the princess Grâce of Monaco theatre, at Michel Jonasz concert in Olympia, as guest of the National Orchestra at the "Great Place" in Brussels, the festival " Espoo Jazz " (Finland)… and finally, thanks to Dorado Schmitt, his performance of "première in New York, for the Django Reinhardt festival at BIRDLAND.

Alexandre has also met many musicians, such as Bireli Lagrene, Dominique Dipiazza, Stochelo Rosenberg, Michel Jonasz, Roby Lakatos, Toots Thielemans, Richard Galliano, Eddy Louis, Dennis Chambers, Richard Bona, Dorado Schmitt … and also Benoit Sourisse, André Charlier and Jean Wellers (musicians of Didier Lockwood) with whom he recorded his second album " NOMADES ", and in which he appears in a more modern context than usual, but always faithful to his natural swinging feel.

Other recent meetings and collaborations include his playing with the jazz teachers of the Brussels Conservatory, an appearance on one track of the latest Guy Cabay album and collaborations with Philip Catherine, fusion bands like Alka Celtes Air, Darwin Case and Musicazur, Fabrizio Cassol, Michel Herr and his tentet, etc....

Alexandre Cavaliere and Jazzy Strings, the band in which he is mostly involved, is a band in love with gipsy music, and two giants of jazz music, Django Reinhardt and Stéphane Grapelli. This group, created by Mario Cavaliere, have performed, since 1992, in the greatest festivals of Europe (Juan-the-Pines, Nice, Marciac, the Samois-on-Seine, Helsinki…).
The band: Mathieu Chatelain on rhythmic guitar, Eloi Baudimont or Jean Wellers on the double bass and of course Mario Cavaliere as the solo guitarist, gave his son Alexandre access into the closed circle of the jazz world …
Jazzy strings have also performed with many prestigious guests, such as Samson and Dorado Schmitt, Angelo Debarre, Bireli Lagrene…and currently Rene Sopa. 

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Alexandre Cavaliere nació en 1985 cerca de Mons en Bélgica. Nació en una familia musical, rodeado de instrumentos musicales. Incluso a esta temprana edad Alexandre comienza a desarrollar su sentido del ritmo, tocando el tambor en la orquesta de su padre. A los 8 años ya ha empezado a dominar el piano, la batería y, por supuesto, el violín, pero es en este último instrumento donde Alexandre expresará mejor sus sentidos del ritmo, sus cualidades de improvisación y su gran sensibilidad musical. Con las melodías de Django Reinhardt y Stéphane Grappelli, el swing musical es evidente para Alexandre.

En marzo de 1998, el destino ayuda a Alexandre, poniendo en su camino a Didier Lockwood y Babik Reinhardt: "Estos dos grandes músicos están en Bruselas para la celebración de Django d'Or mientras él ensaya una noche en el Hotel Real Windsor con su padre, que dirige la banda Jazzy Strings. Unas pocas notas bastan para que Didier Lockwood, Babik Reinhardt y Frank Hagège detecten el talento en las manos del violinista. ¡Qué sorpresa cuando, al abrir la puerta del club, descubren a un niño de 12 años sosteniendo el violín! "Asombrados por la cantidad de virtuosismo que hay en uno tan joven, deciden invitar a Alexandre a Django d' Or, Bruselas, y luego a París, donde el éxito es inmediato... Es el comienzo de una bella aventura de la que nace "L'ALBUM" (Hébra records).

Este joven virtuoso del violín rápidamente desarrolla su potencial. Mientras continúa con sus estudios, Alexandre pasa de la televisión, a la radio y a los conciertos, donde sus actuaciones brillan en varios festivales como el de Antibes- Juan-les-Pins, Marciac, Samois-sur-Seine, Lieja, Liberchies, Gaûme, Maubeuge, el maratón de jazz de Bruselas, el Django de Oro belga, el francés, y en los Premios Eurojazz... Además, ha conquistado a su público con actuaciones en el teatro de la princesa Grâce de Mónaco, en el concierto de Michel Jonasz en Olimpia, como invitado de la Orquesta Nacional en el "Great Place" de Bruselas, en el festival " Espoo Jazz " (Finlandia)... y finalmente, gracias a Dorado Schmitt, su actuación de "estreno en Nueva York, para el festival Django Reinhardt en BIRDLAND.

Alexandre también ha conocido a muchos músicos, como Bireli Lagrene, Dominique Dipiazza, Stochelo Rosenberg, Michel Jonasz, Roby Lakatos, Toots Thielemans, Richard Galliano, Eddy Louis, Dennis Chambers, Richard Bona, Dorado Schmitt ... y también Benoit Sourisse, André Charlier y Jean Wellers (músicos de Didier Lockwood) con quienes grabó su segundo álbum "NOMADES", y en el que aparece en un contexto más moderno que el habitual, pero siempre fiel a su natural sentido del swing.

Otros encuentros y colaboraciones recientes incluyen su participación con los profesores de jazz del Conservatorio de Bruselas, una aparición en un tema del último álbum de Guy Cabay y colaboraciones con Philip Catherine, bandas de fusión como Alka Celtes Air, Darwin Case y Musicazur, Fabrizio Cassol, Michel Herr y su tentet, etc....

Alexandre Cavaliere y Jazzy Strings, la banda en la que más participa, es una banda enamorada de la música gitana, y dos gigantes del jazz, Django Reinhardt y Stéphane Grapelli. Este grupo, creado por Mario Cavaliere, ha actuado, desde 1992, en los más grandes festivales de Europa (Juan de los Pinos, Niza, Marciac, el Samois-on-Seine, Helsinki...).
La banda: Mathieu Chatelain en la guitarra rítmica, Eloi Baudimont o Jean Wellers en el contrabajo y por supuesto Mario Cavaliere como guitarrista solista, dio a su hijo Alexandre acceso al círculo cerrado del mundo del jazz ...
Las cuerdas de jazz también han actuado con muchos invitados de prestigio, como Samson y Dorado Schmitt, Angelo Debarre, Bireli Lagrene... y actualmente Rene Sopa. 

 

 

facebook.com/alexandrecavaliere ...

  

Tito Puente and the Making of Latin Music

 

He was known as "El Rey"—the king—and he came to epitomize the Latin experience in music, not just to Latinos throughout the United States and Latin America but to a worldwide audience. 

Tito Puente and the Making of Latin Music is the first in-depth historical, musical, and cultural look at the career and the influence of a giant of Latin music. Steven Loza brings the man and his music vividly to life through exclusive interviews with Puente and a number of his close associates, including Hilton Ruiz, Ray Santos, Jerry González, Poncho Sanchez, and Joe Conzo, as well as music journalist Max Salazar and former DJ/producer Chico Sesma. 

Loza shows how Puente's music evolved in tandem with the crystallization of Latin music into its current compelling mix of Afro-Cuban music, salsa, and Latin jazz. Tracing Puente's innovations as a drummer and a bandleader, Loza defines his influence over the course of half a century on Latin music as well as on other musicians and musical genres. Loza also delineates the social and cultural history of Latin music, exploring questions of nationalism and ethnic expression, the play between musical creation and commercial competition, and the politics of so-called multiculturalism as they bear on Latin music and musicians. The book includes detailed musical analyses and a discography of more than a hundred recordings. 

Celebrating a dynamic performer and a genre that is deeply rooted in America's rich ethnic diversity, Tito Puente and the Making of Latin Music reveals all the vibrancy and color of a consummate artist's life, work, and world.

 

Steven Loza (Author) 

 

The Complete Book of 1960s Broadway Musicals

 

While the 1960s may have been a decade of significant upheaval in America, it was also one of the richest periods in musical theatre history. Shows produced on Broadway during this time include such classics as Bye, Bye Birdie; Cabaret; Camelot; Hello Dolly!; Fiddler on the Roof; How to Succeed in Business without Really Trying; Oliver!; and Man of La Mancha. Performers such as Dick Van Dyke, Anthony Newley, Jerry Orbach, and Barbara Streisand made their marks, and other talents—such as Bob Fosse, John Kander, Fred Ebb, Alan Jay Lerner, Frederick Loewe, Jerome Robbins, and Stephen Sondheim—also contributed to shows.

In The Complete Book of 1960s Broadway Musicals, Dan Dietz examines every musical and revue that opened on Broadway during the 1960s. In addition to providing details on every hit and flop, Dietz includes revivals and one-man and one-woman shows that centered on stars like Jack Benny, Maurice Chevalier, Marlene Dietrich, Danny Kaye, Yves Montand, and Lena Horne.

Each entry consists of:

• Opening and closing dates
• Plot summaries
• Cast members
• Number of performances
• Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors
• Musical numbers and the names of performers who introduced the songs
• Production data, including information about tryouts
• Source material
• Critical commentary
• Tony awards and nominations
• Details about London and other foreign productions

In addition to entries for each production, the book offers numerous appendixes: a discography, film and television versions, published scripts, Gilbert and Sullivan operettas, and lists of productions by the New York City Center Light Opera Company, the New York City Opera Company, and the Music Theatre of Lincoln Center. A treasure trove of information, this significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.

 

Dan Dietz (Author)  

 

Portrais By Ingres • The Metropolitan Museum Of Art New York

Jean-Auguste-Dominique Ingres

Jean-Auguste-Dominique Ingres, más conocido como Dominique Ingres, (Montauban, 29 de agosto de 1780 – París; 14 de enero de 1867), fue un pintor francés.

Ingres no es, en sentido estricto, neoclásico ni académico, sino un ferviente defensor del dibujo. Resulta a la vez clásico, romántico y realista. Ingres constituye un claro exponente del romanticismo en cuanto a los temas, el trazo abstracto y las tintas planas de intenso colorido. Algunas de sus obras se enmarcan en el llamado «Estilo trovador», inspirándose en el ideal estético griego y gótico, además de en las miniaturas de los libros de horas de Fouquet. Igualmente, es ejemplo de orientalismo, pues muchos de sus cuadros, especialmente desnudos femeninos, están dominados por un sentido irreal del exotismo propio del siglo XVIII. Bio completa en wiki

También es interesante Bio en Artehistoria.

Formato: pdf / 610 págs. / Idioma: Inglés

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Jean-Auguste-Dominique Ingres (French: [ʒɑnoɡyst dominik ɛ̃ɡʁ]; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy.

A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis, Eugène Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator."[1] Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time,[2] while his expressive distortions of form and space make him an important precursor of modern art.

Complete Bio

Format: pdf / 610 p. / Language: English