Saturday, January 24, 2026
Lettuce • Cook
Lettuce serves up a full-course groove experience with Cook, a 16-track feast of classic funk, rich instrumentation, and deep-pocket rhythm. The album features 12 full-length tracks, including two vocal cuts, with a standout cover of Keni Burke’s “Rising to the Top” leading the charge at radio. More than just a record, Cook is a multisensory experience: the vinyl includes a recipe book of original dishes crafted by the band, each paired with a song and one of their two new wines launched alongside the album. From front to back, Cook is Lettuce at their most flavorful—soulful, funky, and made to be savored.
https://joseyrecords.com/es/products/pre-order-lettuce-cook-cd
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Lettuce ofrece una experiencia de groove de curso completo con Cook, un festín de 16 pistas de funk clásico, rica instrumentación y ritmo profundo. El álbum presenta 12 pistas de larga duración, incluidos dos cortes vocales, con una versión destacada de "Rising to the Top" de Keni Burke liderando la carga en la radio. Más que un disco, Cook es una experiencia multisensorial: el vinilo incluye un recetario de platos originales elaborados por la banda, cada uno acompañado de una canción y uno de sus dos nuevos vinos lanzados junto con el álbum. De adelante hacia atrás, Cook es lechuga en su máxima expresión: conmovedora, funky y hecha para saborear.
https://joseyrecords.com/es/products/pre-order-lettuce-cook-cd
www.lettucefunk.com ...
Friday, January 23, 2026
Hank Mobley • Thinking Of Home [Limited Edition]
The great jazz critic Leonard Feather once described Hank Mobley as the middleweight champion of the tenor saxophone. Not a name that the novice jazz fan may recognize, Hank Mobley recorded over twenty LPs for Blue Note. Thinking of Home is his last title for Blue Note; released in 1970, this is a fitting farewell session. It features the powerful trumpet playing of Woody Shaw and the exciting pianist Cedar Walton. Hank Mobley's playing has a fire that ought to remind you of the Jazz Messengers, as it should since he was one of the original members of the group.
The opening number is a three part suite; this is significant because it is the only such piece Mobley ever recorded. "Justine," the second tune on the CD, starts off strong but loses some of its stream over the thirteen minute duration. The third number is "You Gotta Hit It," a hard bop cooker highlighting Mobley's playing and writing skills.
Thinking of Home should remind diehard jazz fans (and enlighten those newer to the genre) that Mobley was an innovative and stimulating tenor saxophonist who consistently swung.
By Richton Guy Thomas
January 22, 2003
https://www.allaboutjazz.com/thinking-of-home-hank-mobley-blue-note-records-review-by-richton-guy-thomas
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El gran crítico de jazz Leonard Feather describió una vez a Hank Mobley como el campeón de peso medio del saxofón tenor. Aunque puede que no sea un nombre reconocible para los aficionados novatos al jazz, Hank Mobley grabó más de veinte LP para Blue Note. Thinking of Home es su último título para Blue Note; publicado en 1970, es una sesión de despedida muy apropiada. Cuenta con la potente trompeta de Woody Shaw y el emocionante pianista Cedar Walton. La interpretación de Hank Mobley tiene un fuego que debería recordar a los Jazz Messengers, como es lógico, ya que fue uno de los miembros originales del grupo.
El tema inicial es una suite en tres partes, lo cual es significativo, ya que es la única pieza de este tipo que Mobley grabó jamás. «Justine», la segunda canción del CD, comienza con fuerza, pero pierde algo de impulso a lo largo de sus trece minutos de duración. El tercer tema es «You Gotta Hit It», un tema hard bop que destaca la habilidad interpretativa y compositiva de Mobley.
Thinking of Home debería recordar a los aficionados incondicionales al jazz (y dar a conocer a los más noveles en el género) que Mobley fue un saxofonista tenor innovador y estimulante que siempre swingueaba.
Por Richton Guy Thomas.
22 de enero de 2003.
https://www.allaboutjazz.com/thinking-of-home-hank-mobley-blue-note-records-review-by-richton-guy-thomas
Spike Wilner Trio • Contrafactus
Michael "Spike" Wilner, was born and raised in New York City where he was inspired to play ragtime piano at a young age after seeing a docudrama on the life of Scott Joplin. This led to a life-long passion for piano playing, ragtime and jazz music. Wilner made his performance debut at the age of 14 by playing Joplin's "Maple Leaf Rag" at the St. Louis Ragtime Festival. Wilner continued his music studies through high-school and participated in its award winning jazz band.
Wilner was a member of the legendary first class of the New School For Social Research's Jazz and Contemporary Music Program, led by the late Arnie Lawrence. In this original class, Wilner met and befriended many of today's prominent members of the current music scene, including Brad Mehldau, Larry Goldings, Peter Bernstein, Jesse Davis, Chris Potter, Jorge Rossi, Sam Yahel, Joe Strasser, Roy Hargrove, John Popper (of Blues Traveler), Eric Schenkman (of Spin Doctors), David Grausman and others.
In his career, Wilner has led many bands in New York City at many famous jazz clubs, and has toured with The Artie Shaw Big Band, The Glen Miller Orchestra and Maynard Furguson.
Wilner has several recordings as a leader, including Portraits (2000), A Blues of Many Colors (2002), Three To Go (2008, Posi-Tone), Live At Smalls (2011), La Tendresse (2012, Posi-Tone). Wilner's latest release, titled Koan (2016, Posi-Tone), is a trio record with Tyler Mitchell on bass and Anthony Pinciotti on drums. This is Wilner’s working band that plays internationally.
In 2006, Wilner published a folio of transcriptions of the work of an idol of his, Willie "The Lion" Smith, entitled The Lion Of The Piano. In 2007, Wilner completed his Masters Degree in Piano Performance at the State University of New York in Purchase, New York.
One of Wilner’s current endeavors started in 1994, when he began working a regular gig at Smalls Jazz Club in Greenwich Village. This became his permanent musical home and eventually led to his current position as owner and manager of the club, where he can also be found playing regularly. In 2015, Wilner opened a second club, Mezzrow, down the street from Smalls.
https://www.posi-tone.com/artist_wilner/artist_wilner.html
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Michael" Spike " Wilner, nació y creció en la ciudad de Nueva York, donde se inspiró para tocar el piano ragtime a una edad temprana después de ver un docudrama sobre la vida de Scott Joplin. Esto llevó a una pasión de por vida por tocar el piano, el ragtime y la música de jazz. Wilner hizo su debut en la actuación a la edad de 14 años interpretando "Maple Leaf Rag" de Joplin en el Festival de Ragtime de St. Louis. Wilner continuó sus estudios de música hasta la secundaria y participó en su galardonada banda de jazz.
Wilner fue miembro de la legendaria primera promoción del Programa de Jazz y Música Contemporánea de la Nueva Escuela de Investigación Social, dirigido por el difunto Arnie Lawrence. En esta clase original, Wilner conoció y se hizo amigo de muchos de los miembros prominentes de la escena musical actual, incluidos Brad Mehldau, Larry Goldings, Peter Bernstein, Jesse Davis, Chris Potter, Jorge Rossi, Sam Yahel, Joe Strasser, Roy Hargrove, John Popper (de Blues Traveler), Eric Schenkman (de Spin Doctors), David Grausman y otros.
En su carrera, Wilner ha dirigido muchas bandas en la ciudad de Nueva York en muchos clubes de jazz famosos, y ha realizado giras con Artie Shaw Big Band, Glen Miller Orchestra y Maynard Furguson.
Wilner tiene varias grabaciones como líder, incluyendo Portraits (2000), A Blues of Many Colors (2002), Three To Go (2008, Posi-Tone), Live At Smalls (2011), La Tendresse (2012, Posi-Tone). El último lanzamiento de Wilner, titulado Koan( 2016, Posi-Tone), es un disco de trío con Tyler Mitchell al bajo y Anthony Pinciotti a la batería. Esta es la banda de trabajo de Wilner que toca internacionalmente.
En 2006, Wilner publicó un folio de transcripciones de la obra de un ídolo suyo, Willie "El León" Smith, titulado El león Del piano. En 2007, Wilner completó su Maestría en Interpretación de Piano en la Universidad Estatal de Nueva York en Purchase, Nueva York.
Uno de los esfuerzos actuales de Wilner comenzó en 1994, cuando comenzó a trabajar regularmente en Smalls Jazz Club en Greenwich Village. Este se convirtió en su hogar musical permanente y eventualmente lo llevó a su puesto actual como propietario y gerente del club, donde también se lo puede encontrar tocando regularmente. En 2015, Wilner abrió un segundo club, Mezzrow, en la calle de Smalls.
https://www.posi-tone.com/artist_wilner/artist_wilner.html
www.smallslive.org ...
@spikewilner
Dave Pell • A Pell Of A Time
Biography by Richard S. Ginell
Dave
Pell started out touring with the Tony Pastor, Bob Astor, and Bobby
Sherwood bands as a teenager, before moving to California in the
mid-'40s. He found work with Bob Crosby on the latter's Ford radio show
in 1946, then played with the Les Brown band from 1947 to 1955. Drawing
from the ranks of the Brown band, he began leading his own groups in
1953, usually in an octet format, augmented by guests like Pepper Adams,
Benny Carter, Mel Lewis, Red Mitchell, Marty Paich, and Art Pepper. He
also played as a sideman on records by Shorty Rogers, Pete Rugolo, Benny
Goodman, and Gene Krupa in the 1950s, while recording under his own
name for Atlantic, Kapp, Coral, Capitol, and RCA Victor. His primary
focus of activity in the 1950s and '60s was in the record business,
working as a producer for the budget Tops label in the '50s, and Liberty
(where he supervised a few hit pop/rock records for Gary Lewis &
the Playboys) and briefly Uni in the '60s. He formed a group in the late
'70s called Prez Conference, a variation on the theme of Supersax, as a
tribute to Lester Young, recording two albums for GNP/Crescendo. In the
'80s and '90s, Pell revived his octet for recordings on the Fresh Sound
(1984) and Headfirst (1988) labels, and sporadic live dates in the Los
Angeles area, including an appearance at the Jazz West Coast festival in
1994.
https://www.allmusic.com/artist/dave-pell-mn0000690700/biography
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Biografía de Richard S. Ginell
Dave
Pell empezó a hacer giras con las bandas de Tony Pastor, Bob Astor y
Bobby Sherwood cuando era adolescente, antes de mudarse a California a
mediados de los 40. Encontró trabajo con Bob Crosby en el programa de
radio de este último en 1946, y luego tocó con la banda de Les Brown de
1947 a 1955. Procedente de las filas de la banda Brown, comenzó a
liderar sus propios grupos en 1953, normalmente en formato de octeto,
aumentado por invitados como Pepper Adams, Benny Carter, Mel Lewis, Red
Mitchell, Marty Paich y Art Pepper. También tocó como sideman en discos
de Shorty Rogers, Pete Rugolo, Benny Goodman y Gene Krupa en los años
50, mientras grababa bajo su propio nombre para Atlantic, Kapp, Coral,
Capitol y RCA Victor. Su principal actividad en los años 50 y 60 fue en
el negocio de los discos, trabajando como productor para el sello Tops
en los años 50, y Liberty (donde supervisó algunos éxitos de pop/rock
para Gary Lewis & the Playboys) y brevemente Uni en los 60. Formó un
grupo a finales de los 70 llamado Prez Conference, una variación del
tema de Supersax, como tributo a Lester Young, grabando dos álbumes para
GNP/Crescendo. En los años 80 y 90, Pell revivió su octeto para
grabaciones en los sellos Fresh Sound (1984) y Headfirst (1988), y
fechas esporádicas en vivo en el área de Los Ángeles, incluyendo una
aparición en el festival Jazz West Coast en 1994.
https://www.allmusic.com/artist/dave-pell-mn0000690700/biography
Rob Cope • Gemini
By Neil Duggan
January 9, 2024
The number two features prominently in the concept behind this album - The album is called Gemini, meaning twins or two - It features two saxophones, it is Rob Cope's second album as leader and combines two existing duos.
The first of those duos features the soprano saxophone and bass clarinet of Cope together with the tenor saxophone of Andy Scott UK - They combine their contemporary classical and improvisational styles in Scott's Group S (previously known as SaxAssault) - Scott also provides his distinctive voice on the saxophone to numerous compositional projects - Cope, classically trained before he went on to study jazz, has performed with the Halle and the English Symphony Orchestras as well as the Matthew Herbert Big Band - This album follows on from his debut album, Gods of Apollo (Ubuntu, 2019), (see review).
The second duo consists of two leading members of the British jazz scene, pianist Liam Noble and drummer Paul Clarvis - Noble is an experienced and versatile improviser; his distinctly economic style is at home in a variety of settings - Clarvis, a subtle interpreter of rhythms, is equally adaptable and has an impressive roster of soundtrack work behind him including Lord Of The Rings, Batman and Star Wars - The two recently combined with folksinger Cathy Jordan on the album Freight Train (Village Life, 2023).
The album consists of 12 tracks, all composed by Cope, that vary in length from over four minutes to just over a minute - Opening track, "Voices," opens with bass clarinet and tenor saxophone and it is immediately apparent that Cope and Scott are well-rehearsed - Their combinations neatly weave together, before Noble and Clarvis cut across the melody - "Together" finds the two saxophones playing in union with tight patterns and timing, before broaching their own path - The title track again finds the saxophones interweaving before moving into an improvisation - "Up" brings a Latin carnival melody enhanced with neat piano from Noble and clever rhythms from Clarvis.
"Across" is a clear stand-out - Amongst the intertwining motifs, there is a fine tenor solo from Scott and a subtle improvisation from Noble - The repeating pulses and shifting patterns may bring to mind Spiro or early solo albums from Brian Eno - In any case, the track seems to offer something new with each listen.
Other highlights include "The Dance" with Noble and Clarvis driving a joyous and fun rhythm - The bluesy "Laika" with Cope and Scott combining with impeccable timing - Clarvis has fun improvising over the tenor saxophone in the rowdy "Punch" whilst "Little Glass Box" is a clever re-working of a Group S track - The first-class recording quality, from Crown Lane Studio, is also worthy of mention.
The album reverberates with energy, spontaneity and freedom - There are, at times, almost too many creative ideas and interesting melody fragments fighting for space to breathe and to be developed further, but it is this compositional freedom that is also the album's greatest strength - The two duos have created a compelling and rewarding album -
https://www.allaboutjazz.com/gemini-rob-cope-ubuntu-music
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Por Neil Duggan
9 de enero de 2024
El número dos ocupa un lugar destacado en el concepto detrás de este álbum - El álbum se llama Gemini, que significa gemelos o dos - Cuenta con dos saxofones, es el segundo álbum de Rob Cope como líder y combina dos dúos existentes.
El primero de esos dúos cuenta con el saxofón soprano y clarinete bajo de Cope junto al saxofón tenor de Andy Scott UK - Combinan sus estilos clásicos contemporáneos y de improvisación en el Grupo S de Scott (anteriormente conocido como SaxAssault) - Scott también proporciona su voz distintiva en el saxofón a numerosos proyectos compositivos - Cope, de formación clásica antes de pasar a estudiar jazz, ha actuado con las Orquestas Sinfónicas de Halle y English, así como con la Matthew Herbert Big Band - Este álbum es la continuación de su álbum debut, Gods of Apollo (Ubuntu, 2019), (ver reseña).
El segundo dúo está formado por dos miembros destacados de la escena del jazz británico, el pianista Liam Noble y el baterista Paul Clarvis - Noble es un improvisador experimentado y versátil; su estilo claramente económico se siente como en casa en una variedad de entornos - Clarvis, un sutil intérprete de ritmos, es igualmente adaptable y tiene una impresionante lista de trabajos de bandas sonoras detrás de él, incluidos El Señor de Los Anillos, Batman y Star Wars - Los dos se combinaron recientemente con la cantante folk Cathy Jordan en el álbum Freight Train (Village Life, 2023).
El álbum consta de 12 temas, todos compuestos por Cope, que varían en duración desde más de cuatro minutos hasta poco más de un minuto - La pista de apertura, "Voices", comienza con clarinete bajo y saxofón tenor y es inmediatamente evidente que Cope y Scott están bien ensayados - Sus combinaciones se entrelazan cuidadosamente, antes de que Noble y Clarvis corten la melodía - "Together" encuentra a los dos saxofones tocando en unión con patrones y tiempos ajustados, antes de abordar su propio camino - La canción principal nuevamente encuentra a los saxofones entrelazándose antes de pasar a una improvisación - "Up" trae una melodía latina de carnaval mejorada con un piano limpio de ritmos nobles e inteligentes de Clarvis.
"Across" es un claro destacado - Entre los motivos entrelazados, hay un fino solo de tenor de Scott y una sutil improvisación de Noble - Los pulsos repetidos y los patrones cambiantes pueden recordar a Spiro o los primeros álbumes en solitario de Brian Eno - En cualquier caso, la pista parece ofrecer algo nuevo con cada escucha.
Otros aspectos destacados incluyen" The Dance " con Noble y Clarvis conduciendo a un ritmo alegre y divertido - El blues "Laika" con Cope y Scott combinando con una sincronización impecable - Clarvis se divierte improvisando sobre el saxofón tenor en el ruidoso "Punch", mientras que "Little Glass Box" es una reelaboración inteligente de la pista de un Grupo - La calidad de grabación de primera clase, de Crown Lane Studio, también es digna de mención.
El álbum reverbera con energía, espontaneidad y libertad - Hay, a veces, casi demasiadas ideas creativas y fragmentos de melodías interesantes que luchan por tener espacio para respirar y desarrollarse aún más, pero es esta libertad compositiva la que también es la mayor fortaleza del álbum - Los dos dúos han creado un álbum convincente y gratificante -
https://www.allaboutjazz.com/gemini-rob-cope-ubuntu-music
www.robcopemusic.com ...
Adrien Moignard Trio Featuring André Ceccarelli & Diego Imbert • Bright Up
Servie par une rythmique superlative (André Ceccarelli aux drums et Diego Imbert à la contrebasse), la guitare virtuose d’Adrien Moignard explore de nouveaux horizons. De compositions originales en coups de chapeau (Django Reinhardt, Wes Montgomery, Jaco Pastorius), en passant par un très beau clin d’œil à Birkin/Gainsbourg, Adrien accède allègrement à la cour des grands. Subtil et brillant !
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Automatic Translation:
Served by a superlative rhythm section (André Ceccarelli on drums and Diego Imbert on double bass), Adrien Moignard's virtuoso guitar explores new horizons. From original compositions to hits (Django Reinhardt, Wes Montgomery, Jaco Pastorius), including a very nice nod to Birkin/Gainsbourg, Adrien easily enters the big league. Subtle and brilliant!
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Servido por una sección rítmica superlativa (André Ceccarelli a la batería y Diego Imbert al contrabajo), la virtuosa guitarra de Adrien Moignard explora nuevos horizontes. De las composiciones originales a los éxitos (Django Reinhardt, Wes Montgomery, Jaco Pastorius), pasando por un guiño muy bonito a Birkin/Gainsbourg, Adrien está fácilmente en la gran liga. ¡Sutil y brillante!
The Surf Raiders • Raiders Of The Lost Surf
The Surf Raiders consists of Bob Dalley, lead guitar; Linda Dalley,
keyboards; Neal Kuzee, rhythm guitar; Dave Rodriguez, drums; & Loyd
Davis, bass. They have their own label, Surf Wax Records & can be
contacted by writing to Surf Wax Records C/O Linda Dalley, 6209 Oakbank
Dr., Azusa, Ca. 91702..
https://www.discogs.com/artist/390547-The-Surf-Raiders
The House That Trane Built: The Story Of Impulse Records
Noted jazz author Ashley Kahn brings to life the behind-the-scenes story
of Impulse Records, one of the most significant record labels in the
history of popular music. “Kahn mingles engaging stories of corporate
politics with insider accounts of music-making and anecdotal takes on
particular albums. His history of Impulse is also the story of the
genesis of an American art form and the evolution of the record industry
through the tumultuous 1960s―and will compel readers to seek out this
label’s masterful albums,” says Publishers Weekly in a starred review. Kirkus Reviews
calls the book “a swinging read,” adding that “Kahn covers all the
aesthetic, business, social, and historical bases with crisp economy.”
Don’t miss the exciting inside scoop behind some of the most enduring
masterpieces of jazz!
Music in the Seventeenth and Eighteenth Centuries: The Oxford History of Western Music
The universally acclaimed and award-winning Oxford History of
Western Music is the eminent musicologist Richard Taruskin's
provocative, erudite telling of the story of Western music from its
earliest days to the present. Each book in this superlative five-volume
set illuminates-through a representative sampling of masterworks-the
themes, styles, and currents that give shape and direction to a
significant period in the history of Western music.
Music in the
Seventeenth and Eighteenth Centuries , the second volume Richard
Taruskin's monumental history, illuminates the explosion of musical
creativity that occurred in the seventeenth and eighteenth centuries.
Examining a wealth of topics, Taruskin looks at the elegant masques and
consort music of Jacobean England, the Italian concerto style of Corelli
and Vivaldi, and the progression from Baroque to Rococo to romantic
style. Perhaps most important, he offers a fascinating account of the
giants of this period: Bach, Handel, Mozart, Haydn, and Beethoven. Laced
with brilliant observations, memorable musical analysis, and a
panoramic sense of the interactions between history, culture, politics,
art, literature, religion, and music, this book will be essential
reading for anyone who wishes to understand this rich and diverse
period.
Striptease The Untold History of the Girlie Show
Striptease recreates the combustible mixture of license,
independence, and sexual curiosity that allowed strippers to thrive for
nearly a century. Rachel Shteir brings to life striptease's Golden Age,
the years between the Jazz Age and the Sexual Revolution, when strippers
performed around the country, in burlesque theatres, nightclubs,
vaudeville houses, carnivals, fairs, and even in glorious palaces on the
Great White Way. Taking us behind the scenes, Shteir introduces us to a
diverse cast of characters that collided on the burlesque stage, from
tight-laced political reformers and flamboyant impresarios, to drag
queens, shimmy girls, cootch dancers, tit serenaders, and even girls
next door, lured into the profession by big-city aspirations. Throughout
the book, readers will find essential profiles of famed performers,
including Gypsy Rose Lee, "the Literary Stripper"; Lili St. Cyr, the
1950s mistress of exotic striptease; and Blaze Starr, the "human heat
wave," who literally set the stage on fire.
Striptease is
an insightful and entertaining portrait of an art form at once reviled
and embraced by the American public. Blending careful research and vivid
narration, Rachel Shteir captures striptease's combination of sham and
seduction while illuminating its surprisingly persistent hold on the
American imagination.
The Work of Artː Plein Air Painting and Artistic Identity in Nineteenth-Century France
In The Work of Art, Anthea Callen analyzes the self-portraits,
portraits of fellow artists, photographs, prints, and studio images of
prominent nineteenth-century French Impressionist painters, exploring
the emergence of modern artistic identity and its relation to the idea
of creative work. Landscape painting in general, she argues, and the
“plein air” oil sketch in particular were the key drivers of change in
artistic practice in the nineteenth century―leading to the Impressionist
revolution.
Putting the work of artists from
Courbet and Cézanne to Pissaro under a microscope, Callen examines modes
of self-representation and painting methods, paying particular
attention to the painters’ touch and mark-making. Using innovative
methods of analysis, she provides new and intriguing ways of
understanding material practice within its historical moment and the
cultural meanings it generates. Richly illustrated with 180 color and
black-and-white images, The Work of Art offers fresh insights into the development of avant-garde French painting and the concept of the modern artist.
Thursday, January 22, 2026
John Scofield, Bill Stewart, Steve Swallow • Swallow Tales
Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in a day in New York in March 2019 - “old school” style as Scofield says, while acknowledging that more than forty years of preparation led up to it. John was a 20-year-old student at Berklee when he first met and played with the bassist, and they have continued ever since. “I love these songs”, says Scofield of the selection of Swallow compositions explored here – a broad range including classics such as “Hullo Bolinas”, “Eiderdown”, “Falling Grace” and “Radio”, as well as lesser-known works. The rapport between Scofield and Swallow is evident in every moment. John: “Sometimes when we play it’s like one big guitar, the bass part and my part together.” Behind the drum kit, Bill Stewart, a close associate of Scofield’s since the early 90s, is alert to all the implications of the interaction. “What Bill does is more than ‘playing the drums,’” Scofield says. “He’s a melodic voice in the music, while also swinging really hard.”
https://www.jazzmessengers.com/es/82834/john-scofield/swallowtales
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El guitarrista John Scofield rinde homenaje a la música de su amigo y mentor Steve Swallow en una grabación extrovertida y llena de energía, realizada en un solo día en Nueva York en marzo de 2019, al estilo «de la vieja escuela», como dice Scofield, aunque reconoce que le han llevado más de cuarenta años de preparación llegar hasta aquí. John era un estudiante de 20 años en Berklee cuando conoció y tocó por primera vez con el bajista, y desde entonces han seguido juntos. «Me encantan estas canciones», dice Scofield sobre la selección de composiciones de Swallow que se exploran aquí, una amplia gama que incluye clásicos como «Hullo Bolinas», «Eiderdown», «Falling Grace» y «Radio», así como obras menos conocidas. La compenetración entre Scofield y Swallow es evidente en todo momento. John: «A veces, cuando tocamos, es como si fuéramos una gran guitarra, la parte del bajo y mi parte juntas». Detrás de la batería, Bill Stewart, colaborador cercano de Scofield desde principios de los 90, está atento a todas las implicaciones de la interacción. «Lo que hace Bill es más que «tocar la batería»», dice Scofield. «Es una voz melódica en la música, a la vez que tiene un swing muy potente».
https://www.jazzmessengers.com/es/82834/john-scofield/swallowtales
www.johnscofield.com ...
Rabih Abou-Khalil • Em Portuges
Editorial Reviews
After recording with jazz greats, with traditional Arab musicians, with classical string quartets or Armenian musicians, after writing symphonic orchestral works for the BBC Orchestra in London and the Ensemble Modern in Germany - what would a Lebanese composer do next? Of course he would go to Portugal, put music to Portuguese poetry and record the songs with a young fado singer from Lisbon.The adventure started with an inquiry by Ricardo Pais, the director of the National Theatre in Porto. Rabih Abou-Khalil, who first thought the whole idea was humorous - especially considering that he spoke absolutely no Portuguese at the time - immediately consented; the thrill of doing something that surreal was simply irresistible. It had not been the first time that Abou-Khalil considered working with a singer. However, he had not encountered the right one before - a free spirited virtuosic vocalist, who could sing Abou-Khalil's complex rhythms and unusual melodies, sufficiently rooted in his own culture to be able to transcend it. These traits have always played a major role in the choice of musicians Abou-Khalil made. And if the lyrics should have to be in Portuguese, so be it, music transcends language.
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Reseña editorial
Después de grabar con grandes figuras del jazz, con músicos árabes tradicionales, con cuartetos de cuerda clásicos o músicos armenios, después de componer obras sinfónicas para la Orquesta de la BBC en Londres y el Ensemble Modern en Alemania, ¿qué haría un compositor libanés a continuación? Por supuesto, iría a Portugal, pondría música a la poesía portuguesa y grabaría las canciones con una joven cantante de fado de Lisboa. La aventura comenzó con una consulta de Ricardo Pais, director del Teatro Nacional de Oporto. Rabih Abou-Khalil, que al principio pensó que toda la idea era divertida, sobre todo teniendo en cuenta que en aquel momento no hablaba nada de portugués, aceptó inmediatamente; la emoción de hacer algo tan surrealista era simplemente irresistible. No era la primera vez que Abou-Khalil se planteaba trabajar con un cantante. Sin embargo, nunca había encontrado a la persona adecuada: una vocalista virtuosa y de espíritu libre, capaz de cantar los complejos ritmos y las inusuales melodías de Abou-Khalil, lo suficientemente arraigada en su propia cultura como para poder trascenderla. Estas características siempre han desempeñado un papel importante en la elección de los músicos que ha hecho Abou-Khalil. Y si las letras tenían que ser en portugués, que así fuera, la música trasciende el lenguaje.
Bob Harrington • Vibraphone Fantasy in Jazz + Jazz à La Carte
Pianist, vibraphonist, composer, and arranger Bob Harrington (1912-1983) was a gifted yet underappreciated musician whose career spanned over four decades in the jazz scene. Despite working with legends like Vido Musso, Charlie Barnet, and Stan Kenton, he never gained widespread recognition, even though his melodic sensibility and instrumental versatility set him apart.
In 1957, Harrington recorded 'Vibraphone Fantasy in Jazz,' his debut album as a leader, showcasing a modern, relaxed vibraphone style influenced by Red Norvo. Harrington's playing is melodic, demonstrating a keen awareness of the instrument's full capabilities. He brings vitality to up-tempo tunes and is equally adept at pausing for a meaningful ballad. A highlight of the album is the excellent guitar work of Jimmy Wyble, paired with the solid rhythmic foundation laid down by bassist Bob Carter and drummer Lloyd Morales.
A few years later, in 1961, he returned to the piano for 'Jazz à la Carte.' On this new album, he brought a refreshing conception and skill, playing a collection of tunes with varied tempos, in a session again featuring guitarist Jimmy Wyble and Red Wooten on bass. Beyond his instrumental work, Harrington was also a sought-after vocal coach, mentoring renowned singers such as June Christy, Peggy Lee, and Ann Richards.
Throughout his career, he split his time between Los Angeles, Santa Fe, and Hawaii, performing in small clubs until his final days. Though his recorded output was limited, his music remains a testament to an artist of remarkable sensitivity and talent.
https://www.freshsoundrecords.com/bob-harrington-albums/57511-vibraphone-fantasy-in-jazz-jazz-a-la-carte-2-lp-on-1-cd.html
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El pianista, vibrafonista, compositor y arreglista Bob Harrington (1912-1983) fue un músico talentoso pero poco apreciado cuya carrera abarcó más de cuatro décadas en la escena del jazz. A pesar de haber trabajado con leyendas como Vido Musso, Charlie Barnet y Stan Kenton, nunca obtuvo un reconocimiento generalizado, aunque su sensibilidad melódica y su versatilidad instrumental lo distinguían del resto.
En 1957, Harrington grabó «Vibraphone Fantasy in Jazz», su álbum debut como líder, en el que mostraba un estilo moderno y relajado con el vibráfono, influenciado por Red Norvo. La interpretación de Harrington es melódica y demuestra un profundo conocimiento de todas las capacidades del instrumento. Aporta vitalidad a las melodías rápidas y es igualmente hábil a la hora de hacer una pausa para interpretar una balada significativa. Uno de los aspectos más destacados del álbum es el excelente trabajo a la guitarra de Jimmy Wyble, junto con la sólida base rítmica establecida por el bajista Bob Carter y el baterista Lloyd Morales.
Unos años más tarde, en 1961, volvió al piano para grabar «Jazz à la Carte». En este nuevo álbum, aportó una concepción y una habilidad refrescantes, interpretando una colección de temas con tempos variados, en una sesión en la que volvieron a participar el guitarrista Jimmy Wyble y Red Wooten al bajo. Más allá de su trabajo instrumental, Harrington también fue un solicitado profesor de canto, mentor de cantantes de renombre como June Christy, Peggy Lee y Ann Richards.
A lo largo de su carrera, dividió su tiempo entre Los Ángeles, Santa Fe y Hawái, actuando en pequeños clubes hasta sus últimos días. Aunque su producción discográfica fue limitada, su música sigue siendo un testimonio de un artista de notable sensibilidad y talento.
https://www.freshsoundrecords.com/bob-harrington-albums/57511-vibraphone-fantasy-in-jazz-jazz-a-la-carte-2-lp-on-1-cd.html
www.freshsoundrecords ...
Josh Lawrence • Color Theory
Josh Lawrence brings a full complement of tones and contrasts to his 2017 album "Color Theory." Featuring a powerful line-up fronted by Lawrence's trumpet, keyboardist Adam Faulk, pianist Orrin Evans, and alto saxophonist Caleb Curtis, everything stays straight forward and swinging hard while the rhythm section of bassist Madison Rast and drummer Anwar Marshall keep everything honest and in the pocket - The music is meant to be reflections of the entire spectrum, and the musical program covers several hues and shades with an exciting and evocative presentation of Lawrence's amazing new original compositions - "Color Theory" features an amazing combination of talents and a highlight reel of brilliant performances - Josh Lawrence is a new star on the jazz horizon and his music is sure to bring bright moments to jazz fans everywhere.
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Josh Lawrence trae un complemento completo de tonos y contrastes a su álbum de 2017 "Color Theory" - Con una poderosa formación encabezada por la trompeta de Lawrence, el teclista Adam Faulk, el pianista Orrin Evans y el saxofonista alto Caleb Curtis, todo se mantiene recto y oscilando con fuerza mientras la sección rítmica del bajista Madison Rast y el batería Anwar Marshall mantienen todo honesto y en el bolsillo - La música pretende ser un reflejo de todo el espectro, y el programa musical cubre varias tonalidades y matices con una presentación emocionante y evocadora de las nuevas y sorprendentes composiciones originales de Lawrence - "Color Theory" presenta una asombrosa combinación de talentos y un destacado elenco de brillantes interpretaciones - Josh Lawrence es una nueva estrella en el horizonte del jazz y seguro que su música brindará momentos brillantes a los aficionados de todo el mundo.
Essential Jazzː The First 100 Years
A complete jazz chronology, ESSENTIAL JAZZ: THE FIRST 100 YEARS, 2e, delivers a thorough and engaging introduction to jazz and American culture. Designed for nonmajors, this brief text explores the development of jazz from its nineteenth-century roots in ragtime and blues through swing and bebop to fusion and contemporary jazz styles. Unique in its up-to-date coverage, one-third of ESSENTIAL JAZZ is devoted to performers of the 1960s through present-day performers. The text's flexible organization and clear, interesting presentation are designed to appeal to learners with little or no music background. Accessible, informative Listening Guides provide a rich sociocultural context for each selection, giving both newcomers and aficionados a true feel for the vibrant, ever-changing sound of jazz.
Editorial Reviews
About the Author
Henry Martin is Professor of Music at Rutgers University--the country's only program that grants a degree in jazz scholarship. He has enjoyed a dual career as an award-winning composer-pianist and a music theorist specializing in jazz and the Western tonal tradition.
Keith Waters is Associate Professor of Music Theory at the University of Colorado at Boulder. He has written extensively on jazz improvisation and analysis. A jazz pianist, he has performed in concerts, jazz festivals, and clubs throughout the United States, Europe, and Russia. Prof. Waters has recorded with VSOP Records, and his playing has been a featured topic in JAZZ PLAYER magazine. Among his recent recordings is a Chet Baker tribute with former Baker sideman Phil Urso and West Coast trumpeter Carl Saunders. The current chair of the Jazz Special Interest Group of the Society for Music Theory, he just completed a book on the studio recordings of Miles Davis' second great quintet.
The Complete David Bowie
Critically acclaimed in its previous editions, The Complete David Bowie
is widely recognized as the foremost source of analysis and information
on every facet of Bowie’s career. The A-Z of songs and the day-by-day
dateline are the most complete ever published. From the 11-year-old’s
skiffle performance at the 18th Bromley Scouts’ Summer Camp in 1958, to
the emergence of the legendary lost album Toy in 2011, to his passing in January 2016, The Complete David Bowie discusses and dissects every last development in rock’s most fascinating career.
Wednesday, January 21, 2026
Teo Macero • Teo Macero With The Prestige Jazz Quartet
Teo Macero is an amazing man of music; he has worked intimately with some of the greatest figures in the history of jazz as, Duke Ellington, Miles Davis, Dave Brubeck, and Thelonius Monk, in the creation of some of their most enduring works. Attilio Joseph Macero was born and raised in Glens Falls, New York. After serving in the United States Navy, he moved to New York City in 1948 to attend the Juilliard School of Music. He studied composition, and graduated from Juilliard in 1953 with Bachelor's and Master's degrees. In 1953, Macero co-founded Charles Mingus' Jazz Composers Workshop, and became a major contributor to the New York City avant garde jazz scene.He performed live, and recorded several albums with Mingus and the other Workshop members over the next three years, including “Jazzical Moods” (1954) and “Jazz Composers Workshop” ( 1955).During this time frame, in 1954 Macero also recorded “Explorations.” While he had contributed compositions to other albums, this was the first full album of his own compositions, and Macero's first album as a leader. He joined Columbia in 1957 in the capacity of producer, and produced hundreds of records while at the label. Macero worked with dozens of artists at Columbia including Mingus, Duke Ellington, Ella Fitzgerald, Thelonious Monk, Johnny Mathis, Count Basie, Dave Brubeck, Tony Bennett, Charlie Byrd, and Stan Getz. He was also responsible for signing Mingus, Monk, and Byrd to Columbia. Macero produced the seminal Dave Brubeck Quartet album “Time Out,” and Thelonious Monk's first Columbia recording, “Monk's Dream,” as well as “Underground.” He also produced Mingus' first Columbia album, “Mingus Ah Um.” While Macero produced many artists' albums, he had an especially long and prolific relationship with Miles Davis. He produced most of Davis' Columbia catalog, including the classics “Kind of Blue,” “Sketches of Spain,” and “Someday My Prince Will Come.” Davis' later forays into electric fusion, such as “In a Silent Way,” “Bitches Brew,” and “A Tribute to Jack Johnson,” were highlighted by Macero's innovative mixing and editing techniques. In 1975, Macero left Columbia and formed his own production company. However, he continued to work with Davis until 1983, and still continues to produce records for Columbia. As a top flight composer in his own right, Macero has also composed for, conducted, and performed with Leonard Bernstein and the New York Philharmonic, the London Philharmonic Orchestra, the Salt Lake Symphony, the Kansas City Symphony, and The Juilliard School.
He has also been commissioned by, and composed ballets for the Joffrey Ballet Company, the Anna Sokolow Ballet Company, the London Ballet Company, the Juilliard Ballet Company, and the American Ballet Theatre. Since his tenure at Columbia, Macero has continued as a player and producer on other projects as well, working with Tony Bennett, Dave Brubeck, Herbie Hancock, Michel LeGrand, and Wallace Roney. In the 1970s and 1980s, Macero released a handful of his own albums, including “Time Plus Seven,” “Impressions of Charles Mingus,” and “Acoustical Suspension,” before founding his own label, Teorecords, in 1999. He has since released over a dozen albums of original compositions, and continues to work on new music. Macero continues to produce reissues of Miles Davis and other artists for various record companies. However, Macero is outspoken in his opposition to the practice of adding back alternate takes that didn't appear on the original albums, or otherwise altering the original music, as it corrupts the intentions of the musician and producer at the time the recording was made. "They put all the mistakes back in," says Macero. "Don't destroy the original record." A film documentary about Macero's life and work is currently being produced by Olana DiGirolamo, daughter of Macero's friend and collaborator, Orlando DiGirolamo. Macero has received over 20 Recording Industry Association of America (RIAA) Gold, Platinum, and Multi-platinum certifications for his production contributions.
https://www.allaboutjazz.com/musicians/teo-macero/
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Teo Macero es un hombre increíble en el mundo de la música; ha trabajado estrechamente con algunas de las figuras más importantes de la historia del jazz, como Duke Ellington, Miles Davis, Dave Brubeck y Thelonius Monk, en la creación de algunas de sus obras más perdurables. Attilio Joseph Macero nació y se crió en Glens Falls, Nueva York. Después de servir en la Marina de los Estados Unidos, se mudó a la ciudad de Nueva York en 1948 para asistir a la Juilliard School of Music. Estudió composición y se graduó de Juilliard en 1953 con una licenciatura y una maestría. En 1953, Macero cofundó el Jazz Composers Workshop de Charles Mingus y se convirtió en uno de los principales contribuyentes a la escena del jazz de vanguardia de la ciudad de Nueva York. Actuó en directo y grabó varios álbumes con Mingus y otros miembros del taller durante los tres años siguientes, entre ellos Jazzical Moods (1954) y Jazz Composers Workshop (1955). Durante este periodo, en 1954, Macero también grabó Explorations. Aunque había contribuido con composiciones a otros álbumes, este fue el primer álbum completo con composiciones propias y el primer álbum de Macero como líder. Se unió a Columbia en 1957 como productor y produjo cientos de discos mientras estuvo en el sello. Macero trabajó con docenas de artistas en Columbia, entre ellos Mingus, Duke Ellington, Ella Fitzgerald, Thelonious Monk, Johnny Mathis, Count Basie, Dave Brubeck, Tony Bennett, Charlie Byrd y Stan Getz. También fue responsable de fichar a Mingus, Monk y Byrd para Columbia. Macero produjo el influyente álbum del Dave Brubeck Quartet «Time Out» y la primera grabación de Thelonious Monk para Columbia, «Monk's Dream», así como «Underground». También produjo el primer álbum de Mingus para Columbia, «Mingus Ah Um». Aunque Macero produjo álbumes de muchos artistas, mantuvo una relación especialmente larga y prolífica con Miles Davis. Produjo la mayor parte del catálogo de Davis en Columbia, incluidos los clásicos «Kind of Blue», «Sketches of Spain» y «Someday My Prince Will Come». Las incursiones posteriores de Davis en la fusión eléctrica, como «In a Silent Way», «Bitches Brew» y «A Tribute to Jack Johnson», destacaron por las innovadoras técnicas de mezcla y edición de Macero. En 1975, Macero dejó Columbia y formó su propia productora. Sin embargo, siguió trabajando con Davis hasta 1983 y aún sigue produciendo discos para Columbia. Como compositor de primer nivel por derecho propio, Macero también ha compuesto, dirigido y actuado con Leonard Bernstein y la Filarmónica de Nueva York, la Orquesta Filarmónica de Londres, la Sinfónica de Salt Lake, la Sinfónica de Kansas City y la Juilliard School.
También ha recibido encargos y compuesto ballets para la Joffrey Ballet Company, la Anna Sokolow Ballet Company, la London Ballet Company, la Juilliard Ballet Company y el American Ballet Theatre. Desde su etapa en Columbia, Macero ha seguido trabajando como intérprete y productor en otros proyectos, colaborando con Tony Bennett, Dave Brubeck, Herbie Hancock, Michel LeGrand y Wallace Roney. En las décadas de 1970 y 1980, Macero publicó varios álbumes propios, entre ellos «Time Plus Seven», «Impressions of Charles Mingus» y «Acoustical Suspension», antes de fundar su propio sello discográfico, Teorecords, en 1999. Desde entonces, ha publicado más de una docena de álbumes con composiciones originales y sigue trabajando en nueva música. Macero sigue produciendo reediciones de Miles Davis y otros artistas para diversas discográficas. Sin embargo, Macero se opone abiertamente a la práctica de añadir tomas alternativas que no aparecían en los álbumes originales o de alterar de cualquier otra forma la música original, ya que corrompe las intenciones del músico y del productor en el momento en que se realizó la grabación. «Vuelven a incluir todos los errores», afirma Macero. «No destruyan el disco original». Olana DiGirolamo, hija del amigo y colaborador de Macero, Orlando DiGirolamo, está produciendo actualmente un documental sobre la vida y obra de Macero. Macero ha recibido más de 20 certificaciones de oro, platino y multiplatino de la Asociación de la Industria Discográfica de Estados Unidos (RIAA) por sus contribuciones a la producción.
https://www.allaboutjazz.com/musicians/teo-macero/
Guy Lafitte • Guy Lafitte Et Son Quartette Avec Kenny Hagood
Biography
by Scott Yanow
A fine swing tenorman whose main inspiration was always Coleman Hawkins, Guy Lafitte appeared in many mainstream settings through the years. LaFitte started out paying clarinet including with swing-oriented gypsy bands. After switching to tenor in 1947 and moving to Paris, he worked with Big Bill Broonzy (1950), Mezz Mezzrow (1951), Bill Coleman (off and on starting in 1952), Dicky Wells and Buck Clayton. Through the years, Lafitte has frequently led his own mainstream combos and was also often utilized by veteran American players who were visiting France including Lionel Hampton (1956), Duke Ellington (for the 1961 film Paris Blues), Milt Buckner, Wallace Davenport, Arnett Cobb and Wild Bill Davis. As a leader, Guy Lafitte led many sessions during the 1954-93 period (particularly 1954-64) including for CFD, Duc-Thomson, Pathe, French Columbia, VSM, French RCA, Vega, Black & Blue and CTPL.
https://www.allmusic.com/artist/guy-lafitte-mn0000652078/biography
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Biografía
por Scott Yanow
Fino tenorista de swing cuya principal inspiración fue siempre Coleman Hawkins, Guy Lafitte apareció en muchos escenarios convencionales a lo largo de los años. LaFitte empezó tocando el clarinete con bandas gitanas orientadas al swing. Tras pasarse al tenor en 1947 y mudarse a París, trabajó con Big Bill Broonzy (1950), Mezz Mezzrow (1951), Bill Coleman (de forma intermitente a partir de 1952), Dicky Wells y Buck Clayton. A lo largo de los años, Lafitte ha dirigido con frecuencia sus propios combos convencionales y también ha sido utilizado a menudo por veteranos músicos estadounidenses que visitaban Francia, como Lionel Hampton (1956), Duke Ellington (para la película Paris Blues de 1961), Milt Buckner, Wallace Davenport, Arnett Cobb y Wild Bill Davis. Como líder, Guy Lafitte dirigió numerosas sesiones durante el periodo 1954-93 (especialmente entre 1954 y 1964) para CFD, Duc-Thomson, Pathe, French Columbia, VSM, French RCA, Vega, Black & Blue y CTPL.
https://www.allmusic.com/artist/guy-lafitte-mn0000652078/biography
Duke Ellington's America
Few American artists in any medium have enjoyed the
international and lasting cultural impact of Duke Ellington. From jazz
standards such as “Mood Indigo” and “Don’t Get Around Much Anymore,” to
his longer, more orchestral suites, to his leadership of the stellar big
band he toured and performed with for decades after most big bands
folded, Ellington represented a singular, pathbreaking force in music
over the course of a half-century. At the same time, as one of the most
prominent black public figures in history, Ellington demonstrated
leadership on questions of civil rights, equality, and America’s role in
the world.
With Duke Ellington’s America,
Harvey G. Cohen paints a vivid picture of Ellington’s life and times,
taking him from his youth in the black middle class enclave of
Washington, D.C., to the heights of worldwide acclaim. Mining extensive
archives, many never before available, plus new interviews with
Ellington’s friends, family, band members, and business associates,
Cohen illuminates his constantly evolving approach to composition,
performance, and the music business—as well as issues of race, equality
and religion. Ellington’s own voice, meanwhile, animates the book
throughout, giving Duke Ellington’s America an intimacy and immediacy unmatched by any previous account.
By far the most thorough and nuanced portrait yet of this towering figure, Duke Ellington’s America highlights Ellington’s importance as a figure in American history as well as in American music.
Eddie Harris • The In Sound
Review by Scott Yanow
This is one of Eddie Harris' great records. The underrated but popular tenor saxophonist introduces his standard "Freedom Jazz Dance," plays one of the earlier versions of "The Shadow of Your Smile," romps on "Love for Sale" and "'S Wonderful," and also performs "Born to Be Blue" and his own "Cryin' Blues." Harris is heard in prime form in a quartet/quintet with pianist Cedar Walton, bassist Ron Carter, drummer Billy Higgins, and part-time trumpeter Ray Codrington. A gem.
https://www.allmusic.com/album/the-in-sound-mw0000228182
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Reseña de Scott Yanow
Este es uno de los grandes discos de Eddie Harris. El infravalorado pero popular saxofonista tenor presenta su estándar «Freedom Jazz Dance», toca una de las primeras versiones de «The Shadow of Your Smile», se luce en «Love for Sale» y «“S Wonderful», y también interpreta «Born to Be Blue» y su propio «Cryin” Blues». Harris se encuentra en plena forma en un cuarteto/quinteto con el pianista Cedar Walton, el bajista Ron Carter, el baterista Billy Higgins y el trompetista a tiempo parcial Ray Codrington. Una joya.
https://www.allmusic.com/album/the-in-sound-mw0000228182
David Hazeltine Trio • Senor Blues
David
Hazeltine is one of a handful of contemporary pianists who has mastered
all of the major musical skills, from improvisation and technique, to
accompaniment, arranging, and composition. Even more impressive, David
is the rare artist able to innovate in each category. Thus it’s no
surprise that he’s the most recorded contemporary jazz pianist of our
time, having recorded thirty five cd’s as a leader and hundreds more as a
sideman, on various major labels globally. A Milwaukee native, David
was playing the clubs as a preteen, and before he’d even come of age he
was already grabbing the attention and respect of jazz legends like
Sonny Stitt, and Chet Baker. They urged him to make the move to New York
City, which he did in 1992.
Beautifully complex and memorable
The
mark of a true artist, David’s style appeals to a wide range of musical
tastes and levels of sophistication. His melodies and harmonies are
beautifully complex and memorable. As a composer and instrumentalist, he
has developed a signature style that is readily recognizable. His
cooperative group “One For All” featuring tenor great Eric Alexander,
has attained critical acclaim with their impressive 16 cd discography,
and live concerts worldwide including appearances at the North Sea Jazz
Festival and the Newport Jazz Festival.
Hazeltine is one of the
most sought after pianists today. He has worked with some of the world’s
most respected jazz legends including James Moody, Eddie Harris, Jon
Faddis, Joe Henderson, Pepper Adams, Jon Hendricks, and Marlena Shaw.
David is known for taking a familiar or unexpected song and making it
new, making it his own. He effortlessly transfers this skill from song
to stage. Whether he’s composing or interpreting, accompanying or
leading, you are certain to end the set remembering the sounds of David
Hazeltine.
Carrying the art forward
A brilliant teacher, David
is also determined to carry the art forward to the next generation.
Formerly an Associate Professor at Berklee, he currently teaches at
SUNY-Purchase in New York. David is also a highly skilled clinician, and
has served on the Jamey Aebersold Summer Jazz Camp faculty for the past
15 years. His teaching has had a major impact on many of today’s young
professional pianists including Ben Markley, who published his doctorate
“The David Hazeltine Method” based on his lessons with Mr. Hazeltine.
Hal Leonard has published the new “Real Book - Enhanced Edition”,
featuring David’s own re-harmonizations of 200 well known standards.
Lessons from David are also available on his online workshops; check out
his sessions on harmony at www.jazzpianomastery.com, and on the
essentials of bebop at www.mymusicmasterclass.com.
Check the
itinerary for upcoming dates; don’t miss your chance to hear one of the
most talented and accomplished jazz pianists of our time.
https://www.davidhazeltine.com/biography
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David
Hazeltine es uno de los pocos pianistas contemporáneos que domina las
principales habilidades musicales, desde la improvisación y la técnica
hasta el acompañamiento, los arreglos y la composición. Aún más
impresionante, David es el raro artista capaz de innovar en cada
categoría. Por eso no es de extrañar que sea el pianista de jazz
contemporáneo más grabado de nuestro tiempo, con treinta y cinco discos
como líder y cientos más como acompañante, en varios de los principales
sellos del mundo. Nacido en Milwaukee, David ya tocaba en los clubes
cuando era un preadolescente, y antes de cumplir la mayoría de edad ya
había captado la atención y el respeto de leyendas del jazz como Sonny
Stitt y Chet Baker. Ellos le animaron a trasladarse a Nueva York, lo que
hizo en 1992.
Bellamente complejo y memorable
La marca de un
verdadero artista, el estilo de David atrae a una amplia gama de gustos
musicales y niveles de sofisticación. Sus melodías y armonías son
hermosamente complejas y memorables. Como compositor e instrumentista,
ha desarrollado un estilo propio fácilmente reconocible. Su grupo
cooperativo "One For All", en el que participa el gran tenor Eric
Alexander, ha sido aclamado por la crítica gracias a su impresionante
discografía de 16 CD y a sus conciertos en directo en todo el mundo,
incluidas sus apariciones en el Festival de Jazz del Mar del Norte y en
el Festival de Jazz de Newport.
Hazeltine es uno de los pianistas
más solicitados de la actualidad. Ha trabajado con algunas de las
leyendas del jazz más respetadas del mundo, como James Moody, Eddie
Harris, Jon Faddis, Joe Henderson, Pepper Adams, Jon Hendricks y Marlena
Shaw. David es conocido por tomar una canción conocida o inesperada y
convertirla en algo nuevo, haciéndola suya. Transfiere sin esfuerzo esta
habilidad de la canción al escenario. Ya sea componiendo o
interpretando, acompañando o dirigiendo, seguro que acabas el concierto
recordando los sonidos de David Hazeltine.
Llevar el arte adelante
David,
un brillante profesor, también está decidido a transmitir el arte a la
próxima generación. Fue profesor asociado en Berklee y actualmente
enseña en SUNY-Purchase, en Nueva York. David es también un clínico
altamente cualificado, y ha formado parte del profesorado del Campamento
de Jazz de Verano Jamey Aebersold durante los últimos 15 años. Su
enseñanza ha tenido un gran impacto en muchos de los jóvenes pianistas
profesionales de hoy en día, incluyendo a Ben Markley, quien publicó su
doctorado "The David Hazeltine Method" basado en sus lecciones con el
Sr. Hazeltine. Hal Leonard ha publicado el nuevo "Real Book - Enhanced
Edition", que incluye las rearmonizaciones del propio David de 200
estándares muy conocidos. Las lecciones de David también están
disponibles en sus talleres en línea; echa un vistazo a sus sesiones
sobre armonía en www.jazzpianomastery.com, y sobre los fundamentos del
bebop en www.mymusicmasterclass.com.
Consulte el itinerario para
conocer las próximas fechas; no pierda la oportunidad de escuchar a uno
de los pianistas de jazz con más talento y talento de nuestro tiempo.
https://www.davidhazeltine.com/biography
Warne Marsh • Music For Prancing
Review by Al Campbell
With a reputation as one of the originators of cool jazz, it's ironic that over the years tenor saxophonist Warne Marsh gained a following of musicians mainly associated with the avant-garde, spearheaded by multi-reedist Anthony Braxton. These musicians heard what this disc demonstrates: that cool didn't always mean smoothed out. Originally issued in 1957, Music for Prancing is Marsh's second session as a leader with pianist Ronnie Ball, Red Mitchell on bass, and Stan Levey on drums. The quartet performs four standards such as the usually subdued Rodgers & Hart ballad "You Are Too Beautiful," which they make swing, and two originals: Ball's "Ad Libido" and Marsh's "Playa del Ray." A strong CD reissue on the budget label VSOP.
https://www.allmusic.com/album/music-for-prancing-mw0000102991
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Reseña de Al Campbell
Con la reputación de ser uno de los creadores del cool jazz, es irónico que con los años el saxofonista tenor Warne Marsh ganara seguidores entre los músicos asociados principalmente con la vanguardia, encabezados por el multi-reedista Anthony Braxton. Estos músicos escucharon lo que este disco demuestra: que cool no siempre significaba suavizado. Publicado originalmente en 1957, Music for Prancing es la segunda sesión de Marsh como líder con el pianista Ronnie Ball, Red Mitchell al bajo y Stan Levey a la batería. El cuarteto interpreta cuatro estándares, como la balada de Rodgers & Hart "You Are Too Beautiful", que suele ser tenue, y dos originales: "Ad Libido" de Ball y "Playa del Ray" de Marsh. Una sólida reedición en CD en el económico sello VSOP.
https://www.allmusic.com/album/music-for-prancing-mw0000102991
Stripped: Depeche Mode
An electrifying new biography about the four Essex lads who became award-winning stadium superstars and champions of synth pop! Jonathan Miller's groundbreaking book features in-depth interviews with founder member Vince Clarke and producers Gareth Jones and Mark Bell, and contains never-before seen interviews with the band members themselves.
French Gothic Ivories: Material Theologies and the Sculptor’s Craft
This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guérin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guérin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guérin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.
Tuesday, January 20, 2026
Key Depositfiles for 24hs (solved)
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Cómo activar pass-Gold:
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