Lee Morgan • Leeway

 

Milt Buckner • Masterpieces

 

Kjell Öhman • Öhman Organ Grinders

 

Archie Shepp-Dollar Brand • Duet

  

Review
by Brian Olewnick  
A somewhat surprising pairing at the time, the former firebrand of the tenor sax and the wonderful South African pianist found a pleasant and relaxed meeting point. By 1978, Shepp had largely abandoned the ferocious attack that gained him renown in the '60s, settling on a rich, Ben Webster-ish tone and playing a repertoire consisting of modern standards and bluesy originals. Two such pieces, the lovely Dave Burrell/Marion Brown composition "Fortunato" and Mal Waldron's "Left Alone," are highlights of this session, Shepp's burnished tone as soft as an old shoe. Ibrahim is a fairly deferential partner here, generally preferring to play the role of accompanist, although certainly one sprinkling his work with plenty of ideas for Shepp to work off. But the prevailing sense of relaxation begins to pall after a while and one wishes for a bit more of the old rough and tumble that these two were surely capable of. Still, for those who enjoyed Shepp's mid-'70s dates for Arista/Freedom and Ibrahim's more subdued group efforts of the late '70s and early '80s, there's much good listening here.
https://www.allmusic.com/album/duet-mw0000188765

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Reseña
por Brian Olewnick  
Un emparejamiento un tanto sorprendente en su momento, el antiguo incendiario del saxo tenor y el maravilloso pianista sudafricano encontraron un punto de encuentro agradable y relajado. En 1978, Shepp había abandonado en gran medida el feroz ataque que le dio fama en los años 60, estableciéndose en un tono rico, parecido al de Ben Webster, y tocando un repertorio que consistía en estándares modernos y originales de blues. Dos de estas piezas, la encantadora composición de Dave Burrell/Marion Brown "Fortunato" y "Left Alone" de Mal Waldron, son lo más destacado de esta sesión, con el tono bruñido de Shepp tan suave como un zapato viejo. Ibrahim es un compañero bastante deferente aquí, prefiriendo generalmente jugar el papel de acompañante, aunque ciertamente salpica su trabajo con un montón de ideas para que Shepp trabaje. Pero la sensación de relajación imperante empieza a decaer al cabo de un rato y uno desea un poco más de la vieja rudeza de la que seguramente eran capaces estos dos. Sin embargo, para aquellos que disfrutaron de las fechas de Shepp a mediados de los 70 para Arista/Freedom y de los esfuerzos grupales más moderados de Ibrahim de finales de los 70 y principios de los 80, hay mucho que escuchar aquí.
https://www.allmusic.com/album/duet-mw0000188765

VA • The Colors Of Latin Jazz Cubop

 

Pete Levin • Party In The Basement

 

Kenny Garrett • Sounds from the Ancestors

 

Review from DownBeat (by James Hale)
Always a highly percussive saxophonist, Kenny Garrett has found an exceptional partner in drummer Ronald Bruner. Their connection pushes Garrett to some intense heights... In sum, this is a rare artwork that has a clear conceit yet doesn't sound contrived. In addition, Garrett succeeds at combining deep, joyous grooves like 'When The Days Were Different,' introspective solo piano explorations, and the ecstasy of his freer improvisations without making the album seem like a pastiche of styles.
httpsdownbeat.comreviewsdetailsounds-from-the-ancestors

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Resena de DownBeat (por James Hale)
Siempre un saxofonista profundamente percusivo, Kenny Garrett ha encontrado un companero excepcional en el baterista Ronald Bruner. Su conexion impulsa a Garrett hacia momentos de enorme intensidad... En conjunto, esta es una obra poco comun con un concepto muy definido que nunca resulta forzado. Garrett logra combinar grooves profundos y jubilosos como 'When The Days Were Different', exploraciones introspectivas al piano y la energia extatica de sus improvisaciones sin que el album parezca un collage de estilos.
httpsdownbeat.comreviewsdetailsounds-from-the-ancestors

Brian Charette • You Don't Know Jack

 

Review from DownBeat (by Michael J. West):
With the Hammond organ riding a wave of visibility it hasn't seen since late-'60s soul jazz, what better stratagem than a tribute to one of the avatars of that sound? Brian Charette first established himself in New York playing at a Harlem club on an organ that once belonged to "Brother" (or "Captain") Jack McDuff, whose vinegary sound and soulful licks Charette successfully channels and extends on You Don't Know Jack! It's not an album of McDuff's music, per se; only two of his tunes, the blues "Jolly Black Giant" and the bossa nova "6:30 In The Morning," stand against originals by Charette (and one by tenor saxophonist Cory Weeds, who also produced the album in Vancouver). But it groks the sound and style that made McDuff tick, compositionally -- place Charette's opening "Early America" next to McDuff's 1969 "Theme From An Electric Surfboard" and see if they're not congruent -- and improvisationally. "Microcosmic Orbit" might sound like a title from a Sun Ra record, but it's a vehicle for the kind of punctilious, singsong phrasings that McDuff loved. (Not to mention his weirdly scratchy organ timbre; I don't know how the hell McDuff made that sound, but Charette does.) All that is not to say that there's no originality on You Don't Know Jack! The title track, oddly enough, features Charette playing a hiccup-y blues line that Jack would probably never touch. And while Weeds and guitarist Dave Sikula easily evoke the greasy, gritsy feel of down-home soul jazz, neither conjures the sound of any instrumentalist in particular. (As for drummer John Lee, he simply and tastefully swings: What else is there?) What's more, Weeds' "Have You Met Joan?" is a Bird-style bebop head that, for its six-minute length, recontextualizes the whole affair.
https://downbeat.com/reviews/detail/you-dont-know-jack

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Resena de DownBeat (por Michael J. West):
Con el organo Hammond cabalgando una ola de visibilidad que no habia visto desde el soul jazz de finales de los 60, que mejor estrategia que un tributo a uno de los avatares de ese sonido? Brian Charette se establecio por primera vez en Nueva York tocando en un club de Harlem en un organo que una vez pertencio al "Brother" (o "Captain") Jack McDuff, cuyo sonido avinagrado y sus licks llenos de alma Charette canaliza y extiende exitosamente en You Don't Know Jack! No es un album de la musica de McDuff, per se; solo dos de sus temas, el blues "Jolly Black Giant" y la bossa nova "6:30 In The Morning", se enfrentan a los originales de Charette (y uno del saxofonista tenor Cory Weeds, quien tambien produjo el album en Vancouver). Pero capta el sonido y el estilo que hacia funcionar a McDuff, composicionalmente -- coloca el "Early America" de apertura de Charette junto al "Theme From An Electric Surfboard" de McDuff de 1969 y comprueba si no son congruentes -- e improvisacionalmente. "Microcosmic Orbit" podria sonar como un titulo de un disco de Sun Ra, pero es un vehiculo para el tipo de fraseados meticulosos y cantarines que McDuff amaba. (Sin mencionar su extranamente aspero timbre de organo; no se como diablos McDuff lograba ese sonido, pero Charette si lo sabe.) Todo eso no quiere decir que no haya originalidad en You Don't Know Jack! El tema titular, curiosamente, presenta a Charette tocando una linea de blues sincopada que Jack probablemente nunca tocaria. Y si bien Weeds y el guitarrista Dave Sikula evocan facilmente el sabor grasiento y rasposo del soul jazz de barrio, ninguno conjura el sonido de ningun instrumentista en particular. (En cuanto al baterista John Lee, simplemente swingea con buen gusto: que mas hay que decir?) Ademas, "Have You Met Joan?" de Weeds es un head de bebop al estilo de Bird que, en sus seis minutos de duracion, recontextualiza todo el asunto.
https://downbeat.com/reviews/detail/you-dont-know-jack

Eddie Kirkland • Man of Stone

 

Review from eCoustics (by Glen Strauss):
Craft Recordings' Bluesville series continues to make the case that blues deserves the same serious reissue treatment usually reserved for jazz titles. Originally released in 1962 on Bluesville, Kirkland's album returned on June 12, 2026 with AAA remastering from the original analog tapes by Matthew Lutthans at The Mastering Lab, 180 gram vinyl pressed at Quality Record Pressings, a tip on jacket, obi strip, and new notes by Scott Billington.

It's the Blues Man! arrived in 1962 on Tru-Sound, the short-lived Prestige imprint, and it sounds like a record made by someone who had already put in the miles. Rudy Van Gelder engineered the session, and the presence of King Curtis and his band gives the album its shape: tight, swinging, and grounded in R&B without losing its blues center. There is no museum dust here, and thankfully no attempt to make Kirkland sound more respectable than necessary. The album moves with real range. "Train Done Gone" has forward motion, "Man of Stone" digs into a tougher groove, and its later appearance in John Mayall's world says something about how far Kirkland's writing carried. The slower material, including "I'm Gonna Forget You" and "Have Mercy on Me," shows that Kirkland did not need volume or stage theatrics to make the songs land.

Eddie Kirkland was not shaped by classrooms, critics, or anyone's tidy blues origin story. His own account placed his birth in Jamaica in 1923, though the details around his early life have never been perfectly clean, which somehow feels appropriate for a musician who spent most of his career moving. Raised in Alabama, Kirkland learned by doing: church music, street corners, road bands, long nights, bad rooms, better rooms, and whatever passed for opportunity when nobody was handing out invitations. Detroit became one of the important stops. That is where Kirkland spent years working with John Lee Hooker, which was less a job than a nightly lesson in feel, instinct, and how to survive behind a performer who did not always treat rhythm like a posted speed limit. Kirkland absorbed that looseness without becoming a copy. He had his own thing: lean, sharp, direct, and a little rough around the edges in the best possible way.
https://www.ecoustics.com/reviews/eddie-kirkland-blues-man/

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Resena de eCoustics (por Glen Strauss):
La serie Bluesville de Craft Recordings sigue demostrando que el blues merece el mismo tratamiento serio de reedicion usualmente reservado para titulos de jazz. Originalmente publicado en 1962 en Bluesville, el album de Kirkland regreso el 12 de junio de 2026 con remasterizacion AAA de las cintas analogicas originales por Matthew Lutthans en The Mastering Lab, vinil de 180 gramos prensado en Quality Record Pressings, cubierta tip on, obi strip y nuevas notas de Scott Billington.

It's the Blues Man! llego en 1962 a Tru-Sound, el efimero sello de Prestige, y suena como un disco grabado por alguien que ya habia recorrido muchos kilometros. Rudy Van Gelder ingeniero la sesion, y la presencia de King Curtis y su banda le da forma al album: ajustado, swingueante, y arraigado en el R&B sin perder su centro blues. No hay polvo de museo aqui, ni intento de hacer que Kirkland suene mas respetable de lo necesario. El album se mueve con un rango real. "Train Done Gone" tiene movimiento hacia adelante, "Man of Stone" se hunde en un groove mas duro, y su posterior aparicion en el mundo de John Mayall dice algo sobre hasta donde llego la escritura de Kirkland. El material mas lento, incluyendo "I'm Gonna Forget You" y "Have Mercy on Me", muestra que Kirkland no necesitaba volumen ni teatralidad escénica para que las canciones calaran.

Eddie Kirkland no fue moldeado por aulas, criticos ni la historia de origen del blues que a nadie le queda perfecta. Su propio relato situa su nacimiento en Jamaica en 1923, aunque los detalles de su vida temprana nunca han sido perfectamente claros, lo que de alguna manera resulta apropiado para un musico que paso la mayor parte de su carrera moviéndose. Criado en Alabama, Kirkland aprendio haciendo: musica de iglesia, esquinas de calles, bandas de carretera, largas noches, malos locales, mejores locales, y lo que fuera que pasara por oportunidad cuando nadie repartia invitaciones. Detroit fue una de las paradas importantes. Alli fue donde Kirkland paso anos trabajando con John Lee Hooker, lo que era menos un trabajo que una leccion nocturna de feeling, instinto y como sobrevivir detras de un interprete que no siempre trataba el ritmo como un limite de velocidad publicado. Kirkland absorbe esa soltura sin convertirse en una copia. Tenia su propia cosa: delgada, afilada, directa y un poco aspera en los bordes de la mejor manera posible.
https://www.ecoustics.com/reviews/eddie-kirkland-blues-man/

The Mastersounds • Kismet

 

MP3 The Meaning of a Format

 

MP3: The Meaning of a Format recounts the hundred-year history of the world's most common format for recorded audio. Understanding the historical meaning of the MP3 format entails rethinking the place of digital technologies in the larger universe of twentieth-century communication history, from hearing research conducted by the telephone industry in the 1910s, through the mid-century development of perceptual coding (the technology underlying the MP3), to the format's promiscuous social life since the mid 1990s.

MP3s are products of compression, a process that removes sounds unlikely to be heard from recordings. Although media history is often characterized as a progression toward greater definition, fidelity, and truthfulness, MP3: The Meaning of a Format illuminates the crucial role of compression in the development of modern media and sound culture. Taking the history of compression as his point of departure, Jonathan Sterne investigates the relationships among sound, silence, sense, and noise; the commodity status of recorded sound and the economic role of piracy; and the importance of standards in the governance of our emerging media culture. He demonstrates that formats, standards, and infrastructures—and the need for content to fit inside them—are every bit as central to communication as the boxes we call "media."

 

Las muchas vidas de John Lennon

 

 

 

El 8 de diciembre se cumplen treinta años de un hecho que conmocionó al mundo entero: el asesinato de John Lennon. En esta conmemoración no podía faltar la controvertida biografía de Albert Goldman.

En su día, Las muchas vidas de John Lennon fue criticada por desmitificar a Lennon al hablar de sus problemas con las drogas o sus tendencias sexuales. Con el tiempo, Harold Seider, el abogado de Lennon, acabó confirmando muchos de los episodios que Goldman relataba en la biografía. Sin duda, una oportunidad única de conocer el lado más oscuro del gran John Lennon.

Después de entrevistar a más de mil personas y tras seis años de trabajo, Goldman consiguió un retrato de cuerpo entero de un hombre que con sus letras y su música fue el símbolo de una generación que aún se veía capaz de convertir los sueños en realidad.

 

Albert Goldman (Autor)  

 

Guercino • Mind to Paper

Called the "Rembrandt of the South," Giovanni Francesco Barbieri, il Guercino (1591-1666) was one of the most versatile and accomplished Italian draftsmen of the seventeenth century. His drawings are among the most instantly appealing of those of any artist. This book investigates the nature of this appeal and looks at what makes Guercino such an extraordinary draftsman for his period. It examines his ways of working, choices of subject matter, drawing techniques, and media--aspects of his work that have never been studied so directly before. Such an innovative approach yields scholarly insights, as well as an accessible and appealing volume. The book accompanies an exhibition of Guercino drawings from the collections of the Courtauld Institute and the J. Paul Getty Museum, on view at both venues

VA • The Girl From U.N.C.L.E. [Music From The Television Series]

 

Review from AllMusic (by Jim Allen):
Yes, in addition to the hit 1960s spy series THE MAN FROM U.N.C.L.E., there was a GIRL FROM U.N.C.L.E., and her soundtrack was provided by jazz keyboardist Dave Grusin, arranger Teddy Randazzo, and famed composer Jerry Goldsmith. The music they cooked up is redolent of the period, with Grusin's "groovy" keys leading the charge on tracks that sound like they were designed to get go-go boots tapping.
https://www.allmusic.com/album/the-girl-from-uncle-music-from-the-television-series-mw0000801645

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Resena de AllMusic (por Jim Allen):
Si, ademas del exitoso serial de espias de los anos 60 THE MAN FROM U.N.C.L.E., habia una GIRL FROM U.N.C.L.E., y su banda sonora fue proporcionada por el tecladista de jazz Dave Grusin, el arreglista Teddy Randazzo y el famoso compositor Jerry Goldsmith. La musica que crearon es redolente del periodo, con las teclas "groovy" de Grusin liderando la carga en pistas que parecen diseñadas para que los botas go-go bailaran.
https://www.allmusic.com/album/the-girl-from-uncle-music-from-the-television-series-mw0000801645

Joe Dinkelbach Organ Trio • Moments

 

www.joedinkelbach.de ...

Key Depositfiles for 1 month [solved]

 

 

 

How to activate pass-Gold:
Once registered go to
https://depositfiles.org/gold/points.php
At the bottom of the web page it states:
“If you have (purchased) a Gold key and wish to activate it, enter it here and click Activate”.

THE ANSWER TO THE TRIVIA QUESTION IS THE PASSWORD.

Please, if you already have a DepositFiles pass, refrain from participating to give other blog visitors the opportunity to benefit. 

It is important and I would appreciate that whoever is the lucky one, to comment that they have already succeeded.

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Cómo activar pass-Gold:
Una vez registrado ira a
https://depositfiles.org/gold/points.php
Al pie de la página web se indica:
"Si usted tiene (ha comprado) una clave Gold y desea activarla, introdúzcala aquí y haga clic en Activar"

LA SOLUCION A LA TRIVIA ES LA CONTRASEÑA. 

Por favor, si ya cuentas con un pase para DepositFiles, abstente de participar para dar oportunidad a otros visitantes del blog de beneficiarse. 

Es importante y agradecería que quien sea el afortunado, que comente que ya lo ha logrado.

 

Nat Adderley • A Sunshine State [Live Tampa '82]

 

Biography by Scott Yanow
Nat Adderley's cornet (which in its early days was strongly influenced by Miles Davis) was always a complementary voice to his brother Cannonball in their popular quintet. His career ran parallel to his older brother for quite some time. Nat took up trumpet in 1946, switched to cornet in 1950, and spent time in the military, playing in an Army band during 1951-1953. After a period with Lionel Hampton (1954-1955), Nat made his recording debut in 1955, joined Cannonball's unsuccessful quintet of 1956-1957, and then spent periods with the groups of J.J. Johnson and Woody Herman before hooking up with Cannonball again in October 1959. This time the group became a major success and Nat remained in the quintet until Cannonball's death in 1975, contributing such originals as "Work Song," "Jive Samba," and "The Old Country" along with many exciting hard bop solos. Nat Adderley, who was at the peak of his powers in the early to mid-'60s and became adept at playing solos that dipped into the subtone register of his horn, led his own quintets after Cannonball's death; his most notable sidemen were altoists Sonny Fortune (in the early '80s) and Vincent Herring. Although his own playing declined somewhat -- Adderley's chops no longer had the endurance of his earlier days -- Nat continued recording worthwhile sessions in the years prior to his death on January 2, 2000. Many but not all of his recordings through the years are currently available (for such labels as Savoy, EmArcy, Riverside, Jazzland, Atlantic, Milestone, A&M, Capitol, Prestige, SteepleChase, Galaxy, Theresa, In & Out, Landmark, Evidence, Enja, Timeless, Jazz Challenge, and Chiaroscuro).
https://www.allmusic.com/artist/nat-adderley-mn0000377060#biography

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Biografía de Scott Yanow
La corneta de Nat Adderley (que en sus inicios estuvo fuertemente influenciado por Miles Davis) fue siempre una voz complementaria a la de su hermano Cannonball en su popular quinteto. Su carrera fue paralela a la de su hermano mayor durante bastante tiempo. Nat empezó a tocar la trompeta en 1946, cambió a la corneta en 1950 y pasó un tiempo en el ejército, tocando en una banda del ejército durante 1951-1953. Tras un periodo con Lionel Hampton (1954-1955), Nat hizo su debut discográfico en 1955, se unió al fracasado quinteto de Cannonball de 1956-1957, y luego pasó periodos con los grupos de J.J. Johnson y Woody Herman antes de volver a unirse a Cannonball en octubre de 1959. Esta vez el grupo se convirtió en un gran éxito y Nat permaneció en el quinteto hasta la muerte de Cannonball en 1975, contribuyendo con originales como "Work Song", "Jive Samba" y "The Old Country" junto con muchos emocionantes solos de hard bop. Nat Adderley, que estaba en la cima de sus facultades a principios y mediados de los 60 y se convirtió en un experto en solos que se sumergían en el registro de subtonos de su trompa, dirigió sus propios quintetos tras la muerte de Cannonball; sus acompañantes más notables fueron los contraltos Sonny Fortune (a principios de los 80) y Vincent Herring. Aunque su forma de tocar decayó un poco (las habilidades de Adderley ya no tenían la resistencia de sus primeros días), Nat siguió grabando sesiones que merecían la pena en los años anteriores a su muerte, el 2 de enero de 2000. Muchas de sus grabaciones, aunque no todas, están disponibles actualmente (para sellos como Savoy, EmArcy, Riverside, Jazzland, Atlantic, Milestone, A&M, Capitol, Prestige, SteepleChase, Galaxy, Theresa, In & Out, Landmark, Evidence, Enja, Timeless, Jazz Challenge y Chiaroscuro).
https://www.allmusic.com/artist/nat-adderley-mn0000377060#biography

Lage Lund • Idlewild

 

Lage Lund is acclaimed as one of the finest guitarists of his generation, and one of the more compelling jazz artists today. A regular in the “Rising star – Guitar” category in the Downbeat Critic’s Poll, he has been hailed by Pat Metheny as a favorite young guitarist, and is “all music and all soul” according to Russell Malone - one of the judges who awarded Lund top prize in the Thelonious Monk International Jazz Competition.

Armed with a growing and impressive body of original compositions, and mastery of the standard repertoire - Lund swings with great authority displaying a staggering harmonic sophistication and a singularly fluid voice as a soloist. He also brings a “casually magnetic” presence to the stage, “channeling reticence into a whisper-quiet mystique” and "balances his abundant proficiencies with an aesthetic of gleaming calm" (New York Times).

Born and raised in Norway, Lund relocated to Boston after high school on a scholarship to Berklee College of Music. In 2002 he moved to New York and soon became the first electric guitarist ever to enroll at the Juilliard School of Music. In the years since his Monk Competition victory, he has become a sought-after sideman with the David Sanchez Quartet, the Maria Schneider Orchestra, Mark Turner, Seamus Blake and many more.

After a series of three releases featuring bassist Ben Street and drummer Bill Stewart 2019 sees the release of "Terrible Animals”. Joined by a never-before-convened, top-of-the-pyramid rhythm section (Sullivan Fortner, piano; Larry Grenadier, bass;Tyshawn Sorey, drums) it is the most compositionally ambitious and daringly performed of Lage Lund's five albums on Criss Cross. Ten far-flung originals that elicit the full measure of their creativity , spurring Lund - who makes ingenious use of effects within his flow - to some of his most dynamic and varied playing on record.

Through frequent appearances and tours stateside and throughout Europe, Asia and around the world, Lund has ascended to the highest ranks as a performer and a creative force. He is among those setting the agenda for jazz improvisation in the 21st century.

"Of the younger cats, Lage is THE one. He's a wonderful player. Scary actually!” Kurt Rosenwinkel
https://www.lagelund.com/about

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Lage Lund es aclamado como uno de los mejores guitarristas de su generación y uno de los artistas de jazz más convincentes de la actualidad. Un habitual en la categoría de "Guitarra estrella en ascenso" en la encuesta de Downbeat Critic, Pat Metheny lo ha aclamado como un guitarrista joven favorito, y es "toda música y todo alma" según Russell Malone, uno de los jueces que otorgó el máximo premio de Lund en el Concurso Internacional de Jazz Thelonious Monk.

Armado con un creciente e impresionante cuerpo de composiciones originales y dominio del repertorio estándar, Lund se balancea con gran autoridad mostrando una asombrosa sofisticación armónica y una voz singularmente fluida como solista. También aporta una presencia "casualmente magnética" al escenario, "canalizando la reticencia en una mística silenciosa" y "equilibra sus abundantes competencias con una estética de reluciente calma" (New York Times).

Nacido y criado en Noruega, Lund se mudó a Boston después de la secundaria con una beca en el Berklee College of Music. En 2002 se mudó a Nueva York y pronto se convirtió en el primer guitarrista eléctrico en inscribirse en la Juilliard School of Music. En los años transcurridos desde su victoria en la Competencia Monk, se ha convertido en un acompañante codiciado del Cuarteto David Sánchez, la Orquesta Maria Schneider, Mark Turner, Seamus Blake y muchos más.

Después de una serie de tres lanzamientos con el bajista Ben Street y el baterista Bill Stewart, 2019 ve el lanzamiento de "Terrible Animals". Acompañado por una sección rítmica nunca antes convocada y de la cima de la pirámide (Sullivan Fortner, piano; Larry Grenadier, bajo;Tyshawn Sorey, batería), es el más ambicioso en cuanto a composición y atrevido interpretado de los cinco álbumes de Lage Lund en Criss Cross. Diez originales lejanos que provocan toda la medida de su creatividad , estimulando a Lund, que hace un uso ingenioso de los efectos dentro de su flujo, a algunas de sus interpretaciones más dinámicas y variadas registradas.

A través de frecuentes apariciones y giras por Estados Unidos y por Europa, Asia y todo el mundo, Lund ha ascendido a los rangos más altos como intérprete y fuerza creativa. Él es uno de los que establece la agenda para la improvisación del jazz en el siglo XXI.

"De los gatos más jóvenes, Lage es el indicado. Es un jugador maravilloso. ¡De miedo en realidad!"Kurt Rosenwinkel
https://www.lagelund.com/about

www.lagelund.com ...

Gene Ammons • Up Tight

Artist Biography

Gene Ammons, who had a huge and immediately recognizable tone on tenor, was a very flexible player who could play bebop with the best (always battling his friend Sonny Stitt to a tie) yet was an influence on the R&B world. Some of his ballad renditions became hits and, despite two unfortunate interruptions in his career, Ammons remained a popular attraction for 25 years.

Son of the great boogie-woogie pianist Albert Ammons, Gene Ammons (who was nicknamed "Jug") left Chicago at age 18 to work with King Kolax's band. He originally came to fame as a key soloist with Billy Eckstine's orchestra during 1944-1947, trading off with Dexter Gordon on the famous Eckstine record Blowing the Blues Away. Other than a notable stint with Woody Herman's Third Herd in 1949 and an attempt at co-leading a two tenor group in the early '50s with Sonny Stitt, Ammons worked as a single throughout his career, recording frequently (most notably for Prestige) in settings ranging from quartets and organ combos to all-star jam sessions. Drug problems kept him in prison during much of 1958-1960 and, due to a particularly stiff sentence, 1962-1969. When Ammons returned to the scene in 1969, he opened up his style a bit, including some of the emotional cries of the avant-garde while utilizing funky rhythm sections, but he was still able to battle Sonny Stitt on his own terms. Ironically the last song that he ever recorded (just a short time before he was diagnosed with terminal cancer) was "Goodbye."

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Biografía del artista

Gene Ammons, que tenía un tono enorme e inmediatamente reconocible en el tenor, era un jugador muy flexible que podía tocar el bebop con los mejores (siempre luchando contra su amigo Sonny Stitt con un empate) y, sin embargo, era una influencia en el mundo del R&B. Algunas de sus interpretaciones de baladas se convirtieron en éxitos y, a pesar de dos desafortunadas interrupciones en su carrera, Ammons siguió siendo una atracción popular durante 25 años.

Hijo del gran pianista de boogie-woogie Albert Ammons, Gene Ammons (apodado "Jug") dejó Chicago a los 18 años para trabajar con la banda de King Kolax. Originalmente llegó a la fama como solista clave con la orquesta de Billy Eckstine durante 1944-1947, intercambiando con Dexter Gordon en el famoso disco de Eckstine Blowing the Blues Away. Aparte de una notable temporada con Woody Herman's Third Herd en 1949 y un intento de co-liderar un grupo de dos tenor a principios de los'50 con Sonny Stitt, Ammons trabajó como single a lo largo de su carrera, grabando frecuentemente (más notablemente para Prestige) en escenarios que iban desde cuartetos y combos de órgano hasta jam sessions de estrellas. Los problemas de drogas lo mantuvieron en prisión durante gran parte de 1958-1960 y, debido a una sentencia particularmente dura, de 1962-1969. Cuando Ammons regresó a la escena en 1969, abrió un poco su estilo, incluyendo algunos de los gritos emocionales de la vanguardia mientras utilizaba secciones rítmicas funky, pero aún así fue capaz de luchar contra Sonny Stitt en sus propios términos. Irónicamente, la última canción que grabó (poco antes de que le diagnosticaran un cáncer terminal) fue "Goodbye".

 

 

 

Joshua Redman Quartet • MoodSwing

 

Joshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the decade of the 1990s. Born in Berkeley, California, he is the son of legendary saxophonist Dewey Redman and dancer Renee Shedroff. He was exposed at an early age to a variety of musics (jazz, classical, rock, soul, Indian, Indonesian, Middle-Eastern, African) and instruments (recorder, piano, guitar, gatham, gamelan), and began playing clarinet at age nine before switching to what became his primary instrument, the tenor saxophone, one year later. The early influences of John Coltrane, Ornette Coleman, Cannonball Adderley and his father, Dewey Redman, as well as The Beatles, Aretha Franklin, the Temptations, Earth, Wind and Fire, Prince, The Police and Led Zeppelin drew Joshua more deeply into music. But although Joshua loved playing the saxophone and was a dedicated member of the award-winning Berkeley High School Jazz Ensemble and Combo from 1983-86, academics were always his first priority, and he never seriously considered becoming a professional musician.

In 1991 Redman graduated from Harvard College summa cum laude, Phi Beta Kappa with a B.A. in Social Studies. He had already been accepted by Yale Law School, but deferred entrance for what he believed was only going to be one year. Some of his friends (former students at the Berklee College of Music whom Joshua had met while in Boston) had recently relocated to Brooklyn, and they were looking for another housemate to help with the rent. Redman accepted their invitation to move in, and almost immediately he found himself immersed in the New York jazz scene. He began jamming and gigging regularly with some of the leading jazz musicians of his generation: Peter Bernstein, Larry Goldings, Kevin Hays, Roy Hargrove, Geoff Keezer, Leon Parker, Jorge Rossy and Mark Turner (to name just a few). In November of that year, five months after moving to New York, Redman was named the winner of the prestigious Thelonious Monk International Saxophone Competition. This was only one of the more visible highlights from a year that saw Redman beginning to tour and record with jazz masters such as his father, Jack DeJohnette, Charlie Haden, Elvin Jones, Joe Lovano, Pat Metheny, Paul Motian, and Clark Terry. For Joshua, this was a period of tremendous growth, invaluable experience and endless inspiration.

Now fully committed to a life in music, Redman was quickly signed by Warner Bros. Records and issued his first, self-titled album in the spring of 1993, which subsequently earned Redman his first Grammy nomination. That fall saw the release of Wish, where Joshua was joined by the all-star cast of Pat Metheny, Charlie Haden and Billy Higgins. He toured extensively with Metheny throughout the latter half of that year. His next recording, MoodSwing, was released in 1994, and it introduced his first permanent band, which included three other young musicians who have gone on to become some of the most important and influential artists in modern jazz: pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade. A later edition of this ensemble included guitarist Peter Bernstein, pianist Peter Martin, bassist Chris Thomas and Blade. Over a series of celebrated recordings including Spirit of the Moment/Live at the Village Vanguard, Freedom in the Groove and Timeless Tales (for Changing Times), Redman established himself as one of the music’s most consistent and successful bandleaders, and added soprano and alto saxophones to his instrumental arsenal. Joshua’s second acclaimed quartet, featuring pianist Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson, was formed in 1998 and made its recorded debut on the 2000 album Beyond. The dynamic interplay and uncommon rapport of this group inspired Redman to write and record his first long-form composition, Passage of Time, which was released in 2001.

A year later, Redman began to channel his jazz sensibilities through new instrumentation and formed The Elastic Band, a flexible, electrified, groove-based trio built on an ongoing collaboration with keyboardist Sam Yahel and drummer Brian Blade. The band debuted on the 2002 releases yaya3 and Elastic. Drummer Jeff Ballard began to play regularly with the Elastic Band later that year, and he (along with Blade and Yahel) played a central role in their next recording, the Grammy-nominated Momentum, which was released in 2005 to inaugurate Redman’s affiliation with Nonesuch Records, and featured a diverse and exciting lineup of special guests.

In 2000, Redman was named Artistic Director for the Spring Season of the non-profit jazz-presenting organization SFJAZZ. Redman and SFJAZZ Executive Director Randall Kline had an idea that The New York Times called a “eureka moment”; the creation of the SFJAZZ Collective, an ensemble distinguished both by the creativity of its members and a unique primary emphasis on composition. Inaugurated in 2004, the eight-piece band consists of a multi-generational cast of accomplished musicians. The Collective’s repertoire features both commissioned works and new arrangements of the work of great modern jazz composers. In March 2007, Redman announced that he was taking a hiatus from both the SFJAZZ Artistic Directorship and the SFJAZZ Collective in order to focus on new projects.

The following month, Nonesuch released Redman’s first ever piano-less trio record, Back East, featuring Joshua alongside three stellar bass and drum rhythm sections (Larry Grenadier & Ali Jackson, Christian McBride & Brian Blade, Reuben Rogers & Eric Harland) and three very special guest saxophonists (Chris Cheek, Joe Lovano and Dewey Redman). On Compass, released in January 2009 (Nonesuch), Joshua continues to explore the expansive trio format, and with a group of collaborators as intrepid as he is – bassists Larry Grenadier and Rueben Rogers, and drummers Brian Blade and Gregory Hutchinson – Redman literally and figuratively stretches the shape of the trio approach; on the most audacious of these tunes, he performs with the entire lineup in a double-trio setting.

Starting in late 2009, Joshua will be performing with a new collaborative band called James Farm featuring pianist Aaron Parks, bassist Matt Penman, and drummer Eric Harland. The band infuses traditional acoustic jazz quartet instrumentation with a progressive attitude and modern sound, creating music that is rhythmically and technically complex and at the same time harmonically rich, melodically satisfying, and emotionally compelling.

In addition to his own projects, Redman has recorded and performed with musicians such as Brian Blade, Ray Brown, Dave Brubeck, Chick Corea, The Dave Matthews Band, Jack DeJohnette, Bill Frisell, Aaron Goldberg, Larry Goldings, Charlie Haden, Herbie Hancock, Roy Hargrove, Roy Haynes, Billie Higgins, Milt Jackson, Elvin Jones, Quincy Jones, Big Daddy Kane, Geoff Keezer, B.B. King, The Lincoln Center Jazz Orchestra, DJ Logic, Joe Lovano, Yo Yo Ma, Branford Marsalis, Christian McBride, John Medeski, Brad Mehldau, Pat Metheny, Marcus Miller, Paul Motian, MeShell Ndegeocello, Leon Parker, Nicholas Payton, John Psathas, Simon Rattle, Dewey Redman, Dianne Reeves, Melvin Rhyne, The Rolling Stones, The Roots, Kurt Rosenwinkel, John Scofield, Soulive, String Cheese Incident, Clark Terry, Toots Thielemans, The Trondheim Jazz Orchestra, Mark Turner, McCoy Tyner, Umphrey’s McGee, US3, Bugge Wesseltoft, Cedar Walton, Stevie Wonder and Sam Yahel. Joshua Redman has been nominated for 2 Grammys and has garnered top honors in critics and readers polls of DownBeat, Jazz Times, The Village Voice and Rolling Stone. He wrote and performed the music for Louis Malle’s final film Vanya on 42nd Street, and is both seen and heard in the Robert Altman film Kansas City.

https://www.allaboutjazz.com/musicians/joshua-redman/

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Joshua Redman es uno de los artistas de jazz más aclamados y carismáticos que surgieron en la década de 1990. Nacido en Berkeley, California, es hijo del legendario saxofonista Dewey Redman y de la bailarina Renee Shedroff. Estuvo expuesto a una edad temprana a una variedad de músicas (jazz, clásica, rock, soul, India, Indonesia, Oriente Medio, Africana) e instrumentos (flauta dulce, piano, guitarra, gatham, gamelan), y comenzó a tocar el clarinete a los nueve años antes de cambiar a lo que se convirtió en su instrumento principal, el saxofón tenor, un año después. Las primeras influencias de John Coltrane, Ornette Coleman, Cannonball Adderley y su padre, Dewey Redman, así como de los Beatles, Aretha Franklin, the Temptations, Earth, Wind and Fire, Prince, The Police y Led Zeppelin atrajeron a Joshua más profundamente a la música. Pero aunque a Joshua le encantaba tocar el saxofón y fue un miembro dedicado del galardonado Conjunto y Combo de Jazz de Berkeley High School de 1983 a 1986, lo académico siempre fue su primera prioridad, y nunca consideró seriamente convertirse en músico profesional.

En 1991, Redman se graduó de Harvard College summa cum laude, Phi Beta Kappa con una licenciatura en Estudios Sociales. Ya había sido aceptado por la Facultad de Derecho de Yale, pero postergó la entrada por lo que creía que solo iba a ser un año. Algunos de sus amigos (exalumnos del Berklee College of Music a quienes Joshua había conocido mientras estaba en Boston) se habían mudado recientemente a Brooklyn y estaban buscando otro compañero de casa que los ayudara con el alquiler. Redman aceptó su invitación para mudarse y casi de inmediato se encontró inmerso en la escena del jazz de Nueva York. Comenzó a tocar y tocar regularmente con algunos de los principales músicos de jazz de su generación: Peter Bernstein, Larry Goldings, Kevin Hays, Roy Hargrove, Geoff Keezer, Leon Parker, Jorge Rossy y Mark Turner (por nombrar solo algunos). En noviembre de ese año, cinco meses después de mudarse a Nueva York, Redman fue nombrado ganador del prestigioso Concurso Internacional de Saxofón Thelonious Monk. Este fue solo uno de los aspectos más destacados de un año en el que Redman comenzó a hacer giras y grabar con maestros del jazz como su padre, Jack DeJohnette, Charlie Haden, Elvin Jones, Joe Lovano, Pat Metheny, Paul Motian y Clark Terry. Para Joshua, este fue un período de tremendo crecimiento, experiencia invaluable e inspiración infinita.

Ahora totalmente comprometido con una vida en la música, Redman firmó rápidamente con Warner Bros.Records y lanzó su primer álbum homónimo en la primavera de 1993, que posteriormente le valió a Redman su primera nominación al Grammy. Ese otoño vio el lanzamiento de Wish, donde Joshua se unió al elenco estelar de Pat Metheny, Charlie Haden y Billy Higgins. Realizó numerosas giras con Metheny durante la segunda mitad de ese año. Su siguiente grabación, MoodSwing, fue lanzada en 1994, y presentó su primera banda permanente, que incluía a otros tres jóvenes músicos que se han convertido en algunos de los artistas más importantes e influyentes del jazz moderno: el pianista Brad Mehldau, el bajista Christian McBride y el baterista Brian Blade. Una edición posterior de este conjunto incluyó al guitarrista Peter Bernstein, el pianista Peter Martin, el bajista Chris Thomas y Blade. A lo largo de una serie de grabaciones célebres que incluyeron Spirit of the Moment/Live at the Village Vanguard, Freedom in the Groove y Timeless Tales (for Changing Times), Redman se estableció como uno de los líderes de banda más consistentes y exitosos de la música, y agregó saxofones soprano y alto a su arsenal instrumental. El segundo cuarteto aclamado de Joshua, con el pianista Aaron Goldberg, el bajista Reuben Rogers y el baterista Gregory Hutchinson, se formó en 1998 e hizo su debut grabado en el álbum Beyond de 2000. La interacción dinámica y la relación poco común de este grupo inspiraron a Redman a escribir y grabar su primera composición de formato largo, Passage of Time, que se lanzó en 2001.

Un año después, Redman comenzó a canalizar su sensibilidad jazzística a través de una nueva instrumentación y formó Elastic Band, un trío flexible, electrificado y basado en el groove construido en una colaboración continua con el tecladista Sam Yahel y el baterista Brian Blade. La banda debutó en los lanzamientos de 2002 yaya3 y Elastic. El baterista Jeff Ballard comenzó a tocar regularmente con Elastic Band más tarde ese año, y él (junto con Blade y Yahel) desempeñó un papel central en su próxima grabación, Momentum, nominada al Grammy, que se lanzó en 2005 para inaugurar la afiliación de Redman con Nonesuch Records, y contó con una alineación diversa y emocionante de invitados especiales.

En 2000, Redman fue nombrado Director Artístico de la Temporada de Primavera de la organización sin fines de lucro SFJAZZ, que presenta jazz. Redman y el director ejecutivo de SFJAZZ, Randall Kline, tuvieron una idea que The New York Times llamó un "momento eureka" ; la creación del Colectivo SFJAZZ, un conjunto que se distingue tanto por la creatividad de sus miembros como por un énfasis primario único en la composición. Inaugurada en 2004, la banda de ocho integrantes consta de un elenco multigeneracional de músicos consumados. El repertorio del Colectivo presenta tanto obras encargadas como nuevos arreglos de la obra de grandes compositores de jazz moderno. En marzo de 2007, Redman anunció que se tomaría un descanso tanto de la Dirección Artística de SFJAZZ como del Colectivo SFJAZZ para concentrarse en nuevos proyectos.

Al mes siguiente, Nonesuch lanzó el primer disco de trío sin piano de Redman, Back East, con Joshua junto a tres secciones estelares de bajo y batería (Larry Grenadier y Ali Jackson, Christian McBride y Brian Blade, Reuben Rogers y Eric Harland) y tres saxofonistas invitados muy especiales (Chris Cheek, Joe Lovano y Dewey Redman). En Compass, lanzado en enero de 2009 (Nonesuch), Joshua continúa explorando el formato de trío expansivo, y con un grupo de colaboradores tan intrépidos como él: los bajistas Larry Grenadier y Rueben Rogers, y los bateristas Brian Blade y Gregory Hutchinson, Redman extiende literal y figurativamente la forma del enfoque de trío; en la más audaz de estas melodías, se presenta con toda la formación en un ambiente de doble trío.

A partir de finales de 2009, Joshua se presentará con una nueva banda colaborativa llamada James Farm con el pianista Aaron Parks, el bajista Matt Penman y el baterista Eric Harland. La banda infunde la instrumentación tradicional de cuarteto de jazz acústico con una actitud progresiva y un sonido moderno, creando música rítmica y técnicamente compleja y al mismo tiempo armónicamente rica, melódicamente satisfactoria y emocionalmente convincente.

Además de sus propios proyectos, Redman ha grabado y actuado con músicos como Brian Blade, Ray Brown, Dave Brubeck, Chick Corea, Dave Matthews Band, Jack DeJohnette, Bill Frisell, Aaron Goldberg, Larry Goldings, Charlie Haden, Herbie Hancock, Roy Hargrove, Roy Haynes, Billie Higgins, Milt Jackson, Elvin Jones, Quincy Jones, Big Daddy Kane, Geoff Keezer, BB. King, La Orquesta de Jazz del Lincoln Center, DJ Logic, Joe Lovano, Yo Yo Ma, Branford Marsalis, Christian McBride, John Medeski, Brad Mehldau, Pat Metheny, Marcus Miller, Paul Motian, MeShell Ndegeocello, Leon Parker, Nicholas Payton, John Psathas, Simon Rattle, Dewey Redman, Dianne Reeves, Melvin Rhyne, Los Rolling Stones, The Roots, Kurt Rosenwinkel, John Scofield, Soulive, String Cheese Incident, Clark Terry, Toots Thielemans, la Orquesta de Jazz de Trondheim, Mark Turner, McCoy Tyner, McGee de Umphrey, US3, Bugge Wesseltoft, Cedar Walton, Stevie Wonder y Sam Yahel. Joshua Redman ha sido nominado a 2 Grammys y ha obtenido los máximos honores en las encuestas de críticos y lectores de DownBeat, Jazz Times, Village Voice y Rolling Stone. Escribió e interpretó la música de la última película de Louis Malle, Vania on 42nd Street, y se ve y se escucha en la película de Robert Altman Kansas City.
https://www.allaboutjazz.com/musicians/joshua-redman/

 

 

 

www.joshuaredman.com ...

 

 Colaborador / Contributor:  Ketmokin

 

VA • Let The Good Times Roll

 

 

T-Bone Walker, Lazy Lester, Leroy Washington, Slim Harpo, Big Joe Turner, Ray Charles, Blues, Bo Diddley, Jimmy Witherspoon, Earl Hooker …

Al Caiola And His Orchestra • Greasy Kid Stuff

 

Jack Sheldon & his Exciting All-Star Big Band • Jack's Groove

 

Biography
Along with Lester Young in the '30s, Dizzy Gillespie in the '40s, and Zoot Sims in the '50s, Jack Sheldon is one of the Original Lions of the West Coast Sound. Jack's a premier improviser, is one of only a handful of trumpet players throughout jazz history who has developed his own distinctive "signature sound". It's an inimitable sound that comes from his heart and soul, what Miles Davis called "a voice".

As an integral part of the West Coast Scene of the 1950s, he played an important role in developing that era's bebop- inspired sound. His solid connection to that vibrant period in West coast Jazz surfaces with each impeccable solo.

Sheldon's collaborative list is indeed long and impressive: Dizzy Gillespie, Dexter Gordon, Curtis Counce, Shelly Manne, Art Pepper, Frank Sinatra, Benny Goodman, Stan Kenton, Mel Torme, Tony Bennett, Lena Horne, Peggy Lee, Sammy Davis Jr., Rosemary Clooney, Diane Schuur and many other greats.

Nominated five times for the Playboy International Artist Of The Year Award, Jack Sheldon continues to dazzle audiences with his prodigious chops and unerring sense of swing. Sheldon has been featured on innumerable soundtracks. It was his sensuous trumpet solo that immortalized Johnny Mandel's The Shadow of Your Smile from the Taylor-Burton film The Sandpiper. Today, his lyrical trumpet continues to garner the spotlight on soundtracks like Object of Beauty, The Super, White Men Can'tJump, For The Boys, Mr. Saturday Night, and his trumpet work is heard like a character in the Francis Ford Coppla film One From The Heart.

A sublime vocalist, Jack Sheldon has been ranked as one of the top jazz singers of the day. In addition to the many recordings show casing his trumpet, he's been a featured singer on soundtracks as well.

Jack Sheldon made his acting/comedy debut on The Steve Allen Show. His comedic skill was an immediate hit and he was soon given his own TV sitcom by CBS, Run Buddy Run. Over the years Sheldon has also appeared regularly on various television series including Dragnet, and Star Trek-The Next Generation. But his most powerful and popular TV stint was his tremendously successful 18 year association with Merv Griffin as featured soloist, resident comedian and musical director on The Merv Griffin Show.

In 2008 a feature documentray film opened, Trying to Get Good: The Jazz Odyssey of Jack Sheldon, celebrated with many notable music and film personalities in interviews and rare archival films with Jack playing with Benny Goodman, Chet Baker and with his own remarkable band.
https://www.allaboutjazz.com/musicians/jack-sheldon

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Biografía
Junto con Lester Young en los años 30, Dizzy Gillespie en los 40 y Zoot Sims en los 50, Jack Sheldon es uno de los Leones Originales del Sonido de la Costa Oeste. Jack es un improvisador de primera categoría, uno de los pocos trompetistas de la historia del jazz que ha desarrollado su propio "sonido característico". Es un sonido inimitable que le sale del corazón y del alma, lo que Miles Davis llamaba "una voz".

Como parte integrante de la West Coast Scene de los años 50, desempeñó un papel importante en el desarrollo del sonido bebop de aquella época. Su sólida conexión con ese vibrante periodo del jazz de la costa oeste aflora con cada impecable solo.

La lista de colaboradores de Sheldon es larga e impresionante: Dizzy Gillespie, Dexter Gordon, Curtis Counce, Shelly Manne, Art Pepper, Frank Sinatra, Benny Goodman, Stan Kenton, Mel Torme, Tony Bennett, Lena Horne, Peggy Lee, Sammy Davis Jr, Rosemary Clooney, Diane Schuur y muchos otros grandes.

Nominado cinco veces al premio Playboy International Artist Of The Year, Jack Sheldon sigue deslumbrando al público con sus prodigiosas habilidades y su infalible sentido del swing. Sheldon ha participado en innumerables bandas sonoras. Fue su sensual solo de trompeta el que inmortalizó The Shadow of Your Smile, de Johnny Mandel, en la película de Taylor-Burton The Sandpiper. Hoy en día, su trompeta lírica sigue acaparando la atención en bandas sonoras como Object of Beauty, The Super, White Men Can'tJump, For The Boys, Mr. Saturday Night, y su trabajo de trompeta se escucha como un personaje más en la película de Francis Ford Coppla One From The Heart.

Vocalista sublime, Jack Sheldon ha sido clasificado como uno de los mejores cantantes de jazz del momento. Además de las numerosas grabaciones en las que muestra su trompeta, también ha sido cantante en bandas sonoras.

Jack Sheldon debutó como actor y cómico en The Steve Allen Show. Su habilidad para la comedia fue un éxito inmediato y pronto la CBS le dio su propia serie de televisión, Run Buddy Run. A lo largo de los años, Sheldon también ha aparecido con regularidad en varias series de televisión, como Dragnet y Star Trek-The Next Generation. Pero su etapa televisiva más poderosa y popular fue su exitosa asociación con Merv Griffin durante 18 años como solista, cómico residente y director musical en The Merv Griffin Show.

En 2008 se estrenó un largometraje documental, Trying to Get Good: The Jazz Odyssey of Jack Sheldon, en el que se entrevista a numerosas personalidades de la música y el cine y se muestran películas de archivo de Jack tocando con Benny Goodman, Chet Baker y con su propia banda.
https://www.allaboutjazz.com/musicians/jack-sheldon

Jack Wilson • Something Personal

 

Review
by Scott Yanow
On this CD reissue, pianist Jack Wilson's first of three albums for Blue Note, the emphasis is on his interaction with vibraphonist Roy Ayers. Some of the selections recall the Modern Jazz Quartet, while a few of the other songs look toward Herbie Hancock and Bobby Hutcherson. The other musicians on the date are bassist Ray Brown (who plays cello on two numbers that include Charles Williams, Jr. on bass) and drummer Varney Barlow. In two cases (Ornette Coleman's "The Sphinx" and Wilson's "Shosh"), complex melody statements are succeeded by disappointingly conventional chordal jams, but in general this album is an excellent showcase for the often-overlooked Jack Wilson.
https://www.allmusic.com/album/something-personal-mw0000073855

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Reseña
por Scott Yanow
En esta reedición en CD, el primero de los tres álbumes del pianista Jack Wilson para Blue Note, se hace hincapié en su interacción con el vibrafonista Roy Ayersers. Algunas de las selecciones recuerdan al Modern Jazz Quartet, mientras que algunas de las otras canciones miran hacia Herbie Hancock y Bobby Hutcherson. Los otros músicos de la fecha son el bajista Ray Brown (que toca el violonchelo en dos números que incluyen a Charles Williams, Jr. al bajo) y el batería Varney Barlow. En dos casos ("The Sphinx", de Ornette Coleman, y "Shosh", de Wilson), las complejas melodías son sustituidas por acordes decepcionantemente convencionales, pero en general este álbum es un excelente escaparate para el a menudo ignorado Jack Wilson.
https://www.allmusic.com/album/something-personal-mw0000073855

Encyclopedia of Film Noir

 

 

When viewers think of film noir, they often picture actors like Humphrey Bogart playing characters like Sam Spade in The Maltese Falcon, the film based on the book by Dashiell Hammett. Yet film noir is a genre much richer. The authors first examine the debate surrounding the parameters of the genre and the many different ways it is defined. They discuss the Noir City, its setting and backdrop, and also the cultural (WWII) and institutional (the House UnAmerican Activities Committee, and the Production Code Administration) influences on the subgenres. An analysis of the low budget and series film noirs provides information on those cult classics. With over 200 entries on films, directors, and actors, the Encyclopedia of Film Noir is the most complete resource for film fans, students, and scholars.

  

Geoff Mayer (Autor),  

Brian McDonnell (Autor)  

 

Girl Groups Girl Culture Popular Music and Identity in the 1960s

 

Then He Kissed Me, He's A Rebel, Chains, Stop! In the Name of Love all these songs capture the spirit of an era and an image of "girlhood" in post-World War II America that still reverberates today.

While there were over 1500 girl groups recorded in the '60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear. Warwick is the first writer to address '60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation. 

 

 Jacqueline Warwick (Author) 

 

Bauhaus • Michael Siebenbrodt & Lutz Schöbe

George Wallington Quintet • The New York Scene

George Wallington, cuyo verdadero nombre era Giacinto Figlia (Palermo, Sicilia, 27 de octubre de 1924 - Cape Coral, Miami, 15 de febrero de 1993) fue un pianista y compositor italo-estadounidense de jazz.

Emigrado a Estados Unidos apenas recién nacido, aprende piano desde los nueve años de edad y, ya en la adolescencia, comienza a tocar en clubs de Nueva York. Conoce a Max Roach, con quien se incorpora al quinteto de Dizzy Gillespie, en 1944. Después tocará con Georgie Auld, Allen Eager, Red Rodney, Charlie Parker, Kai Winding y Gerry Mulligan, comenzando en 1949 a dirigir sus propios grupos, aunque sin dejar de colaborar con músicos como Lionel Hampton (1953) y realizar grabaciones con Serge Chaloff, Stan Getz, Zoot Sims, Phil Woods, Tony Scott y otros muchos. Después, a finales de la década de 1950, abandona la escena musical para dirigir su propia empresa de aire acondicionado.

En 1984 hace una reaparición, grabando un álbum de piano solo y trabajando con Marian McPartland, además de aparecer en algunos grandes festivales.

Estilo

Wallington está considerado como uno de los arquetipos del pianista bop, y desarrolló su estilo de forma paralela pero cercana al de Bud Powell. Se caracterizaba por la originalidad de los acordes de paso que utilizaba para su mano izquierda, así como por la calidad de su sonido. Fue también importante su obra como compositor, especialmente tras su regreso en los años 1980.

https://es.wikipedia.org/wiki/George_Wallington

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George Wallington (October 27, 1924, – February 15, 1993) was an American jazz pianist and composer.

Wallington was born Giacinto Figlia (some sources give "Giorgio") in Sicily, and then moved to the United States (New York) with his family in 1925. His father sang opera and introduced his son to classical music, but Wallington listened to jazz after hearing the music of saxophonist Lester Young. He said that he acquired the name Wallington in high school: "I like to wear flashy clothes [...] and the kids in the neighborhood would say, 'Hey, look at Wallington!'" He left school at the age of 15 to play piano in New York.

Later life and career

From 1943 to 1953 Wallington played with Dizzy Gillespie, Joe Marsala, Charlie Parker, Serge Chaloff, Allan Eager, Kai Winding, Terry Gibbs, Brew Moore, Al Cohn, Gerry Mulligan, Zoot Sims, and Red Rodney, and recorded as a leader for Savoy and Blue Note (1950). Wallington toured Europe in 1953 with Lionel Hampton's big band. In 1954-60 he led bands in New York that contained rising musicians including Donald Byrd, Jackie McLean, and Phil Woods.

From 1954 to 1960 he led groups in New York that included newcomers Donald Byrd, Jackie McLean, and Phil Woods, recording as leader with these musicians for the Prestige and Atlantic labels. A Blue Note septet session from 1954 George Wallington Showcase is not included in this discography.

In 1960 Wallington stopped playing music and moved to Florida to work in the family air conditioning business, citing the stress of endless touring. He returned to music in 1984 and recorded three albums, Virtuoso in 1984, Symphony of a Jazz Piano in 1986 and Pleasure of a Jazz Inspiration in 1992.  He also performed at the 1985 Kool Jazz Festival in New York.

Compositions

His best-known compositions are "Lemon Drop" (which gained attention when played by Woody Herman in the late 1940s), and "Godchild" (one of the pieces played for The Birth of the Cool recordings led by Miles Davis).

Ray Bryant • In the Cut

 

Artist Biography by Scott Yanow

Although he could always play bop, Ray Bryant's playing combined together older elements (including blues, boogie-woogie, gospel, and even stride) into a distinctive, soulful, and swinging style; no one played "After Hours" quite like him. The younger brother of bassist Tommy Bryant and the uncle of Kevin and Robin Eubanks (his sister is their mother), Bryant started his career playing with Tiny Grimes in the late '40s. He became the house pianist at The Blue Note in Philadelphia in 1953, where he backed classic jazz greats (including Charlie Parker, Miles Davis, and Lester Young) and made important contacts. He accompanied Carmen McRae (1956-1957), recorded with Coleman Hawkins and Roy Eldridge at the 1957 Newport Jazz Festival (taking a brilliant solo on an exciting version of "I Can't Believe That You're in Love with Me"), and played with Jo Jones' trio (1958). Bryant settled in New York in 1959; played with Sonny Rollins, Charlie Shavers, and Curtis Fuller; and soon had his own trio. He had a few funky commercial hits (including "Little Susie" and "Cubano Chant") that kept him working for decades. Bryant recorded often throughout his career (most notably for Epic, Prestige, Columbia, Sue, Cadet, Atlantic, Pablo, and Emarcy), and even his dates on electric piano in the '70s are generally rewarding. However, Bryant was heard at his best when playing the blues on unaccompanied acoustic piano. After a lengthy illness, Ray Bryant died in Queens, New York on June 2, 2011; he was 79 years old.

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Biografía del artista por Scott Yanow

Aunque siempre pudo tocar bop, Ray Bryant combinó elementos antiguos (incluyendo blues, boogie-woogie, gospel, e incluso stride) en un estilo distintivo, conmovedor y de swing; nadie tocó "After Hours" como él. Hermano menor del bajista Tommy Bryant y tío de Kevin y Robin Eubanks (su hermana es su madre), Bryant comenzó su carrera tocando con Tiny Grimes a finales de los años 40. En 1953 se convirtió en el pianista de casa de The Blue Note en Filadelfia, donde apoyó a los grandes del jazz clásico (incluyendo a Charlie Parker, Miles Davis y Lester Young) e hizo importantes contactos. Acompañó a Carmen McRae (1956-1957), grabó con Coleman Hawkins y Roy Eldridge en el Festival de Jazz de Newport en 1957 (haciendo un brillante solo en una emocionante versión de "I Can't Believe That You're in Love with Me"), y tocó con el trío de Jo Jones (1958). Bryant se estableció en Nueva York en 1959; tocó con Sonny Rollins, Charlie Shavers y Curtis Fuller; y pronto tuvo su propio trío. Tuvo algunos éxitos comerciales funky (incluyendo "Little Susie" y "Cubano Chant") que lo mantuvieron trabajando por décadas. Bryant grabó a menudo a lo largo de su carrera (sobre todo para Epic, Prestige, Columbia, Sue, Cadet, Atlantic, Pablo, y Emarcy), e incluso sus citas con el piano eléctrico en los años 70 son generalmente gratificantes. Sin embargo, Bryant fue escuchado en su mejor momento cuando tocaba el blues en un piano acústico sin acompañamiento. Después de una larga enfermedad, Ray Bryant falleció en Queens, Nueva York, el 2 de junio de 2011; tenía 79 años.

Colaborador / Contribuitor:  Bob [boppinbob / https://fromthevaults-boppinbob.blogspot.com/]