Mostrando postagens com marcador Marty Morell. Mostrar todas as postagens
Mostrando postagens com marcador Marty Morell. Mostrar todas as postagens

9.8.24

STEVE KUHN — The October Suite : Three Compositions of Gary McFarland (1966-2003) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

Composer and arranger Gary McFarland was well known in the 1960s for his film-scoring abilities and his charting skills with midsized bands. McFarland was also, however, a jazz fan, and particularly one of scalar pianist Steve Kuhn. This project features Kuhn in the center of a program made up entirely of McFarland compositions, all but two of which were written specifically for the album. Recorded in 1966, it is an anomaly in the Impulse catalog of the time in that it did not pursue the free jazz realms with the vengeance that most of the label's other acts did during that year. It is also significant that it caught the attention of a young Manfred Eicher, who later signed Kuhn to his ECM label based on the strengths of this recording. Like Keith Jarrett, Kuhn is in the pointillistic school of jazz pianists of the era. Unlike Jarrett, Kuhn does not consider force in his attack as necessary as his labelmate does. Instrumentally, Kuhn's customary trio situation -- which is dutifully performed with zeal by Ron Carter and drummer Marty Morell -- is augmented with a string quartet on half the record and with a wind trio with harp on the other half. The tracks on side one are in some ways less revolutionary, yet more fulfilling because Kuhn is clearly at home with the sonorities afforded by the strings. They don't swing, even on "One I Could Have Loved" from the film 13 or "St. Tropez Shuttle," a strangely metered bossa tune (in 3/4 instead of 4/4). Kuhn's cautious, contemplative improvising concerns itself with scalar explorations of melody, color, and harmony rather than rhythm or modal considerations. His touch is light and airy and therefore most pronouncedly visible against the strings. The interplay between Carter and Morell is almost instinctual; they couldn't have moved any closer together on this set if the charts had been written for them -- and they were not. With the wind trio and harp, Kuhn's approach is more physical, but nonetheless strives to create a palette for the very instruments that are trying to create one for him. There is some tension in this approach, but it works to the record's advantage. In sum, The October Suite was an experiment that worked beautifully, even if it was not acknowledged as being one of the more subtly brilliant albums of its day, though it most certainly stands the test of time that way.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    One I Could Have Loved    4:45

 Gary McFarland
2    St. Tropez Shuttle    7:10
 Gary McFarland
3    Remember When    7:25
 Gary McFarland
4    Traffic Patterns    5:04
 Gary McFarland
5    Childhood Dreams    6:27
 Gary McFarland
6    Open Highway    8:43
 Gary McFarland
Credits :
Bass – Ron Carter
Cello – Al Brown (tracks: 1 to 3)
Composed By, Conductor, Arranged By – Gary McFarland
Drums – Marty Morell
Harp – Corky Hale (tracks: 4 to 6)
Piano – Steve Kuhn
Viola – Charlie McCracken (tracks: 1 to 3)
Violin – Isador Cohen (tracks: 1 to 3), Matt Raimondi (tracks: 1 to 3)
Woodwind – Don Ashworth (tracks: 4 to 6), Gerald Sanfino (tracks: 4 to 6), Irving Horowitz (tracks: 4 to 6), Joe Firrantello (tracks: 4 to 6)

1.7.24

BILL EVANS WITH JEREMY STEIG — Whats New (1969-1995) RM | Serie Verve 24bit Super Best 50 – 4 | FLAC (tracks+.cue) lossless

Fin 1968 le pianiste Bill Evans (1929-1980) met en place un nouveau trio ; le batteur Marty Morell rejoint le contrebassiste Eddie Gomez qui est déjà avec Bill depuis 1966. Ce trio durera jusqu’en 1974. En octobre 1968, ils se produisent au Top Of The Gate, situé au-dessus du Village Gate. Souvent en fin de soirée le flutiste Jeremy Steig s’adjoint au groupe. Bill Evans connaissait Steig depuis 1964 et l’appréciait. Eddie Gomez était très ami avec le flutiste, il venait de participer à l'enregistrement d'un disque de jazz fusion, "Jeremy & The Satyrs", sous la direction du flutiste. Depuis de nombreuses années Bill et Jeremy avaient le projet d’un album conjoint. Bill Evans dans les notes de pochette de cet album rappelle combien il apprécie la flûte, instrument qu’il a pratiqué de nombreuses années. Rendez-vous est donc pris pour un album commun prometteur.
L’album «What’s new», enregistré début 1969, est donc le premier en studio du trio Evans-Gomez-Morell, avec le flutiste en invité. Un Bill Evans plus rageur dès le premier morceau, la composition de Monk «Straight No Chaser», ou encore comme sur un «Autumn Leaves» plein d’énergie, comme une poussée de sève printanière. L’album se conclut avec un «So What» que Bill Evans n’avait pas enregistré* depuis la séance historique avec Miles Davis. Probablement à la demande de Steig, c’est une version nettement plus « speed » qui nous est offerte, Bill Evans semble en retrait.
Disque plaisant certes, mais à l’écoute je ne ressens ni la même spontanéité ni la même complicité que sur l'excellent Flute Fever, premier album du flutiste (en compagnie de Denny Zeitlin au piano). Sur plusieurs morceaux, pendant le solo de Jeremy, le piano est absent. Eddie Gomez occupe une grande place dans cet album, bénéficiant d’un large espace comme soliste et il s’avère très brillant. Bien des années plus tard, à propos de cet album, Marty Morell dans deux interviews (une sur le site Jazzwax et l’autre avec Jan Stevens) laisse entendre que Jeremy Steig n’était pas du tout en forme, un peu ailleurs. Les prises se sont multipliées (près de 30 parfois) et Bill Evans perdait patience. Au final, malgré tout, un bon disque, même si son accouchement a été difficile. Un rendez-vous dont peut-être les protagonistes attendaient trop ? Philippe A
Tracklist :
1    Straight No Chaser 5:40
Written-By – Thelonious Monk
2    Lover Man 6:19
Written-By – David, Sherman, Ramirez
3    What's New 4:50
Written-By – Haggart, Burke
4    Autumn Leaves 6:12
Written-By – Prevert, Mercer, Kosma
5    Time Out For Chris 7:17
Written-By – Evans
6    Spartacus Love Theme 4:18
Written-By – North
7    So What 9:06
Written-By – Hall, Davis
Credits :
Bass – Eddie Gomez
Drums – Marty Morell
Flute – Jeremy Steig
Piano – Bill Evans

21.9.21

BILL EVANS - Re : Person I Knew (1974-2012) RM / SHM-CD / FLAC (tracks+.cue), lossless

Recorded at the same Village Vanguard sessions that resulted in Since We Met, this posthumous collection (first put out in 1981 and later reissued on CD) features pianist Bill Evans, bassist Eddie Gómez, and drummer Marty Morell playing material that was passed over for release at the time -- some of the songs were overly familiar, while others were works in progress. But even though the results fall short of classic, they should interest Bill Evans collectors; highlights include remakes of "Re: Person I Knew," "Alfie," "T.T.T. (Twelve Tone Tune)," and "34 Skidoo." by Scott Yanow
Tracklist :
1     Re: Person I Knew 5:20
Bill Evans
2     Sugar Plum 8:17
Bill Evans
3     Alfie 4:59
Burt Bacharach / Hal David
4     T.T.T. (Twelve Tone Tune) 5:31
Bill Evans
5     Excerpt from Dolphin Dance/Very Early 7:26
Bill Evans / Herbie Hancock
6     34 Skidoo 6:05
Bill Evans
7     Emily 5:17
Johnny Mandel / Johnny Mercer
8     Are You All the Things 6:21
Bill Evans
Credits :
Bass – Eddie Gomez
Drums – Marty Morell
Piano – Bill Evans

THE BILL EVANS TRIO - Since We Met (1974-1991) RM / FLAC (tracks+.cue), lossless

Thirteen years after his legendary Village Vanguard recordings, Bill Evans recorded Since We Met at the famous New York establishment again. Using his trio of the era (which includes bassist Eddie Gómez and drummer Marty Morell), Evans explores both familiar ("Time Remembered," "Turn Out the Stars" and "But Beautiful") and new (Joe Zawinul's "Midnight Mood," "See-Saw" and "Sareen Jurer") material. This CD reissue gives listeners a good example of Bill Evans' early-'70s trio as it typically sounded in clubs. by Scott Yanow
Tracklist :
1     Since We Met 8:52
Bill Evans
2     Midnight Mood 6:53
Ben Raleigh / Joe Zawinul
3     See-Saw 6:53
Cy Coleman
4     Sareen Jurer 6:39
Earl Zindars
5     Time Remembered 5:27
Bill Evans
6     Turn Out the Stars 5:07
Bill Evans
7     But Beautiful 6:21
Johnny Burke / James Van Heusen
Credits :
Bass – Eddie Gomez
Drums – Marty Morell
Piano – Bill Evans

20.9.21

BILL EVANS — Piano Player (1998) RM | FLAC (tracks+.cue), lossless

Although this 1998 CD may at first glance seem to be a reissue, all but three of the 11 selections had never been released before. The highly influential pianist Bill Evans is heard in five different settings. An unissued (and slightly earlier rendition) of the third section of George Russell's "All About Rosie" (a showcase for Evans with Russell's 14-piece orchestra) starts off the release. Next are the three previously issued but somewhat obscure numbers: a live rendition of "My Funny Valentine" with Miles Davis in 1958 (played by just a quartet) and two songs from a 1962 set headed by vibraphonist Dave Pike. For Piano Player, producer Orrin Keepnews discovered and released six long-lost selections from 1970: duets by Evans (who also plays a little bit of electric piano) and bassist Eddie Gomez that are strong enough to make one wonder why the projects was originally abandoned. Wrapping up the intriguing set is a trio number (with Evans, Gomez, and drummer Marty Morell) that is an alternate take left over from The Bill Evans Album. The pianist's fans will definitely want this consistently enjoyable CD. Scott Yanow  
Tracklist :
1     All About Rosie 5:18
George Russell
2     My Funny Valentine 10:20
Lorenz Hart / Richard Rodgers
3     Vierd Blues 5:58
Miles Davis
4     Besame Mucho 6:53
Sunny Skylar / Consuelo Velázquez
5     Mornin' Glory 6:43
Bobbie Gentry
6     Django 8:08
John Lewis
7     Waltz for Debby 5:13
Bill Evans / Gene Lees
8     T.T.T. (Twelve Tone Tune) 3:37
Bill Evans
9     Comrade Conrad 6:40
Bill Evans
10     Gone with the Wind 6:42
Herbert Magidson / Allie Wrubel
11     Fun Ride 6:37
Bill Evans
Credits :
Bass – Eddie Gomez (faixas: 6 to 11), Herbie Lewis (faixas: 3, 4), Paul Chambers (faixas: 2)
Drums – Jimmy Cobb (faixas: 2), Marty Morell (faixas: 11), Walter Perkins (faixas: 3, 4)
Electric Bass – Eddie Gomez (faixas: 5)
Electric Piano – Bill Evans (faixas: 5 to 10)
Leader, Trumpet – Miles Davis (faixas: 2)
Leader, Vibraphone – Dave Pike (faixas: 3, 4)
Orchestra – George Russell Orchestra (faixas: 1)
Piano – Bill Evans

THE BILL EVANS TRIO ft. STAN GETZ - But Beautiful (1974-1996) FLAC (tracks+.cue), lossless

Aside from a series of studio sessions a decade earlier for Verve, this LP represents the only other meeting featuring Stan Getz with pianist Bill Evans. Originally issued by the notorious bootleg label Jazzdoor with six selections from a Laren, Holland concert in 1974, Milestone acquired the masters for a legitimate release and added four bonus tunes from a concert in Antwerp, Belgium a week later. Getz meshes almost perfectly with Evans' trio (with bassist Eddie Gómez and drummer Marty Morell), with only one sore spot: Getz ignored the pianist's request not to play the under-rehearsed "Stan's Blues," which provoked Evans into quickly dropping out and signaling his sidemen to avoid solos of their own. But the remaining tracks are all invigorating, particularly Evans' brisk "Funkallero" and the lush take of Jimmy Rowles' ballad "The Peacocks." It seems a shame that there were not additional opportunities for Getz and Evans to work together on other occasions, but it is possible that their strong personalities would have clashed. Highly recommended! by Ken Dryden
Tracklist :
1     Grandfather's Waltz 8:05
Lasse Färnlöf / Gene Lees
2     Stan's Blues 5:49
Stan Getz / Gigi Gryce
3     But Beautiful 5:44
Johnny Burke / James Van Heusen
4     Emily 5:40
Johnny Mandel / Johnny Mercer
5     Lover Man [Oh, Where Can You Be?] 8:03
Jimmie Davis / Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
6     Funkallero 6:36
Bill Evans
7     The Peacocks 7:19
Jimmy Rowles
8     You and the Night and the Music 7:38
Howard Dietz / Arthur Schwartz
9     See-saw 6:43
Cy Coleman
10     The Two Lonely People 8:12
Bill Evans / Carol Hall / Jim Hall
Credits :
Bass – Eddie Gomez
Drums – Marty Morell
Piano – Bill Evans
Tenor Saxophone – Stan Getz (faixas: 1 to 8)

KNUT REIERSRUD | ALE MÖLLER | ERIC BIBB | ALY BAIN | FRASER FIFIELD | TUVA SYVERTSEN | OLLE LINDER — Celtic Roots (2016) Serie : Jazz at Berlin Philharmonic — VI (2016) FLAC (tracks+.cue), lossless

An exploration of the traces left by Celtic music on its journey from European music into jazz. In "Jazz at Berlin Philharmonic," ...