Tracklist :
1 Apple 10:28
Composed By – Masabumi Kikuchi
2 Ginkai 8:31
Composed By – Masabumi Kikuchi
3 Little Abi 6:06
Composed By – Masabumi Kikuchi
4 Bell 4:25
Composed By – Masabumi Kikuchi
5 Hollow Out 5:47
Composed By – Masabumi Kikuchi
Credits :
Bass – Gene Perla
Drums – Elvin Jones
Piano – Masabumi Kikuchi
Recorded By – Rudy Van Gelder
A byproduct of the bossa nova fad that followed the success of "Desafinado" (and preceded the famous recording Getz/Gilberto), this set finds Quincy Jones utilizing and exploiting bossa nova rhythms in his arrangements for a big band. The personnel includes flügelhornist Clark Terry, altoist Phil Woods, pianist Lalo Schifrin, guitarist Jim Hall, and (on "Soul Bossa Nova") the remarkable Rahsaan Roland Kirk. However, since the selections are all quite brief, and some of the charts are a bit cheesy and inappropriate for the gentle rhythms, this disc (although pleasant enough) is of lesser interest. Scott Yanow
Tracklist :
1. Soul Bossa Nova (2:48)
Quincy Jones
2. Boogie Bossa Nova (2:45)
Charles Mingus
3. Desafinado (2:57)
Antônio Carlos Jobim / Newton Mendonça
4. Black Orpheus (Manha De Carnaval) (2:58)
Luiz Bonfá / Antônio Maria
5. Se E Tarde Me Pardoa (Forgive Me If I'm Late) (4:25)
Ronaldo Bôscoli / Carlos Lyra
6. On The Street Where You Live (2:36)
Alan Jay Lerner / Frederick Loewe
7. Samba De Uma Nota So (One Note Samba) (2:05)
Jon Hendricks / Antônio Carlos Jobim / Newton Mendonça
8. Lalo Bossa Nova (3:13)
Lalo Schifrin
9. Serenata (3:22)
Leroy Anderson
10. Chega De Saudade (No More Blues) (5:39)
Antônio Carlos Jobim
Credits :
Bass – Chris White
Drums – Rudy Collins
Flugelhorn – Clark Terry
Flute – Jerome Richardson, Rahsaan Roland Kirk (tracks: 1)
Flute [Alto] – Jerome Richardson
Guitar – Jim Hall (tracks: 3, 8-10)
Percussion – Carlos Gomez, Jack Del Rio, José Paula
Piano – Lalo Schifrin
Producer – Quincy Jones
Saxophone [Alto] – Phil Woods (tracks: 6-9)
Saxophone [Tenor] – Paul Gonsalves (tracks: 2, 4 & 7)
Trumpet – Clark Terry (tracks: 2 & 10)
Woodwind – Jerome Richardson
Anyone who has followed Abbey Lincoln’s career with any regularity
understands that she has followed a fiercely individual path and has
paid the cost for those choices. Through the Years is a cross-licensed,
three-disc retrospective expertly compiled and assembled by the artist
and her longtime producer, Jean-Philippe Allard. Covering more than 50
years in her storied career, it establishes from the outset that Lincoln
was always a true jazz singer and unique stylist. Though it contains no
unreleased material, it does offer the first true picture of he range
of expression. Her accompanists include former husband Max Roach, Benny
Carter, Kenny Dorham, Charlie Haden, Sonny Rollins, Wynton Kelly, Benny
Golson, J.J. Johnson, Art Farmer, Stan Getz, and Hank Jones, to name
scant few.
Disc one commences with “This Can’t Be Love” from 1956; one of the
best-known tunes off her debut album, arranged and conducted by Golson.
But the story begins to change immediately with "I Must Have That Man"
with her fronting the Riverside Jazz All-Stars in 1957. Tracks from It’s
Magic, Abbey Is Blue, and Straight Ahead are here, and the story moves
ahead chronologically and aesthetically all the way to 1984. But there
are also big breaks stylistically, with her primal performance on
“Triptych: Prayer/Protest/Peace” from We Insist! Max Roach’s Freedom Now
Suite in 1960 and the amazing “Lonesome Lover” from It’s Time: Max
Roach and His Orchestra and Choir in 1962, which is where her story
takes its first recording break. It picks up in 1973 with "Africa" from
People in Me. It breaks again until 1980, with “Throw It Away” off the
beautiful Painted Lady, and continues through appearances with Cedar
Walton and Sun Ra. There is another break in the narrative between discs
one and two, commencing again in 1990 with the issue of the brilliant
The World Is Falling Down on Verve when she began her association with
Allard and recorded regularly. This disc contains a dozen tracks all
recorded between 1990 and 1992. Disc three commences in 1995 and goes
straight through to 2007. The latter two discs reflect the periods when
Lincoln finally assumed her rightful status as a true jazz icon;
individual track performances from standards to self-written tunes and
folk songs are all done in her inimitable style and are well-known to
fans. This set is gorgeously compiled and sequenced. As a listen,
Through the Years is literally astonishing in its breadth and depth. It
establishes her commitment to artistic freedom, and her fierce
dedication to discipline, song, and performance. The box features liners
by Gary Giddins, and great photographs, as well as stellar sound
quality.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1-1 This Can't Be Love 2:22
Composed By – Lorenz Hart, Richard Rodgers
Directed By, Arranged By – Benny Carter
Engineer – John Kraus
Orchestra – Benny Carter And His Orchestra
Producer – Russell Keith
1-2 Don't Explain 6:35
Bass – Wynton Kelly
Composed By – Arthur Herzog, Jr., Billie Holiday
Drums – Max Roach
Engineer – Jack Higgins
Producer – Bill Grauer, Orrin Keepnews
Tenor Saxophone – Sonny Rollins
Trumpet – Kenny Dorham
1-3 I Must Have That Man 3:37
Bass – Paul Chambers
Composed By – Dorothy Fields, Jimmy McHugh
The Power to Believe (2003) marks the return of King Crimson for the group's first full-length studio release since ConstruKction of Light (2000). While it draws upon material featured on the live Level Five (2001) and studio Happy with What You Have to Be Happy With (2002) extended-play discs, there are also several new sonic sculptures included. Among them is the title track, which is divided into a series of central thematic motifs much in the same manner as the "Larks' Tongues in Aspic" movements had done in the past. This 21st century schizoid band ably bears the torch of its predecessors with the same ballsy aggression that has informed other seminal King Crimson works -- such as In the Court of the Crimson King (1969), Red (1974), and more recently THRAK (1995). This incarnation of the Mighty Krim includes the excessively talented quartet of Adrian Belew (guitar/vocals), Robert Fripp (guitar), Trey Gunn (Warr guitar/Warr fretless guitar), and Pat Mastelotto (percussion). Under the auspices of Machine -- whose notable productions include post-grunge and industrial medalists Pitchshifter and White Zombie -- the combo unleashes a torrent of alternating sonic belligerence ("Level Five") and inescapable beauty ("Eyes Wide Open"). These extremes are linked as well as juxtaposed by equally challenging soundscapes from Fripp on "The Facts of Life: Intro" as well as Belew's series of "The Power to Believe" haikus. The disc is fleshed out with some choice extended instrumentals such as "Elektrik" and "Dangerous Curves," boasting tricky time signatures that are indelibly linked to equally engaging melodies. Both "Happy With What You Have to Be Happy With" and "Facts of Life" stand out as the (dare say) perfect coalescence of Belew's uncanny Beatlesque lyrical sense with the sort of bare-knuckled, in your face aural attack that has defined King Crimson for over three decades. If the bandmembers' constant tone probing is an active search to find the unwitting consciousness of a decidedly younger, rowdier, and more demanding audience, their collective mission is most assuredly accomplished on The Power to Believe -- even more so than the tripped-out psychedelic prog rock behemoth from whence they initially emerged. Lindsay Planer
Tracklist :
1. The Power To Believe I: A Cappella (00:44)
2. Level Five (07:17)
3. Eyes Wide Open (04:08)
4. Elektrik (07:59)
5. Facts Of Life: Intro (01:38)
6. Facts Of Life (05:05)
7. The Power To Believe II (07:43)
8. Dangerous Curves (06:42)
9. Happy With What You Have To Be Happy With (03:17)
10. The Power To Believe III (04:09)
11. The Power To Believe IV: Coda (02:28)
Credits :
Drums [Traps], Drum Programming [Buttons] – Pat Mastelotto
Guitar – Robert Fripp
Guitar [Warr], Fretless Guitar [Fretless Warr] – Trey Gunn
Guitar, Vocals, Words By – Adrian Belew
Music By – King Crimson
An exploration of the traces left by Celtic music on its journey from European music into jazz. In "Jazz at Berlin Philharmonic," ...
