Melody Gardot's 2009 sophomore effort, My One and Only Thrill, sustained
the sultry, atmospheric vibe of her critically acclaimed 2006 debut,
her 2012 follow-up, The Absence, is a bit of a creative departure for
the vocalist. Apparently inspired by her world travels, and specifically
by a trip that brought her to the desert around the city of Marrakech,
the album moves her away from smoky, small-group jazz and into a bright,
if still bedroom-eyed, rhythmically exotic sound. Produced by
guitarist/composer Heitor Pereira, the album is a lush, somewhat
orchestral album that finds Gardot delving into various Brazilian,
Spanish, and African-influenced sounds -- including bits of samba,
tango, bossa nova, and calypso -- that evince her global journey.
However, rather than simply making a standards album, Gardot continues
her all-original approach, offering up new literate and passionately
delivered compositions that bring to mind the work of such similarly
inclined artists as Antonio Carlos Jobim, Paul Simon, Caetano Veloso,
Gilberto Gil, and others. Although there are a few name musicians who
help add spice to Gardot's musical caravan here, including percussionist
Paulinho Da Costa, drummer Peter Erskine, and bassist John Leftwich,
primarily it is still Gardot's burnished and yearning vocal style that
takes the helm on these tracks.Matt Collar Tracklist : 1 Mira 4:16 Written-By – Gardot 2 Amalia 3:03 Written-By – Pereira, Gardot, Roy 3 So Long 3:50 Written-By – Gardot 4 So We Meet Again My Heartache 4:32 Written-By – Gardot 5 Lisboa 5:27 Written-By – Gardot 6 Impossible Love 3:49 Written-By – Gardot 7 If I Tell You I Love You 3:35 Engineer [Recording, Assistant] – Glenn Barratt Written-By – Gardot 8 Goodbye 3:41 Written-By – Harris, Gardot 9 Se Voce Me Ama 4:56 Written-By – Pereira, Gardot 10 My Heart Won't Have It Any Other Way 2:24 Written-By – Gardot 11 Iemanja 4:00 Written-By – Gardot 12 The Willow (Bonus Track) 7:00 Written-By – Roy Credits : Backing Vocals – Alfie Silas Durio, Ali Witherspoon, Bill Cantos, Bill Maxwell, Louis B. Price, Phil Roy, Tata Vega Bandoneon – Coco Trivisonno Bass – John Leftwich Clarinet – Ron Kerber Conductor – Nick Glennie Smith Drums – Jim Keltner, Peter Erskine Flute, Bass Clarinet, Clarinet, Alto Flute – Dan Higgins Orchestrated By – Ladd McIntosh Percussion – Paco Arroyo, Paulinho Da Costa, Yolanda Arroyo Piano, Melodica – Larry Goldings Piano, Portuguese Guitar – Melody Gardot Producer, Arranged By, Vocals [Additional], Guitar [All], Piano, Percussion – Heitor Pereira Saxophone [Slide], Tuba – Doug Webb Trombone – Andrew Lippman Trumpet – Harry Kim, Ramon Flores
Guitarist Jim Hall has long been one of the most open-minded of the important stylists to emerge during the 1950s, and his harmonically advanced style remains quite modern while hinting at its foundations in bop. For this Telarc CD, Hall teams up with five major players on two numbers apiece: Guitarists Bill Frisell and Mike Stern, Joe Lovano on tenor, flugelhornist Tom Harrell, and Gil Goldstein on accordion. Bassist Scott Colley and drummer Andy Watson are on the Frisell and Lovano tracks, and part of the Harrell and Stern performances. All of the compositions but "Skylark" are Hall originals and, although they are usually a bit dry, there are some exceptions: "Uncle Ed" and "Frisell Frazzle" are a little nutty. The emphasis throughout is on interplay between the lead voices and advanced improvising. Despite his strong sidemen (Stern and Harrell fare best), Jim Hall ends up as the dominant voice on virtually every selection, making this a set his fans will enjoy. Scott Yanow Tracklist : 1 Frisell Frazzle 4:47 Written-By – Jim Hall 2 Simple Things 6:26 Written-By – Jim Hall 3 Calypso Joe 5:17 Written-By – Jim Hall 4 Bon Ami 6:37 Written-By – Jim Hall 5 Dream Steps 4:45 Written-By – Jim Hall 6 Snowbound 6:19 Written-By – Jim Hall 7 Stern Stuff 5:12 Written-By – Jim Hall 8 Dialogue 4:34 Written-By – Jim Hall 9 Uncle Ed 5:03 Written-By – Jim Hall 10 Skylark 5:35 Written-By – Hoagy Carmichael Credits : Guitar – Jim Hall, Bill Frisell (tracks: 1, 2), Mike Stern (tracks: 7, 9) Accordion – Gil Goldstein (tracks: 6, 8) Bass – Scott Colley (tracks: 1 to 4, 7, 10) Drums – Andy Watson (tracks: 1 to 5, 7, 9, 10) Flugelhorn – Tom Harrell (tracks: 5, 10) Tenor Saxophone – Joe Lovano (tracks: 3, 4)
Beautiful Dreamers is Bill Frisell's debut for Savoy Jazz. He left longstanding label Nonesuch in 2009, claiming he needed to release more than one record per year in order to to document his various bands, film score commitments, and commissions. This set features the guitarist in the company of violist Eyvind Kang and drummer Rudy Royston on a program of ten originals and six covers. While this trio is well known for using various effects in concert to expand its sonic palette, and jamming on various tunes for long periods of time, here the musicians are virtually a mirror image of that incarnation, playing with restraint, brevity, and melodic sensitivity. Frisell's originals range between speculative, atmospherically mysterious numbers such as "Love Sick" and more rhythmically pronounced exercises that engage in contrapuntal play between the guitarist and Kang, as on "Winslow Homer," which also flirts with bluegrass while Royston lays down breaks inside hip-hop drums. "Better Than a Machine" is dedicated to the late Vic Chesnutt, and employs two of his themes in a perky, rockist tribute with some nice dissonance from Kang and power chords from Frisell. But they also underscore the covers, which are typical of Frisell; they reflect his wide interest in American music and his sense of humor. There's a parlor-room reading of Stephen Foster's "Beautiful Dreamer," an elegant version of "Goin' Out of My Head" that features killer pizzicato playing from Kang (and refers more to the original hit version by Little Anthony & the Imperials than the version by Sergio Mendes), the forlorn, wary blues of Blind Willie Johnson's "It's Nobody's Fault But Mine" stretched to the breaking point, and a swinging read of "Benny's Bugle." The blues also appears on "Worried Woman," with a direct quote from John Lennon's "I Found Out" and great rhythmic and harmonic interplay between all members of the trio. There's a sparkling cover of A.P. Carter's "Keep on the Sunny Side" that underscores Frisell's well-documented love of Americana and country music. At an hour in length, this can seem like an overly long exercise at times -- "Tea for Two" feels like an eternity and some of Frisell's originals are a tad amorphous, like cues left off film scores -- but these are minor complaints. Ultimately, Beautiful Dreamers is a wonderfully balanced trio exercise. -> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- Tracklist : 1. Love Sick 1:03 Bill Frisell 2. Winslow Homer 3:32 Bill Frisell 3. Beautiful Dreamer (for Karle Seydel) 3:02 Stephen Foster 4. A Worthy Endeavor (for Cajori) 5:24 Bill Frisell 5. It's Nobody's Fault But My Own 4:34 Blind Willie Johnson 6. Baby Cry 6:21 Bill Frisell 7. Benny's Bugle 3:31 Benny Goodman 8. Tea For Two 4:28 Vincent Youmans 9. No Time To Cry 1:36 Bill Frisell 10. Better Than A Machine (for Vic Chestnut) 2:49 Bill Frisell 11. Goin' Out Of My Head 2:46 Bobby Weinstein, Teddy Randazzo 12. Worried Woman 4:44 Bill Frisell 13. Keep On The Sunny Side 2:26 A.P. Carter 14. Sweetie 4;28 Bill Frisell 15. All We Can Do 6:16 Bill Frisell 16. Who Was That Girl? 6:14 Bill Frisell Credits : Bill Frisell - Guitar Eyvind Kang - Viola Rudy Royston - Drums
Early in his career, Steve Reich released three groundbreaking albums on ECM Records that established his relationship with this forward-looking label and solidified his reputation as a major American composer. With the recording of Music for 18 Musicians in 1978, Reich received widespread praise from both listeners and critics, and its success led to the subsequent release in 1981 of Octet; Music for a Large Ensemble; Violin Phase, which expanded Reich's catalog of pattern-based instrumental works, and Tehillim in 1982, which revealed his interest in his Jewish heritage and his new emphasis on vocal music. This limited-edition package presents these essential albums on three CDs with the original album art reproduced on cardboard sleeves. This is a must-have set that will bring back fond memories for owners of the original vinyl records. Considering the drawback of having to change sides in the middle of Music for 18 Musicians, many old-timers know that having that cherished performance on CD is a dream come true. Of course, these works have entered the repertoire of many contemporary music ensembles, and several outstanding recordings have been made since these albums first appeared. But this is an important piece of history that collectors and fans of minimalism should snap up immediately.Blair Sanderson Tracklist 1 : Music For 18 Musicians 1. Pulse – Sections I–X – Pulse (56:31) Cello – Ken Ishii Clarinet, Bass Clarinet – Richard Cohen, Virgil Blackwell Marimba, Maracas – Gary Schall Marimba, Xylophone – Bob Becker, Glen Velez, Russ Hartenberger Marimba, Xylophone, Piano – David Van Tieghem Metallophone, Piano – James Preiss Performer [Performed By] – Steve Reich And Musicians Piano – Nurit Tilles, Steve Chambers Piano, Maracas – Larry Karush Piano, Marimba – Steve Reich Violin – Shem Guibbory Voice – Elizabeth Arnold, Pamela Fraley, Rebecca Armstrong Voice, Piano – Jay Clayton Tracklist 2 : Octet • Music For A Large Ensemble • Violin Phase 1. Music For A Large Ensemble (15:28) Bass [Basses] – Judith Sugarman, Lewis Paer Cello [Cellos] – Chris Finckel, Michael Finckel Clarinet [Clarinets] – Richard Cohen, Virgil Blackwell Flute – Mort Silver Marimba [Marimbas] – Gary Schall, Glen Velez, Richard Schwarz, Russ Hartenberger Piano [Pianos] – Edmund Niemann, Larry Karush, Nurit Tilles, Steve Reich Soprano Saxophone [Soprano Saxophones] – Ed Joffe, Vincent Gnojek Trumpet [Trumpets] – Douglas Hedwig, James Dooley, James Hamlin, Marshall Farr Vibraphone – James Preiss Viola [Violas] – Claire Bergman, Ruth Siegler Violin [Violins] – Robert Chausow, Shem Guibbory Voice [Voices] – Elizabeth Arnold, Jay Clayton Xylophone [Xylophones] – Bob Becker, David Van Tieghem 2. Violin Phase (15:09) Violin – Shem Guibbory 3. Octet (17:29) Cello – Chris Finckel Clarinet [Clarinets], Bass Clarinet [Bass Clarinets], Flute [Flutes], Piccolo Flute [Piccolos] – Mort Silver, Virgil Blackwell Piano [Pianos] – Edmund Niemann, Nurit Tilles Viola – Ruth Siegler Violin [Violins] – Robert Chausow, Shem Guibbory Tracklist 3 : Tehillim 1. Tehillim Parts I & II 17:25 Alto Vocals [Alto] – Jay Clayton Bass – Lewis Paer Cello – Chris Finckel Clarinet, Flute – Virgil Blackwell Clarinet, Piccolo Flute [Piccolo] – Mort Silver Conductor – George Manahan English Horn – Ellen Bardekoff Oboe – Vivian Burdick Electric Organ [Electric Organs] – Edmund Niemann, Nurit Tilles Soprano Vocals [High Sopano] – Pamela Wood* Soprano Vocals [Lyric Sopano] – Rebecca Armstrong Soprano Vocals [Lyric Sopano], Soloist [Solo At Beginning And End Of First Part] – Cheryl Bensman Tambourine [Tuned Tambourines (Without Jingles)], Handclaps [Clapping], Maracas, Marimba, Vibraphone, Crotales – Bob Becker, Garry Kvistad, Gary Schall, Glen Velez, Russ Hartenberger, Steve Reich Viola – Ruth Siegler Violin – Robert Chausow, Shem Guibbory 2. Tehillim Parts III & IV Alto Vocals [Alto] – Jay Clayton Bass – Lewis Paer Cello – Chris Finckel Clarinet, Flute – Virgil Blackwell Clarinet, Piccolo Flute [Piccolo] – Mort Silver Conductor – George Manahan English Horn – Ellen Bardekoff Oboe – Vivian Burdick Electric Organ [Electric Organs] – Edmund Niemann, Nurit Tilles Soprano Vocals [High Sopano] – Pamela Wood* Soprano Vocals [Lyric Sopano] – Rebecca Armstrong Tambourine [Tuned Tambourines (Without Jingles)], Handclaps [Clapping], Maracas, Marimba, Vibraphone, Crotales – Bob Becker, Garry Kvistad, Gary Schall, Glen Velez, Russ Hartenberger, Steve Reich Viola – Ruth Siegler Violin – Robert Chausow, Shem Guibbory
A very decent prog-rock release from the very aptly named group from Turkey; influences such as JethroTull and Emerson, Lake & Palmer are fairly obvious but this band sprinkles in some oriental influences from their local backgrounds to make this not as derivative and a lot more their own than you may think. A very enjoyable listen for prog fans only improved upon by their next album. Recommended. Frederick Baptist Tracklist : 1. Preface (4:25) 2. Mahzun Gozler (8:20) 3. Mystic Dance (1:43) 4. Misfortune (4:40) 5. Landscape (4:01) 6. Vision (5:44) 7. Without Stir (1:54) 8. Hayal Dolu Gunler Icin (4:46) 9. Postface (2:11) Credits : Arranged By [Arrangements By], Producer [Produced By] – Asia Minor Composed By [All Compositions By], Cover [Cover Design By], Design [Cover Design By] – Tekeli, Bakirel Drums, Percussion – Lionel Beltrami Flute, Guitar [Guitars], Bass – Eril Tekeli Guest, Keyboards – Nick Vicente Lead Vocals [Lead Vocal], Guitar [Guitars], Bass – Setrak Bakirel
Jazz pianist Michel Camilo, working with the Barcelona Symphony
Orchestra under Ernest Martinez Izquierdo, attempts here to make
something new out of George Gershwin's heavily recorded Rhapsody in Blue
and Concerto in F -- broadly speaking, he tries to tie these
jazz-classical fusions more closely to their jazz roots. Given the
fluency with which Gershwin moved between the worlds of classical music,
jazz, and pop, the experiment would seem a worthwhile and interesting
one, but the recording, at least for those with the usual ways of
performing Gershwin in their ears, is likely to come off as neither fish
nor fowl. Gershwin's genre-bending status is eloquently attested to by
the multiple extant versions of the Rhapsody in Blue, which is heard
here in its familiar arrangement by Ferde Grofé. Camilo, however, bases
his solo part on Gershwin's original version, a freer, jazzier thing
with a language reminiscent in some ways of Gershwin's own Song-Book
improvisations. Camilo is an adept, exciting player with plenty of
experience in classical music, but the effect of this combination is
perhaps to plunk Gershwin's living room down in the middle of a
symphonic stage. Or perhaps to give an idea of what Art Tatum might have
sounded like playing the Rhapsody in Blue. The recording seems to blur
some strands that Gershwin kept clear as he wove them together. The big,
soupy lyricism that is such an essential component of the Rhapsody is
partly lost. Camilo plays it straighter in the concerto, but this work
too ends up sounding more like modern jazz than it should. Gershwin's
music has always served as a stimulus for new creativity. And a bit of
experiment is necessary to realize his aims fully. Perhaps Camilo's
approach will emerge as the standard in time, but for now it's a detour
down a Gershwin byway. James Manheim
Tracklist :
1. Rhapsody in Blue, for piano & orchestra (orchestrated by F. Grofé) 16:46
2-4. Concerto in F, for piano & orchestra 5. Prelude No. 2 6:38 Credits :
Barcelona Symphony and Catalonia National Orchestra
Michel Camilo - Piano
Ernest Martínez Izquierdo - Conductor
McCoy Tyner's Prelude and Sonata adds a different twist from what one typically expects of the pianist; the seasoned veteran invited a trio of young lions (Joshua Redman, Antonio Hart, and Christian McBride) along with drummer Marvin "Smitty" Smith to the date. The two showpieces are classical yet arranged in jazz settings. Chopin's "Prelude in E Minor Op. 28, No. 4" is set as a brisk bossa nova, with a wailing tenor sax solo by Redman which follows alto saxophonist Antonio Hart's laid-back effort. Beethoven's "Piano Sonata No. 8 in C Minor" captures Hart in a more adventurous mood as Tyner interjects some lively changes behind him. Hart's mournful sax is a key ingredient within Henry Mancini's melancholy ballad "Loss of Love," as well as in Mal Waldron's "Soul Eyes." Tyner also has some fun with some old chestnuts like Charlie Chaplin's "Smile"; the pianist's lively re-harmonization and unusually brisk arrangement give it a new lease on life. He also brings out the rich textures within "Good Morning Heartache" in a superb trio chart. "Contemplation" is Tyner's only original of the date, but it has an infectious melancholy theme that inspires some of the best improvisations during the session. This release is definitely off the beaten path for McCoy Tyner, but it is well worth acquiring. Ken Dryden Tracklist : 1. Prelude In E Minor Op. 28, No. 4 (6:14) Frédéric Chopin 2. Loss Of Love (8:34) Henry Mancini / Bob Merrill 3. Contemplation (11:04) McCoy Tyner 4. For All We Know (6:57) J. Fred Coots / Sam M. Lewis 5. I Will Wait For You (7:04) Jacques Demy / Norman Gimbel / Michel Legrand 6. Soul Eyes (6:33) Mal Waldron 7. Smile (4:14) Charles Chaplin 8. Good Morning Heartache (4:16) Ervin Drake / Dan Fisher / Irene Higginbotham 9. Piano Sonata No. 8 In C Minor (7:04) Ludwig van Beethoven Credits : Alto Saxophone – Antonio Hart Bass – Christian McBride Drums – Marvin "Smitty" Smith Piano – McCoy Tyner Tenor Saxophone – Joshua Redman (tracks: 1, 3, 4)
With the release of this CD, the executives at Verve and their marketing staff proved that yes, indeed, jazz can sell. The veteran tenor Joe Henderson has had a distinctive sound and style of his own ever since he first entered the jazz major leagues yet he has spent long periods in relative obscurity before reaching his current status as a jazz superstar. As for the music on his "comeback" disc, it does deserve all of the hype. Henderson performs ten of Billy Strayhorn's most enduring compositions in a variety of settings ranging from a full quintet with trumpeter Wynton Marsalis and duets with pianist Stephen Scott, bassist Christian McBride, and drummer Gregory Hutchinson to an unaccompanied solo exploration of "Lush Life." This memorable outing succeeded both artistically and commercially and is highly recommended. Scott Yanow Tracklist : 1. Isfahan (Duke Ellington, Billy Strayhorn) – 5:59 Arranged By – Don Sickler Bass – Christian McBride Tenor Saxophone – Joe Henderson Written-By – Billy Strayhorn, Duke Ellington 2. Johnny Come Lately – 6:30 Bass – Christian McBride Drums – Gregory Hutchinson Piano – Stephen Scott Tenor Saxophone – Joe Henderson Trumpet – Wynton Marsalis 3. Blood Count – 7:19 Bass – Christian McBride Drums – Gregory Hutchinson Piano – Stephen Scott Tenor Saxophone – Joe Henderson 4. Rain Check – 5:54 Bass – Christian McBride Drums – Gregory Hutchinson Tenor Saxophone – Joe Henderson 5. Lotus Blossom – 4:31 Piano – Stephen Scott Tenor Saxophone – Joe Henderson 6. A Flower is a Lovesome Thing – 6:58 Arranged By – Don Sickler Bass – Christian McBride Drums – Gregory Hutchinson Piano – Stephen Scott Tenor Saxophone – Joe Henderson Trumpet – Wynton Marsalis 7. Take the "A" Train – 7:11 Drums – Gregory Hutchinson Tenor Saxophone – Joe Henderson 8. Drawing Room Blues – 7:33 Arranged By – Don Sickler Bass – Christian McBride Piano – Stephen Scott Tenor Saxophone – Joe Henderson 9. U.M.M.G. (Upper Manhattan Medical Group) – 5:02 Bass – Christian McBride Drums – Gregory Hutchinson Piano – Stephen Scott Tenor Saxophone – Joe Henderson Trumpet – Wynton Marsalis 10. Lush Life – 5:03 Tenor Saxophone – Joe Henderson
Two versions of Dziga Vertov's fascinating montage of life in
Moscow are included on this tape. The first is the original silent
version, with music by the Alloy Orchestra. The second version includes a
commentary by Yuri Tsivian, Russian silent cinema historian. Vertov
makes innovative early use of dissolves, split screen, slow motion and
freeze frames in this fascinating document of life in Twenties Russia. amazon
Synopsis : Soviet director Dziga Vertov's experimental film grew out
of his belief, shared by his editor, Elizaveta Svilova (who was also
his wife), and his cinematographer, Mikhail Kaufman (also his brother),
that the true goal of cinema should be to present life as it is lived.
To that end, the filmmakers offer a day-in-the-life portrait of a city
from dawn until dusk, though they actually shot their footage in several
cities, including Moscow, Kiev, and Odessa. After an opening statement,
there are no words in the film (neither voice-over nor titles), just
dazzling imagery, kinetically edited - as a celebration of the modern
city with a marked emphasis on its buildings and machinery. The Image
Entertainment DVD edition of the film offers a musical score composed
from notes left by the director, which adds greatly to the impact of the
film. Tom Wiener Title : Man With a Movie Camera (1929) Original Title : Chelovek s kino-apparatom Directed : Dziga Vertov Duration : 68 min. Subtitles : English, Spanish, Germany, Portuguese Countries : Russia
In response to critical carping that his ambitious, evocative music somehow didn't swing enough, Charles Mingus returned to the earthiest and earliest sources of black musical expression, namely the blues, gospel, and old-time New Orleans jazz. The resulting LP, Blues and Roots, isn't quite as wildly eclectic as usual, but it ranks as arguably Mingus' most joyously swinging outing. Working with simple forms, Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously -- somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor. Anyone who had heard "Haitian Fight Song" shouldn't have been surprised that such an album was well within Mingus' range, but jazz's self-appointed guardians have long greeted innovation with reactionary distaste. After Blues and Roots, there could be no question of Mingus' firm grounding in the basics, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based -- like the groundbreaking classic "Wednesday Night Prayer Meeting" -- or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned "Wednesday Night Prayer Meeting" and the Jelly Roll Morton tribute "My Jelly Roll Soul." The recording session was reportedly very disorganized, but perhaps that actually helped give the performances the proper feel, since they wound up so loose and free-swinging. With a lineup including John Handy and Jackie McLean on alto, Booker Ervin on tenor, frequent anchor Pepper Adams on baritone, and Jimmy Knepper and Willie Dennis on trombones, among others, Blues and Roots isn't hurting for fiery soloists, and they help make the album perhaps the most soulful in Mingus' discography. Steve Huey Tracklist : 1. Wednesday Night Prayer Meeting 5:39 Charles Mingus 2. Cryin' Blues 4:58 Charles Mingus 3. Moanin 8:01 Charles Mingus 4. Tensions 6:27 Charles Mingus 5. My Jelly Roll Soul 6:47 Charles Mingus 6. E's Flat Ah's Flat Too 6:37 Charles Mingus – BONUS TRACKS – 7. Wednesday Night Prayer Meeting (Alternate Take) 6:54 8. Tensions (Alternate Take) 5:14 9. My Jelly Roll Soul (Alternate Take) 11:20 10. E's Flat Ah's Flat Too (Alternate Take) 6:47 Credits : Charles Mingus – Bass John Handy, Jackie McLean – Sax Alto Booker Ervin – Sax Tenor Pepper Adams – Sax Baritone Jimmy Knepper, Willie Dennis – Trombone Dannie Richmond – Drums Horace Parlan (tracks: 1 to 5, 7 to 9), Mal Waldron (tracks: 6, 10) - Piano
Collectors may want to know how Philips' latest incarnation of Mitsuko Uchida's 1989 Debussy Etudes differs from earlier CD issues. A 2001 reissue in Philips' "50 Great Recordings" series offered 24-bit remastering that yielded more palpable room ambience, clearer definition, and a more natural equalization of the piano than the excellent-sounding original release. The warmer, rounder impact I glean from the present "Originals" transfer appears to result from slightly beefing up the bass. Admittedly, these are hair-splitting considerations, and you can't go wrong with either reissue, but if you already own the 2001 version (my personal preference), you need not replace it. Uchida's interpretations are distinguished by her ability to reconcile fastidious observation of the composer's markings with her acute instincts for nuance and flexibility. The first etude's burlesqued piano-practice scales are clearly articulated without ever sounding notey, while the three double-note etudes stand out for supple, ultra-secure fingerwork and ravishing tone color. Uchida's stunning dispatch of the seventh etude, "Pour les huit doigts", adds up to a master class on the subject of when and when not to pedal.
So does the pianist's vividly characterized eighth etude. Here's a case where taking interpretive liberties works to the music's benefit. For example, Debussy wants the penultimate measures sustained. However, Uchida lifts the pedal on the second to last measure so that the final cluster makes a more surprising and humorous impact. She leans into etude eleven's gorgeous polytextural writing for all it's worth, and brings sweeping ferocity to the chord/octave leaps in the final etude's outer sections. In short, Uchida's Debussy Etudes proudly retains its status as a classic, notwithstanding subsequent and serious rivalry from Florent Bouffard (Harmonia Mundi) and Ju-Ying Song (Pro Piano). Absolutely essential! Claude Debussy at Allmusic / Claude Debussy at Wiki
Claude Debussy (1862-1918) 1-12. Douze Etudes Pour Piano (47:12) Piano – Mitsuko Uchida
This somewhat obscure Lee Morgan set (originally cut for Specialty and made available on CD in the OJC series) features the trumpeter with other then-current members of the Dizzy Gillespie big band: trombonist Al Grey, tenor saxophonist Billy Mitchell, baritonist Billy Root, pianist Wynton Kelly, bassist Paul West, and drummer Charlie Persip. With arrangements provided by Benny Golson and Roger Spotts, the music is modern bop for the period. Highlights include the ten-and-a-half-minute "Dishwater," "Over the Rainbow," and what was probably the first-ever version of Golson's "Whisper Not." Morgan plays extremely well throughout the spirited set, and he was just 18 at the time. Scott Yanow Tracklist : 1 Dishwater (Take 4–Master) 10:38 Written-By – Roger Spotts 2 Someone I Know (Take 6–Master) 3:58 Written-By – Roger Spotts, W. Douglas 3 D.D.T. (Take 5–Master) 3:58 Written-By – Roger Spotts 4 Whisper Not (Take 5–Master) 5:46 Written-By – Benny Golson 5 About Time (Take 5 –Master) 3:00 Written-By – Roger Spotts 6 Day By Day (Take 2–Master) 3:10 Written-By – Alex Stordahl, Paul Weston, Sammy Cahn 7 Rite Of Swing (Take 3–Master) 3:00 Written-By – Roger Spotts 8 Over The Rainbow (Take 4–Master) 4:10 Written-By – E. Y. "Yip" Harburg, Harold Arlen – BONUS TRACKS – 9 Whisper Not (Alt Take) 5:58 10 Reggie Of Chester 4:40 11 Blues After Dark 7:46 12 A Bid for Sid 4:27 13 Suspended Sentence 5:22 14 Minor Strain 6:21 Credits : Lee Morgan - Trumpet Wynton Kelly - Piano Billy Mitchell - Tenor Saxophone Billy Root - Baritone Saxophone Al Grey - Trombone Paul West - Bass Charles Persip - Drums
Oscar Peterson Plays the George Gershwin Songbook is a 1959 album by pianist Oscar Peterson of compositions written by George Gershwin. Peterson had recorded many of the pieces for his 1952 album Oscar Peterson Plays Tracklist : 1. It Ain't Necessarily So – 2:48 George Gershwin 2. The Man I Love – 3:09 George Gershwin / Ira Gershwin 3. Love Walked In – 2:49 George Gershwin / Ira Gershwin 4. I Was Doing All Right – 2:50 George Gershwin 5. A Foggy Day – 2:55 George Gershwin / Ira Gershwin 6. Oh, Lady be Good – 3:02 George Gershwin / Ira Gershwin 7. Our Love is Here to Stay – 2:59 George Gershwin / Ira Gershwin 8. They All Laughed – 2:31 George Gershwin / Ira Gershwin 9. Let's Call the Whole Thing Off – 2:20 George Gershwin / Ira Gershwin 10. Summertime (DuBose Heyward) – 2:58 George Gershwin / Ira Gershwin / DuBose Heyward 11. Nice Work If You Can Get It – 2:07 George Gershwin 12. Shall We Dance? – 2:18 George Gershwin / Ira Gershwin 13. The Man I Love 3:30 14. Fascinating Rhythm 2:56 15. It Ain't Necessarily So 3:13 16. Somebody Loves Me 3:22 Composed By – Ballard MacDonald, B. G. DeSylva, George Gershwin 17. Strike Up The Band 3:14 18. I've Got A Crush On You 2:52 19. I Was Doing All Right 2:41 20. 'S Wonderful 2:36 21. Oh, Lady, Be Good! 3:49 22. I Got Rhythm 3:16 23. A Foggy Day 3:38 24. Love Walked In 3:06 Credits : Oscar Peterson – Piano Ray Brown – Double Bass Ed Thigpen – Drums Notes : 2 LPs on 1 CD Tracks 1 to 12 recorded between July 21 and August 1, 1959 at Universal Recording Studios, Chicago - Original LP issue: The Oscar Peterson Trio - Oscar Peterson Plays The George Gershwin Song Book. Tracks 13 to 24 recorded probably between November 1 and December 4, 1952 in Los Angeles - Original LP issue: Oscar Peterson - Oscar Peterson Plays George Gershwin.
We Three, recorded in a single session on November 14, 1958, was the first American studio date as a bandleader for the diminutive and legendary jazz drummer Roy Haynes, although with pianist Phineas Newborn on board (along with bassist Paul Chambers), it really is a set dominated by Newborn, whose busy, two-handed technique here works in tandem balance with Haynes' cool refinement. Newborn was all about amazing and dazzling piano runs that on some dates created simply too much flash and clutter to allow pieces to flow and breathe properly, but Haynes has always been about grace and flow throughout his career (if a drummer's style can said to be elegant, Haynes fits the bill), and here he rubs off on Newborn, who exercises just enough restraint to keep him in the proper orbit, resulting in a fine album. Highlights include the easy, pure swing of the opener, a version of Ray Bryant's "Reflection," a wonderful and bluesy rendition of Avery Parrish's "After Hours" (which finds Newborn in perfect balance between explosive ornamentation and smooth functionality), and a jaunty, fun spin through Newborn's own "Sugar Ray," a tribute to boxer Sugar Ray Robinson. This trio had a brief recording career together, but as this solid set shows, they made the best of it. Steve Leggett Tracklist : 1 Reflection 4:23 Written By – Ray Bryant 2 Sugar Ray 6:26 Written By – Phineas Newborn Jr.
3 Solitaire 8:51 Guion-Borek-Nutter 4 After Hours 11:20 Written By – Avery Parrish 5 Sneakin' Around 4:23 Written By – Ray Bryant 6 Our Delight 4:04 Written By – Tadd Dameron Credits : Bass – Paul Chambers Drums – Roy Haynes Engineer – Rudy Van Gelder Piano – Phineas Newborn
Though born in New Jersey, smooth soul diva Madeline Bell enjoyed her
greatest success in the United Kingdom (where she began living in 1963),
and her first album, 1967's Bell's a Poppin', is a thoroughly enjoyable
example of British pop record-making at its most poised and
professional. Bell had a world-class voice and sang supper-club soul in
the manner of Dionne Warwick and Dusty Springfield (the latter of whom
was a friend of Bell's and often used her as a backing vocalist); those
looking for Southern soul grit will be disappointed, but Bell's a
Poppin' is a marvelous example of the British equivalent of Brill
Building pop. The arrangements are clever and sophisticated, the
musicians are spot-on throughout, producer John Franz adds just the
right amount of polish without rubbing away the personality of the
music, and Bell's vocals tell a story just beautifully, boasting smarts
and understated passion while maintaining a firm sense of control and
balance throughout. Franz also rounded up some great songs for Bell,
with Doc Pomus & Mort Shuman, Burt Bacharach & Hal David, John
Sebastian, and Nick Ashford & Valerie Simpson among the tunesmiths
represented on this disc. Fans of the slicker side of Northern soul and
great mid-'60s pop-soul will delight in Bell's a Poppin'. [RPM's 2004
reissue adds a handful of non-LP singles that are every bit as
enjoyable, especially "Don't Come Running to Me" and an interesting
cover of the Beatles' "You Won't See Me."] Mark Deming Tracklist :
1Picture Me Gone 2:59 Al Gorgoni / Chip Taylor
2You Don't Love Me No More 1:55 Charles Blackwell
3Baby I'll Come Right Away 2:22 Nickolas Ashford / Valerie Simpson
4Beat the Clock 2:47 Richard Gottehrer / Jon Stroll
5Mr. Dream Merchant 2:43 Jerry Ross / Larry Weiss
6Can't Get Used to Losing You 2:25 Doc Pomus / Mort Shuman
7Soul Time 2:31 Shirley Ellis
8I'm Gonna Make You Love Me 2:52 Kenny Gamble / Leon Huff / Jerry Ross
9I'm Gonna Leave You 3:05 Madeline Bell / Lesley Duncan / Dusty Springfield
10The Last One to Be Loved 3:02 Burt Bacharach / Hal David
11I Didn't Want to Have to Do It 2:32 John Sebastian
12Mercy Mercy Mercy 3:05 Joe Zawinul
13What the World Needs Now Is Love 2:59 Burt Bacharach / Hal David
14I Can't Wait Until I See My Baby's Face 2:36 Jerry Ragovoy
15Don't Come Running to Me 2:48 Jimmy Wisner
16I Really Got Carried Away 2:19 Margo Lewis / Gary Lyons / Doris Payne
17One Step at a Time 2:16 Joshie Armstead / Nickolas Ashford / Valerie Simpson
18You Won't See Me 3:26 John Lennon / Paul McCartney
19Climb Ev'ry Mountain 2:17 Oscar Hammerstein II / Richard Rodgers
20It Makes No Difference Now Norman Newell / Iller Pattacini
Mary Stallings was just 22 at the time this album, her first, was cut in
1961. Fortunately, she was teamed up with a group of top professionals
led by vibist Cal Tjader. She also sticks with mostly tried and true
material, with Duke Ellington's songs getting a big play. Tjader is not a
virtuoso on the vibes, but has made a name for himself because of his
attachment to Latin rhythms. With no such music on this album, Tjader's
playing seems somewhat stiff at times, particularly on ballads and slow
blues. However, alternating pianists Lonnie Hewitt and Clare Fischer get
with the program to give Stallings the backing she needs. The vibes
player also loosens up on up-tempo tunes like "It Ain't Necessarily So."
The singer has a powerful voice with a straight from the shoulder, no
holds barred delivery. Her years singing in churches in San Francisco no
doubt helped to develop her powerful style, and also give her some
sympathy for such tunes as "God Bless the Child," which gets a
particularly reverent reading. Paul Horn's flute helps make this a
premier track. Stallings also makes good use of vibrato to emphasize a
word or a phrase. This technique is used effectively on blues tunes such
as "Mr. Blues." Stallings' dedication to pitch comes through on "Just
Squeeze Me," where the bass is her only accompaniment. But some
seasoning is needed. She sings everything with just about the same
volume, paying no attention to dynamics. But all the equipment is there
and, coupled with a natural affinity for the blues and swing, taking
care of this matter should be no problem. Dave Nathan
Tracklist : 1 Mighty Rumblin' Blues 3:46 Written-By – Unknown Artist 2 It Ain't Necessarily So 2:28 Written-By – Gershwin-Gershwin
3 God Bless The Child 3:14 Written-By – Herzog, Holiday 4 Just Squeeze Me 2:37 Written-By – Ellington, Gaines 5 I Didn't Know About You 3:47 Written-By – Russell, Ellington 6 I'm Beginning To See The Light 3:08 Written-By – George, Ellington, James, Hodges 7 Goodbye 2:40 Written-By – Gordon Jenkins 8 Why Don't You Do Right? 2:36 Written-By – McCoy, Melrose 9 Honeysuckle Rose 2:08 Written-By – Razaf, Waller 10 I'm Just A Lucky So And So 2:28 Written-By – Ellington, David 11 Ain't Misbehavin' (I'm Saving My Love For You) 3:07 Written-By – Razaf, Waller, Brooks 12 Mr. Blues 2:39 Written-By – Costell Akrie – BONUS TRACKS – (Previously Unreleased) 13 Just In Time 1:59 14 Why Don't You Do Right? [Alt. Take] 2:38 Credits : Bass – Freddie Schreiber, Victor Venegas Drums – Johnny Rae
Vocals – Mary Stallings Flute – Paul Horn Piano – Lonnie Hewitt Vibraphone – Cal Tjader
Herb Ellis, Tal Farlow and Charlie Byrd exemplify the breadth of American jazz. These elder statesmen of the instrument have well over a century of combined knowledge and experience, and their styles cover a vast spectrum of the music, from straight-ahead swing, to be-bop, to bossa nova and beyond. Herb Ellis established an impeccable standard for swinging, mainstream jazz guitar through his extensive work in concert and on record with numerous great jazz instrumentalists including Oscar Peterson, Ray Brown, Harry Edison and singer Ella Fitzgerald. Tal Farlow's nimble and innovative playing with the Red Norvo Trio is considered pure genius, and few guitarists have matched his unusual dexterity and sense of harmony. Charlie Byrd pioneered the use of the classical guitar in jazz and introduced America to the beauty of Brazilian bossa nova. Billed as the Great Guitars, the playing of this remarkable group is a short course in the history of jazz guitar.
Charlie Byrd is recognized as a music giant throughout the world. The role of the guitar bridging classical and popular music forms is a matter of history, but the emergence of a guitarist equally at ease in both classical and jazz idioms is an event of singular exception. Born in Chuckatuck, Virginia on September 16, 1925, Byrd learned the basic of guitar from his father and began to perform regularly with local bands. While in Paris during the war, he had occasion to meet and hear the great gypsy guitarist Django Reingardt, one of the founding fathers of the very concept of jazz guitar. That encounter served as the inspiration for Byrd's decision to enroll in the Harnett National Music School in New York to study jazz composition and theory. By the late 1940's, Charlie Byrd had become an established figure in the East Coast jazz scene, but he felt the need for a new direction. He decided to pursue a career as a concert guitarist. In 1950, Byrd moved to the Washington, DC area to begin the study of classical guitar with Thomas Simmons and Sophocles Papas, and subsequently traveled to Italy as the pupil of Andres Segovia. While he did not consciously synthesize his jazz and classical training into a new form of music, the subtleties of both began to have their inevitable effects, with the result that Byrd reached new performance levels and created a new sound-- jazz played on an acoustic (classical) guitar without using a pick or electronics. After a tour of South America sponsored by the United States Department of State, his interest in Latin music intensified. The next year, 1962, along with Stan Getz, Byrd recorded Jazz Samba and, according to Leonard Feather, "the entire bossa nova craze in the United States may be said to have spring directly from this album." Amazon
The tread that binds these radically different players is their debt to Charlie Christian, the first electric jazz guitarist who inspired their lifelong dedication to musical excellence. Billed s the Great Guitas, the playing of this remarkable group is a short course in the history of jazz guitar. Tracklist : 1. Seven Come Eleven Composed By – Benny Goodman, Charlie Christian Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 2. Georgia (On My Mind) Composed By – Earl K. Brent, Matt Dennis Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 3. Angel Eyes Composed By – Earl K. Brent, Matt Dennis Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 4. Air Mail Special Composed By – Benny Goodman, Charlie Christian Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 5. Blue Skies Composed By – Irving Berlin Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 6. Deed I Do Composed By – Fred Rose, Walter Hirsch Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 7. Embraceable You Composed By – George & Ira Gershwin Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 8. Undecided Composed By – Charlie Shavers, Sid Robin Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 9. Corcovado Composed By – Antonio Carlos Jobim Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 10. Cottontail Composed By – Duke Ellington Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 11. So Danco Samba Composed By – Antonio Carlos Jobim Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 12. Things Ain't Like They Used To Be Composed By – Mercer Ellington, Ted Persons Guitar – Charlie Byrd, Herb Ellis, Tal Farlow 13. Bernie's Tune Composed By – Bernie Miller, Leiber & Stoller Guitar – Charlie Byrd, Herb Ellis, Tal Farlow Notes : A live jazz performance from Herb Ellis, Tal Farlow, and Charlie Byrd, featuring 13 tracks recorded in Manchester, 1997. From the back of the DVD box: Herb Ellis, Tal Farlow and Charlie Byrd exemplify the breadth of American jazz. These elder statesmen of the instrument have well over a century of combined knowledge and experience, and their styles cover a vast spectrum of the music, from straight-ahead swing, to be-bop, to bossa nova and beyond. Herb Ellis established an impeccable standard for swinging, mainstream jazz guitar through his extensive work in concert and on record with numerous great jazz instrumentalists, including Oscar Peterson, Ray Brown, Harry Edison and singer Ella Fitzgerald. Tal Farlow's nimble and innovative playing with the Red Norvo Trio is considered pure genius, and few guitarists have matched his unusual dexterity and sense of harmony. Charlie Byrd pioneered the use of the classical guitar in jazz and introduced America to the beauty of Brazilian bossa nova. The thread that binds these radically different players is their debt to Charlie Christian, the first electric jazz guitarist who inspired their lifelong dedication to musical excellence. Billed as the Great Guitars, the playing of this remarkable group is a short course in the history of jazz. Recorded at the Manchester Craftmen's Guild, 1997. Discogs.com Running time: 80 minutes. Color. A 24-page comprehensive booklet featuring biographical material, rare photographs and details on the tunes performed on this DVD can be accessed and downloaded from www.guitarvideos.com/dvd/pdf.htm
Guitarist Larry Coryell's Eleventh House was a particularly interesting
fusion group of the mid-1970's for, in addition to the leader,
keyboardist Mike Mandel, bassist Danny Trifan and the dynamic drummer
Alphonse Mouzon, the unit featured trumpeter Michael Lawrence. Their
appearance at the 1974 Montreux Jazz Festival makes for a rather brief
CD (under 34 minutes) but has its moments of interest. Coryell starts
the proceedings by playing his unaccompanied acoustic guitar on a
classical piece, that number is followed by four passionate group
originals full of fire and dated electronics, and the set finishes with
the strongest piece, "The Eleventh House Blues." Although the music is
not essential nor particularly innovative, the mixture of straightahead
elements with prime period fusion is often stimulating. Scott Yanow
Tracklist :
1Improvisation On Villa Lobos - Prelude No. 4 In E Minor 3:49
The feel of this set (the debut as a leader by tenor saxophonist Ralph Moore) is very much in the style of Art Blakey's Jazz Messengers. That should not be a surprise, for even though Moore did not play with Blakey (the closest he came was with Horace Silver), trumpeter Brian Lynch and pianist Benny Green certainly did. With guitarist Kevin Eubanks, bassist Rufus Reid and drummer Kenny Washington completing the sextet, Moore leads the band through two originals, Eubanks' "Round Trip," and Lynch's "Back Room Blues," and a pair of jazz standards. A fine hard bop date and an excellent start to Ralph Moore's solo career.Scott Yanow Tracklist : 1 Dunes 6:30 Ralph Moore 2 Bewitched 6:08 Written-By – Rodgers & Hart 3 Round Trip 5:07 Written-By – K. Eubanks 4 Lotus Blossom 6:04 Written-By – K. Dorham 5 Monique 6:25 Ralph Moore 6 Back Room Blues 6:56 Written-By – B. Lynch 7 Sleigh Ride 5:13 Written-By – Anderson Credits : Bass – Rufus Reid Drums – Kenny Washington Guitar – Kevin Eubanks Recorded By, Engineer – Rudy Van Gelder Tenor Saxophone – Ralph Moore Trumpet, Flugelhorn – Brian Lynch
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