Sunday, April 18, 2010

Paquito D'RIVERA, Featuring Arturo SANDOVAL - Reunión 1991

Paquito D'RIVERA, Featuring Arturo  SANDOVAL - Reunión 1991

Jazz

Two of Latin jazz's most brilliant leading lights are brought together on this 2004 recording. As alumni of the groundbreaking Orquestra Cubana de Musica Moderna, bandmates in the genre-splicing fusion group Irakere, defectors from their native Cuba, and international superstars, Paquito D'Rivera and Arturo Sandoval have a lot in common, not least their synthesis of complex Cuban styles within a range of jazz idioms. REUNION finds the two joining forces once again, with a remarkable young cadre of players lending support.

The smoky, gorgeous feel of Chucho Valdes's bolero "Claudia" allows ample space for D'Rivera's dead-eye melodic sense and pure, expressive tone on the sax. A treatment of "Body & Soul" (with fluid, dancing trumpet by Sandoval) offers the only other down-tempo breather in the set. Otherwise, an intricate web of frenetic Cuban rhythms dominates, all counterpoint and syncopation, with the musicians reeling off their considerable chops throughout (guitarist Fareed Haque deserves special mention). The insanely paced take on Dizzy Gillespie's "Tanga" is incandescent, with blazing solos all around, and superhuman drumming from Mark Walker. The high-minded musicianship is undeniable here, but the Latin groove rules. In addition to REUNION's stellar artistic merits, it is a dance album extraordinaire.

Reunion was the first time that Paquito D'Rivera and trumpeter Arturo Sandoval recorded together since D'Rivera's defection in 1980; Sandoval had recently left Cuba himself. The co-leaders are joined by a superb band: pianist Danilo Perez, acoustic guitarist Fareed Haque, bassist David Finck, drummer Mark Walker, and Giovanni Hidalgo on conga. The group mostly performs originals plus a couple Chucho Valdes songs, "Body and Soul" (a showcase for Sandoval) and Dizzy Gillespie's "Tanga." Plenty of fireworks occur on this consistently heated Afro-Cuban jazz set and the co-leaders clearly inspire each other. When will they have their next reunion? Paquito D'Rivera: Cuba-born and New York-based saxophonist and clarinet player, Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "whether playing Bach or post-bop, D'Rivera's mastery of the instruments and their expressive capabilities is unquestionable". In 1965, D'Rivera became a featured soloist with the Cuban National Symphony Orchestra. After playing the Cuban Army Band, D'Rivera joined with pianist Chucho Valdez to found the Orchestra Cubana de Musica Moderna. D'Rivera served as the band's conductor for two years. In 1973, D'Rivera joined with eight members of the Orchestra Cubana de Musica Moderna to form a band, Irakere. The group, which fused jazz, rock, classical and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. In 1981, D'Rivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram and Mario Bauza. According to Bauza, D'Rivera is "the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz". In 1988, D'Rivera was invited to become a charter member of Gillespie's fifteen-piece all-star group, the United Nations Orchestra. In 1997, D'Rivera's album, Portraits of Cuba, received a Grammy award as "Best Latin Jazz Performance." D'Rivera is artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society.
Arturo Sandoval: A blazing, technically flawless trumpeter from Cuba, Arturo Sandoval has been dazzling audiences all over the world with his supercharged tone and bop-flavored flurries way up in the trumpet's highest register. In slower numbers, he sports a golden, mellow tone on the flugelhorn, marked with a sure, subtle sense of swing. Apparently he is capable of playing any..
**
Paquito d'Rivera- (Clarinet, Sax Alto, Performer)
Arturo Sandoval- (Flute, Percussion, Trumpet, Flugelhorn, Vocals, Whistles, Choir, Chorus
Giovanni Hidalgo- Percussion, Bongos, Choir, Chorus)
Danilo Perez- (Piano)
Mark Walker- Percussion, Drums, Choir, Chorus
Fareed Haque- (Guitar Acoustic, Guitar, Choir, Chorus)
David Finck- (Bass, Choir, Chorus)-
Uwe Feltens (Choir, Chorus)
**
01. Prologo: Mambo Influenciado  0:25
    Written-By - Chucho Valdés
02. Reunion  4:59
    Written-By - Paquito D'Rivera
03. Tanga  9:19
    Written-By - Dizzy Gillespie
04. Claudia  7:12
    Written-By - Chucho Valdés
05. Friday Morning  6:33
    Written-By - Danilo Perez
    Latin American Suite (5:24)
06.
   a)   Part I Venezuelan Waltz No. 1  0:50
    Clarinet - Paquito D'Rivera
    Written-By - Antonio Lauro

   b)   Part II Introduction  1:34
    Acoustic Guitar - Fareed Haque
    Written-By - Fareed Haque

   c)   Part III Chorizinho  3:00
    Written-By - Fareed Haque
07. Body & Soul  3:51
     Written-By - Hayman , Green
08. Caprichosos De La Habana  4:14
    Vocals [Carnival Chorus] - Arturo Sandoval , David Finck , Fareed Haque , Giovanni Hidalgo , Götz A. Wörner ,     Mark Walker  , Rike , Uwe Feltens , Wolfgang König
    Whistle, Vocals - Arturo Sandoval
    Written-By - Arturo Sandoval
09. Epilogo: Mambo Influenciado  0:21
    Written-By - Chucho Valdés
**

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John SCOFIELD - A Go Go with Medeski Martin & Wood 1998

John SCOFIELD - A Go Go with Medeski Martin & Wood 1998

Jazz

On A GO GO, Scofield teams with Generation X funksters Medeski, Martin and Wood for an album of greasy grooves and hip downtown sonorities. The leader's guitar and John Medeski's keyboards weave and sway in a laid back slink over the lazy, ringing back beats of Billy Martin. And just when you think the groove has bent and twisted to the verge of falling to pieces, bassist Chris Wood is the glue that holds it all together.

All ten tracks are Scofield originals but it was surely a group effort to develop such a deep pocket of funk. From the hip-hop of the opening title cut we get a sense that this is not your average jazz quartet. The James Brown-ish "Chank" captures an all new Scofield sound that's even more harsh and gritty than normal, as he scratches and twangs out a slinky intro to kick off the groove. Solos are kept at a conservative length throughout but that's not to say they're less intense. Check out Sco's tasty improv in the easy-groovin' "Southern Pacific" for a demonstration. His young cohorts provide some fiery moments as well, with Medeski and Martin both cranking out exciting solos on the bouncy "Hottentot."
**
On this particular studio date, Scofield is joined by Medeski, Martin and Wood, who provide the perfect setting for Scofields guitar work. The result is a funky jazz album of high calibre, which never loses the listeners interest. Tracks including Boozer, Jeep On 35 and Chank are amazingly funky thanks to the superior drumming of Billy Martin, whilst Southern Pacific has a more percussive feeling. There is not a single track on this disc that can be considered to be of a lesser standard. This high quality consistancy is welcome, as often MMW tend to adventure into realms that move beyond the groove and into the obscure.
If your after funky jazz in a small group environment, then you will be hard pushed to find any better an example than "A Go Go". This CD is thoroughly enjoyable from start to finish, remaining deceptively simple in its musical complexity, whilst delivering some truly first class contemporary jazz.
**
John Scofield's stature as a modern jazz master on electric guitar puts him in a sweet spot for this simmering, sexy collaboration with acid jazz pathfinders Medeski, Martin and Wood, Scofield's taut and spicy lines striking sparks against the soulful grooves pitched by drummer Billy Martin, keyboard colorist John Medeski, and bassist Chris Wood. Far from a cheap commercial shot, the leader's plunge into this reheated '60s style is appropriately redolent of its funk heritage and his own astringent command of sharp lyrical and smart harmonic asides.
By Sam Sutherland.
**
John Scofield- Electric and Acoustic Guitar, Whistle
John Medeski- Organ, Wurlitzer, Clavinet, Piano
Chris Wood- Acoustic and Electric Bass
Billy Martin- Drums, Tambourine
**
01. A Go Go 6:36
02. Chank 6:47
03. Boozer 5:27
04. Southern Pacific 5:14
05. Jeep on 35 4:31
06. Kubrick 2:14
07. Green Tea 5:12
08. Hottentot 6:46
09. Chicken Dog 6:22
10. Deadzy 2.41
**

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Idrees SULIEMAN - Bird's Grass 1976

Idrees SULIEMAN - Bird's Grass 1976
1992 Issue. SCS 1202
Recorded in Copenhagen, Denmark, 10. 12. 1976.

Jazz

Prior to 1976, the talented bop-oriented trumpeter Idrees Sulieman had only led one record date (back in 1964). On this superior set, Sulieman is teamed in Copenhagen with tenor saxophonist Per Goldschmidt, pianist Horace Parlan, bassist Niels Pedersen, and drummer Kenny Clarke. They perform a pair of straight-ahead originals, Michel Legrand's "The Summer Knows," and a pair of bop standards ("Wee" and "Billie's Bounce"). Excellent music with plenty of colorful solos.
by Scott Yanow, All Music Guide.
**
Though Idrees Sulieman was a laying with Hies in 43'.Monk.Mary Lou Williams,and many big band and small band Prestige settings his move to Copenhagen in 1964 limited his output as a leader.But here in 1976 he has a crack unit one of those perfect bands that pulls it off.With a a young Per Goldscmidt on Baritone (though Yannow lists him as on Tenor at AMG),Horace Parlan,NHOP,and Kenny Clarke it pays off.Two originals,a Legrand tune and standards like "We" and Billies Bounce" make this set a delight.If Suleiman had stayed in USA one assumes he would have gotten much more leadership shots but one never knows.Never a trailblazer inn terms of invoation or a new sound he was the equal of the contemporaries like Byrd,Hubbard,and others though his style staid with that Dizzy,Navarro,Brownie (and who am I forgetting????) with a sound that characterized the 50's Savoy Prestige scene.A good acquisition.Visit Jazz Foundation in these hard times we should give back to those who gave us so much pleasure yet whose art makes them vulnerable.
By C. Katz.
**
Idrees Sulieman- (Trumpet, Fluegelhorn)
Per Goldschmidt- (Tenor Sax)
Horace Parlan- (Piano)
Niels-Henning Ørsted Pedersen- (Bass)
Kenny Clarke- (Drums)
**
01. Wee 4:59
02. The summer Knows 6:28
03. Billie's Bounce 12:39
04. Loneliness Is a Mutual Feeling 10:39
05. All your words 10:15
06. Loneliness Is a Mutual Feeling
**

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Freddie HUBBARD - Straight Life 1970

Freddie HUBBARD - Straight Life 1970
SR 3311, CTI 6007

Jazz

This is a remarkable and often overlooked album by one of the finest and most innovative trumpet players of the '60s and '70s. Steeped deeply in funk, Hubbard brings his bright tone and evocative, mercurial playing to the post-BITCHES BREW soundscape of electrified instruments, Latin percussion, complex polyrhythms, and "free" blowing focused on texture and atmosphere. STRAIGHT LIFE charts waters different from Davis' masterpiece, however. Whereas BITCHES BREW is a dark, ominous journey into a jungle of rhythm clusters and tonal coloring, Hubbard's work is sparer, cleaner, and characterized by catchy, almost pop-like themes.

STRAIGHT LIFE is much more than a mere groove-fest, though, as the top-notch players (including Joe Henderson, Herbie Hancock, Ron Carter, and a young George Benson on guitar) unfurl formidable chops and vibrant backing throughout. The first two tracks, Hubbard's title track and Weldon Irvine's "Mr. Clean," are lengthy, soulful workouts whose propulsive qualities and buoyancy are contrasted by the third track, the artist's delicate and gorgeous flugelhorn treatment of "Here's That Rainy Day." Taken together, the cuts on STRAIGHT LIFE are musically sophisticated, stirring, and eminently groovy, making this "soul-jazz" of the highest order.
**
Bass- Ron Carter
Drums- Jack DeJohnette
Guitar- George Benson
Percussion- Richard "Pablo" Landrum*
Piano- Herbie Hancock
Tenor Sax- Joe Henderson
Tambourine, Tabla- Weldon Irvine
Trumpet, Flugelhorn- Freddie Hubbard
**
A1. Straight Life  17:40
    Composed By - F. Hubbard
B1. Mr. Clean  13:38
    Composed By - W. Irvine
B2. Here's That Rainy Day  5:18
    Composed By - J. V. Heusen , J. Burke
**

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Hampton HAWES & Paul CHAMBERS - The East-West Controversy 1951-57

Hampton HAWES & Paul CHAMBERS - The East-West Controversy 1951-57
1975 Issue

Jazz

There is nothing too controversial about the pair of sets that comprise this Xanadu LP, which finds musicians identified with East Coast and West Coast styles playing with each other. Pianist Hampton Hawes (making his recording debut as a leader) performs six blues and bop standards in 1951 and is in already fairly mature form. The second half of the album (released for the first time on this 1975 LP) has bassist Paul Chambers directing a quintet arranged by John Graas and featuring the tenors of Bill Perkins and Jack Montrose, pianist Paul Moer and either Mel Lewis or Philly Joe Jones on drums. The cool-toned bop music is quite enjoyable and it seems odd that it took 18 years for it to be released.
By Scott Yanow, All Music Guide.
**
A divine head start if there ever was one, Hampton Hawes was born with six fingers on each hand. The extra digits were removed shortly after birth, but the ten remaining members paid tribute to their two lost brethren by taking up the piano as a youngster. A student of boogie-woogie, stride and swing until childhood buddy Eric Dolphy introduced him to the work of Bird and Diz, Hawes reduced his wide range of jazz influences to an intense, historically steeped, swinging bop voice. Land and Hawes trade off the melody here, and their respective solos are both inspired and impressive. Note the dominance of Hawes's right hand to create an improvisatory statement that's often more reminiscent of a horn player than a pianist. LaFaro's walking and solo are expectedly perfect.
**
Hampton Hawes- (Piano),
Harper Cosby- (Bass),
Lawrence Marable- (Drums),
Paul Chambers- (Bass),
Philly Joe Jones- (Drums),
Mel Lewis- (Drums),
Jack Montrose- (Tenor Sax),
Bill Perkins- (Tenor Sax),
Paul Moer- (Piano).
**
01. Buzzy
02. What Is This Thing Called Love (These Foolish Things)
03. Bud's Blues (Hamp's Claws)
04. Another Hair Do
05. All The Things You Are
06. Blue Bird (Hamp's Paws)
07. Montrose
08. The Mouse Hop
09. Jazz City
10. Sweet Saxophones
11. Early Morning Smog
12. Two Visitors
13. Cute
**

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Blues Messengers - Blues To Gray 2000

Blues Messengers - Blues To Gray 2000

Blues

We Are Constantly Being surprised at Blues4ever here, not just by the quality and diversity of Some of the CD's sent in to us by But Their origin. We never contemplated romantic Italy as a hot bed of blues music But Were Proved emphatically wrong. When Blue Messengers Sent Us Their 'Blues To Gray' CD We Were blown away by what we heard. A mixture of electric blues and blues / rock with a large Measure of soul, Their sound will grab you and hold you from the first track to the last.
Blue Messengers Were Formed in 1996 in Rome from a collaboration of American and Italian musicians. The singer Shawn Logan is Chicago born and bred But now lives Between Colombia, South Carolina and Rome. His amazing vocal talent Enables HIM to Perform hard, raw rocking numbers like 'Color And Kind' the opening track on CD and Their soulful blues like 'Blues To Gray' the title track with equal ease. Underpinning the group's tight performances is the formidable guitar playing of Lello Panico from Caserta, Italy. Though Shawn and Lello are undoubtedly the driving force of the Blue Messengers sound They are admirably supported by Salazzo Henry on keyboards, Joseph Lepore on bass guitar and Luke on drums Trolli.
If You Thought That The Best Things to Come Out of Italy Were pizza, opera and fast cars, then prepare yourself for a shock!
By Ian Brown.
**
The rock band blues guitarist Neapolitan Lello Panico reach the second CD with an enthusiasm cemented by performances in concerto.La formula has remained unchanged, with the American singer Shawn Logan to give impetus to the soulful vocals, blues-rock riffs and strong supported by rhythm of Joseph Lepore and Luca Trolli. What is even more loose and nimble guitar is Lello Panico, definitely has a feeling of intense sprint particularly in solos and fills fast counterpoint vocals. Look for example the fast shuffle "All the Way", with an impressive solo attack with Robben Ford and the Battery Trolli decided to push. Other exciting up-tempo is "Love's Merry Go Round, funky soul with colors that do not encroach on the verve guitar, but rather I offer playful fusion flavors.
The voltage remains high on "I Want You", excitedly smash with a text on a nursery rhyme riffs pressing led to the doubling of the battery at issue; solo with wah-wah Panic is one of the most tense moments throughout the disc. The compositions of Lello Panico take away from the typical pattern rather than the blues, as the slow shuffle "In Love Again", but buying in energy executive personality and feeling in the executive and the overall feeling (well supported by the body of Henry Hammond Solazzo ).
Even in the clow blues band moves confidently taking the attention: "Blues to Gray" is burned in growing grain with soul, and "Do not Let the Sun Go Down" is embellished with a solo warm.
The covers are dealt with safely and powerful. "Color and Kind" Chester Burnett made from very soft rears with extraordinary agility in absolute rhythm guitar (one of the best measures of panic on the disk, almost as a tribute to Stevie Ray Vaughan). "Crossroads Robert Johnson is linked to famous version of Cream, adding chili to the cute stop-go rhythm and a blazing solo that does not fear comparisons with Clapton and Robben Ford.
"Bright Lights Big City" closes the disc uptempo, just like the finale of a concert on the rise: Blue Messengers are particularly fun to see a band live, but this disc gives a comprehensive picture cominque their office and especially Under the brilliant guitar Lello Panico.
By Maximum Bracco.
**
Second test record for this training which brings together some great musicians nostrani with a great American voice, that of Shawn Logan. In particular, it is difficult to understand that the soul of the group is to Lello Panico, Caserta guitarist well known to frequenters of jazz / blues nostrane.
If, as is often heard repeating the Italian blues band are used to repeat clichés than expected and are very far from the mastery of sound and rhythmic sensibility needed to play this music, the Blue Messengers are a group called effectively out of the fray. The first point in their favor can not be the voice of Logan Black birthright but notable for expressive capacity, in its perfect home in several original songs (which is the author with music by Panic), as in cover " Color and Kind "of Holin'Wolf," Crossroads "by Robert Johnson (with direct reference to claptoniana version of Cream)," Bright Lights, Big City Jimmy Reed. Lello Panico clearly shows a love for blues boundaries rather open, able to wander out I stayed stylistic horizons of more 'orthodox' in the environment, always indicating a preference for the more personal approach and sophisticated people like Robben Ford itself as a soloist and refined, relentless rhythm.
The band lives up to the two frontmen, and includes Solazzo Henry on keyboards, Joseph Lepore on bass and Luca Trolli on drums.
By Tavernese Stephen.
**
01. Color And Kind 3:37
02. All The Way 3:51
03. No Other Man 4:20
04. Blues To Gray 5:16
05. Love's Merry-Go-Round 6:54
06. Crossroads 3:34
07. Don't Let The Sun Catch You Cryin' 5:07
08. In Love Again 6:20
09. I Want You 3:49
10. Bright Lights Big City 3:25
**

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Friday, April 16, 2010

Ralph TOWNER, Jan GARBAREK, John ABERCROMBIE, Naná VASCONCELOS 1978

Ralph TOWNER, Jan GARBAREK, John ABERCROMBIE, Naná VASCONCELOS  1978
Bootleg
ECM Brodcast.
NDR Jazz Workshop No. 134, Grosser Sendesaal des NDR Funkhauses,
Hamburg, 11 April 1978
Thx to *Bob*

Jazz

Here we have four ECM-aces in a rare get-together as part of the famous NDR Jazz Workshop series. The four artists also appeared together at the Willisau Jazz Festival in Switzerland later that same year.

This is a first generation digital copy of the the original preFm tapes, done in the studio of the radio station which had recorded this show highly professional during a 'live in the studio' concert.
NDR Jazz Workshop No. 134, produced by Michael Naura.
**
Ralph Towner- Acoustic Guitar
Jan Garbarek- Tenor and Soprano Sax, Flute, Percussion
John Abercrombie- Electric Guitar
Naná Vasconcelos- Percussion, Berimbau, Voice
**
Cd 1
01. Red Roof (Garbarek) (12:46)
02. Timeless (Abercrombie) (9:00)
03. Viddene (Garbarek) (14:05)
04. Nimbus (Towner) (10:16)
05. Krusning (Garbarek) (10:12)

Cd 2
01. Waterwheel (Towner) (14:17)
02. Medley: (43:57)
    a. Backward Glance (Abercrombie)
    b. Entering (Garbarek)
    c. Telegram (Abercrombie)
**
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