O álbum “Abril a Quatro Mãos – Grândolas”, gravado em 2004 pelos pianistas Mário Laginha e Bernardo Sassetti, é reeditado nesta terça-feira, anunciou hoje a discográfica CNM.
O álbum reúne interpretações, pelos dois músicos, em piano a quatro mãos, de canções diretamente relacionadas com a revolução, como “Grândola, vila morena”, e movimentos sociopolíticos da época, e resulta de um desafio do musicólogo Ruben de Carvalho, nos 30 anos do 25 de Abril.
A edição discográfica é acompanhada pelo texto da entrevista dada pelos dois pianistas, em maio de 2004, ao Diário de Notícias, na qual salientam o espírito de liberdade com que gravaram, permitindo que todos os temas fossem “rearranjados” pelos músicos.
O álbum foi gravado entre a hora de almoço e as quatro da manhã do dia seguinte, conta Laginha, acrescentando ter sido “como se fosse um disco de jazz à moda antiga”.
“Uma coisa que para nós era fundamental, e que desde o início sempre esteve subentendido, era conseguir pegar nos temas e transportá-los para o nosso universo musical com algum gozo e muita liberdade, muita abertura de espírito”, salientou Sassetti que remata: “Só podia ser assim, porque é precisamente de liberdade que nós estamos a falar, é isso que se celebra”.
O álbum é constituído por dez canções, abrindo com “Venham mais cinco”, de José Afonso, passando por “Canto Moço”, do mesmo compositor, “Los cuatro generales”, tema popular que fez parte da resistência republicana de Madrid na Guerra Civil espanhola de 1936, e a composição oitocentista norte-americana “Life on the Ocean Wave”, de Henry Russell.
Ruben de Carvalho, contam os músicos, deu-lhes dois CD com “vinte e tal” canções de todo o mundo, e “de alguma forma ligadas a revoluções e a movimentos de libertação”. A ideia era “se quisessem fazer umas citações”, mas como os dois não eram “apologistas das citações no meio dos temas”, preferiram, aos seis temas iniciais, acrescentar quatro.
Outra ideia de Ruben de Carvalho que aproveitaram foi a utilização de uma caixa metálica de música, de manivela, que reproduzia a “Internacional” e "até tinha o carimbo do PCP". “Fizemos o ‘take’ à primeira, com a caixinha e depois colocámos apenas uns efeitos de piano por cima”, afirmou Laginha ao jornalista João Miguel Tavares, na entrevista reproduzida agora na nova edição do disco. Para Sassetti, esta faixa era “uma lufada de ar fresco”, num disco que “todo ele é piano”.
Do grupo de canções escolhidas fazem também parte “Era um redondo vocábulo” e “Traz outro amigo também”, ambas de José Afonso, e a “Internacional”, de Pierre de Geyter, “We shall overcome”, de Charles Albert Tindley, que se tornou a canção do movimento dos Direitos Civis dos Negros nos Estados Unidos (1955-1968), e que ficou conhecida sobretudo pela interpretação de Pete Seeger.Completa a lista “E depois dos adeus”, de José Calvário, que foi o primeiro sinal emitido pela rádio para as tropas saírem dos quartéis e dirigirem-se a Lisboa, para derrubar a ditadura e instaurar a democracia.
Sassetti conta na entrevista que, na ocasião, depois de gravarem, telefonou a José Calvário “a dizer-lhe que lhe tinha destruído a canção”. “Claro que isto é uma graça. Mas, harmonicamente, é de facto diferente”, esclarece o músico, que faleceu em maio de 2012, quase três anos após a morte de Calvário.
Sobre a memória que tinham do dia 25 de Abril de 1974, Sassetti, então com quatro anos, disse ser das poucas recordações que tinha da infância. "Não fazia a ideia do que se estava a passar, mas ver aquilo ao vivo era uma emoção". Laginha comemorava precisamente os seus 14 anos, e lembra-se de ter pensado que a Revolução lhe estragava a festa. "Mas entretanto tive um curso acelerado de política e, no outro dia, já andava pelas ruas, de 'V' em punho".
For 39 year-old Jan Harbeck's third release for Stunt Records, the Danish tenor saxophonist chose a selection of classic standards combined with a couple of new original tunes to create an integrated atmosphere - a mood record with its own special intensity and presence. He spent three years finding the exact right tunes and wound up with compositions of melodic simplicity that leave space for the interpreter to dig into the basic core of the music without forfeiting dramatic aspects.
Back in 1967 tenor saxophonists Eddie "Lockjaw" Davis and Paul Gonsalves recorded a now almost forgotten LP called LOVE CALLS. The warm and unpretentious approach on that album was an inspiration in the making of VARIATIONS IN BLUE.
As on the Davis/Gonsalves LP, VARIATIONS IN BLUE features none of the two-part horn arrangements, unison passages or lightning tenor battles, which are so common when sax colleagues record together. Jan Harbeck and Walther Smith III take turns presenting themes - one interprets the A-part leaving the B-part to the other, and the solos are often intertwined creating one sound.
Another - perhaps more surprising - inspiration for the album was Bach's Goldberg Variations: on Andras Schiff's 1982 recording for Decca, the piano great creates one long mood development throughout the hour-long duration of the work. It was Jan Harbeck's intention to give VARIATIONS IN BLUE a similar presence and warmth with nuances and variations weaving a blue thread through the album.
To bring these ideas to life - two tenors plus rhythm section in close interplay with reflections and echoes - it was important to find the right tenor saxophonist to share the front, and with his personal, warm, subdued but also extremely effective and modern approach to his instrument, Walter Smith III was the perfect choice. New York Times has described this shooting star as "fabulous". While leading his own groups, he is among other also a member of trumpeter Ambrose Akinmusire's band.Jan Harbeck swears by the great tradition of the swing era but renews it with his own original touch. He is more than a big-toned, old school swing tenor.
The two tenors work beautifully together. With respect for the history and material, they have created a soulful remake of the classic jazz sound. However, VARIATIONS IN BLUE is not merely a tribute to jazz of old, it bridges inspirations from earlier to modern jazz. Only two mature musical personas with mutual respect can make time stand still tenderly and lead the past into the future in such a natural way. Their musicianship is unpretentious and supple, and above all full of love.
Henrik Gunde on piano, Eske Noerrelykke on bass and Anders Holm on drums, have been the regular rhythm section in Jan Harbeck's popular quartet for years.
Their first album, IN THE STILL OF THE NIGHT, received a Danish Grammy for Best Jazz Release. The album and its successor COPEHAGEN NOCTURNE are among the best selling Danish jazz albums in recent years, and the quartet is a popular Danish live attraction, touring extensively here and across Europe.On stage, the Jan Harbeck Quartet prefers to play unamplified whenever possible.
To sustain the intimate atmosphere from their many concerts, the music on VARIATIONS IN BLUE was recorded in the same room without separation between the instruments. When presence and a natural sound are given top priority, one must forego the option of subsequent editing. On VARIATIONS IN BLUE nothing has been cut out or corrected.
Jan Harbeck, tenor sax (right channel)
Henrik Gunde, piano
Eske Nørrelykke, bass
Anders Holm, drums
Walter Smith III, tenor sax (left channel)
1. East St. Louis Toodle-Oo (feat. Walter Smith III) 5:15
2. Nordic Echoes (feat. Walter Smith III) 7:24
3. Don't Let the Sun Catch You Cryin' (feat. Walter Smith III) 6:49
4. Salvation (feat. Walter Smith III) 4:17
5. Blues in the Night (feat. Walter Smith III) 8:22
6. Oblivion (feat. Walter Smith III) 5:25
7. Third Time to Tango (feat. Walter Smith III) 6:53
On Wednesday 21 January, the Brussels Jazz Orchestra will release a new CD: The Music of Enrico Pieranunzi. With Bert Joris on trumpet and Enrico Pieranunzi himself on the piano. The Italian pianist and composer Enrico Pieranunzi makes music that appeals to the imagination: filmic, compelling and with the kind of frivolity you might expect from an Italian. Brussels Jazz Orchestra asked arranger Bert Joris to arrange a few selected pieces from Pieranunzi’s rich repertoire. Joris, who knows how to employ the full potential of the orchestra like no one else, succeeded in adapting these light, airy compositions for the larger forces of the BJO. With soloists Pieranunzi himself on piano and Bert Joris on trumpet, Brussels Jazz Orchestra will create an intimate and layered sound. A top-level European jazz project!
As you might think, there are rare recordings possibly better experienced sans lights—and ExpressionandReflection certainly might be one of them. That's definitely not to say that hearing this excellent offering loses anything in broad daylight. Far from it; while it's not a concept outing as its title might imply, ExpressionandReflection dishes up a contemplative quality that might waft into one's senses even better when lights are low.
With ExpressionandReflectionSt. Louis-based bassist and composer, Eric Warren leads a superb quartet across ten neatly-performed and highly-textured selections of which seven emanate from his talented pen. The performers here, while not necessarily household names, individually and collectively distinguish themselves as worthy of world-class distinction.
With pulse-pounding bass beats and droning undercurrents, "Scott's Tune" kicks off the date with Warren's bass and Kehner's funky keyboard joining in before Joel Vanderheyden's boss tenor wails away swinging on the bluesy head. Nino Rota's "Michael's Theme" from The Godfather (Paramount Pictures, 1973)gets a darker treatment with Vanderheyden's solemn tenor working his horn's dynamic spectrum to the melancholic max. "Anthem" lets Kehner introduce the theme in a classical style—a la Lalo Schifrin -over a Latin-feel rhythmic bed.
Warren's originals are thought-provoking, inventive and never saccharine. They provide a superb platform for extended soloing. And, each soloist here, including Warren, plays with significant flair, enthusiasm and elegant restraint. The creative cohesiveness between Warren's crew is outstanding ("Waltz"). "Mr. Jarrett" is a quirky boogaloo snippet which shades the old Blood, Sweat and Tears' hit "Spinning Wheel." Well-performed, it's not as intriguing as the rest of the selections. "The Girl" is a dreamy, wistful tune with pianist Kehner making initial and solo statements.
Warren's bass and Doggett's tasteful rhythms support here beautifully. "Love Thy Neighbor" speeds things up with a Middle Eastern flair. Vanderheyden, Kehner and Warren slink through the melody with Doggett percussing his way under neatly. "Bittersweet" is a gorgeous rendition of Don Sebesky's ballad gem where both Vanderheyden and Kehner shine expressively. The traditional classic, "Poor Wayfaring Stranger," here complete with synth strings, ends this terrific musical journey.
Mulligan Meets Monk documents the 1957 meeting of two sharp musical minds. Though the pairing may seem unlikely, baritone saxophonist Gerry Mulligan -- whose cool, West Coast style blends dexterity with laid-back grace -- and Thelonious Monk -- whose radical, angular piano playing and thoroughly modern compositions are blueprints for the possibilities of bop -- sound remarkable together. In fact, it is the contrast between the players' styles that lends this set its balance and appeal. The program, which includes four compositions by Monk and one by Mulligan, is unassailable. Mulligan acquits himself admirably on the Monk classics "'Round Midnight," "Rhythm-a-ning," and "Straight, No Chaser," unfurling his smooth tone over their zigzagging melodies and ambitious scalar architecture. Mulligan's "Decidedly," a bright bop workout, fits easily alongside Monk's tunes, especially with the help of Monk's off-kilter, accented comping. Bassist Wilbur Ware and drummer Shadow Wilson lend solid support to the spirited playing of the two leaders, making this top-notch session -- with its great tunes, chemistry, and soloing -- a true classic. [Some reissues include a handful of alternate takes.]
Same musicians, same winning concept, great new songs: that's what
awaits on the second volume of music from the quintet collective known
This Brooklyn-based outfit works a unique angle
with its own brand of cross-pollinated composition, whereby one musician
brings in a tidbit of music that serves as the seed for a piece from
the pen of another band member. It's a form of collaborative writing
that allows both parties to work alone together.
To some, the
band and its concept may smack of gimmickry, but those thoughts belong
with the pure cynics, not the open ears. The music speaks for itself,
and boy, does it ever speak. The album opens on a brilliant odd-metered
construct ushered in with hypnotic piano, carried further along with
strong grooves and individual statements ("Caught In The Storm"). From
that point on, it's simply a world open to possibility. Slow-and-deep
backbeat-driven winners burrow into the mind ("Bibi"); relatively mellow
scenarios with swing-ish underpinnings surface ("Sirenia"); dark
avenues—places fraught with uncertainty, populated and driven by angst
and rebellion—are explored to the fullest ("Rub"); curious music with a
tribal bent takes hold ("Dyson Ritual"); and a hopeful goodbye sends
everybody on their way ("Calm After The Storm").
compositions and the concept driving them deserve a good deal of praise
and attention, it's ultimately the personalities at play that bring the
music to life. Pianist Jarrett Cherner's
diverse talents are on full display as he alternately engages in
rhythmic tiling, mixes it up with his band mates, and solos on top of
things; trumpeter Matt Holman and saxophonist Jeremy Udden brilliantly balance moods, working plaintive, lyrical, and frantic strains into the music; drummer Ziv Ravitz
is equal parts beat-keeper and colorist; and bassist Martin Nevins'
wide beat, thick sound, and soulful baring bring heart to this music.
In an era where one-off projects, here-and-gone groups, and ad hoc
assemblages seem all-too-common, it's nice to see a band built around a
unique idea that's willing to go for the long haul and develop over
time. So far, it's paying off big time for Sketches. - Dan Bilawsky -
The Tim Langedijk Trio may be the master manipulators of the own lyrical road less traveled.
Never one to allow the self imposed limitations of genre hold his
artistic voice in check, Tim Langedijk may be one of the two or perhaps
three best guitarists that have crossed my desk this year. Acenja is a
stunning and almost ambient exploration moving from a bold color palette
to more open ended soundscapes while never losing touch or mangling the
compositional melody within each composition. Delightfully subtle with a
meticulously nuanced harmonic approach.
Bassist Udo Pannekeet is a member of the first hour. In 2011
drummer Hans van Oosterhout joined the trio. The first two albums
(Testimonials, 2008 and Inside The House, 2010) were critically
acclaimed. “His view of music is in line with what John Abercrombie and
Bill Frisell set in motion,” said the magazine Jazzism. Contemporary
jazz that branches out into fusion and country, it’s all possible with
Langedijk, yet always with a lovely tone and refined movements.
The above quote was creatively acquired from the web site and done so
in an attempt to give one the finest artistic base from which to
evaluate and even compare the music of Acenja.
“Benny’s Bubble” may be the signature tune that focuses on this small
collective that functions with a lyrical sense of purpose that is more
closely associated with a larger ensemble. A deconstructed swing with a
syncopated pop. Clean and precise lines camouflage a harmonic approach
that is uniquely Langedijk. “After Midnight” a tune with a smoldering
cinematic quality that would work exceeding well on the large or small
screen. An exquisite composition by most all reasonable accounts. “We’re
Getting Close” another odd metered yet open ended exploratory where the
voicing comes full circle and the norm would be to expect the
unexpected. One of the years best! Brent Black (Critical Jazz) ★★★★★
01 The Woods 02 Benny's Bubble 03 Religion 04 Blue Birdy 05 After Midnight 06 Dedication 07 More 08 Sam's Dollhouse 09 Açenja 10 We're Getting Close
Tim Langedijk, guitar Udo Pannekeet, bass Hans van Oosterhout, drums
with some of New York's greatest jazz musicians, Dave Lisik's Machaut
Man and a Superman Hat is contemporary jazz at its most assured. This
masterful album is exceptional on every level, a strong, fully focused
statement from one of Rattle's finest contemporary artists.
'Machaut Man and a Superman Hat was
an amazingly enjoyable project to put together knowing that this band
was going to tear through these tunes. Being at the recording was an
opportunity to see these players in their element, especially at Systems
Two, a studio that feels like a second home. The
compositions on this album were collected over several years, a few
older originals and others written recently specifically for this
recording. As a composer, you appreciate it when professional musicians
are willing to spend time working on something you’ve written; you know
that they’ve dedicated years to be able to play well, but the five guys
on this recording play jazz at the highest level, and their collective
playing is gorgeous.' - Dave Lisik -
1. Steal Bryan's Laptop 09:52 2. Machaut Man and a Superman Hat 06:50 3. Au Chien Qui Fume 07:27 4. (You Can't Always Get a) Wet Chihuahua 09:42 5. Hooptie on the 405 08:21 6. Georgia On My Mind 11:59 7. The Disgruntled Plagiarist 07:05 8. Katafuzees (Giant Steps) 07:14
Alex Sipiagin (trumpet and flugelhorn) Donny McCaslin (tenor and soprano saxophones) Dave Kikoski (acoustic piano and Fender Rhodes) Boris Kozlov (bass) Donald Edwards (drums)
This West Wind album, recorded at various studio sites in Seattle, WA, Portland, OR, Berkeley, CA, and New York City between 1987 and 1994, has Kenny Garrett as the leader, but a closer reveal might more accurately hand that title to David Friesen. The bassist is on five of the nine tracks, in duet performances with John Scofield, Michael Brecker, or Denny Zeitlin, while Garrett does lead the other four selections in larger ensemble contexts. Extraordinary musicianship is present throughout, making for an interesting musical experience, and with great appeal for fans who enjoy any of these talented musicians.
Longtime friends Scofield and Friesen reunite for a somber take of "Old Folks" and a brighter "True Blue," Brecker's tenor sax joins the bassist for a great, spirited version of the Sonny Rollins classic "Airegin" and the heavy duty, hip neo-bop original "Signs & Wonders," with the two occasionally merging in tandem phrases. A final track for bass and piano with the brilliant Zeitlin allows them to interpret the great Wayne Shorter composition "Speak No Evil" over nine minutes with a symmetry and balance unparalleled in most duet recordings, especially over long lengths of time via the wonderfully inventive acoustic keyboardist. Garrett leads a sextet with less dominant trombonist Julian Priester, a pronounced Bill Frisell and sublimated Robben Ford on electric guitars. They do the sly Duke Ellington evergreen "Wanderlust" proud under a deep bassline by Anthony Cox, while the outstanding track of the album "The Oyster Dance" slips from 7/8 time to fractured beats at will in a funky yet scattered method quite reminiscent of Thelonious Monk.
Another quintet with Steve Nelson and Mulgrew Miller offers up a different sonic challenge, as they do pianist Miller's "Wingspan" in hard bop fashion with Garrett's alto alongside Nelson's vibraphone in fully charged bright moments, while "Sonhos Do Brasil" offers a contrasting, sleek, and softer bossa nova style, with percussionist Rudy Bird as special guest. The listening skills of the larger ensembles is quite evident, while Garrett -- at this time a 27-year-old phenom -- is still learning his craft but growing very quickly in the company of these well-chosen super-pro partners. Drummers Jerry Granelli and Tony Reedus are especially notable for rhythmically moving things along quite nicely for Garrett and friends.
This material deserves high marks simply for the great musicians participating, and though uneven, retains full intrigue in one-of-a-kind session status, any of which could have been full-blown concepts -- one of which (sigh) might have been a Garrett-Brecker project that is not here.