miércoles, 23 de abril de 2014

Vento Em Madeira - Brasiliana (2013)


E já é o terceiro ano do Vento em Madeira, segundo CD, Este tem sido um caminhar cheio de bons frutos, um projeto que promete muito pro futuro e um prazer enorme no presente. Aqui já dá pra sentir pra onde que o Vento vai soprar: acredito que “Brasiliana”, do Tiago, faz aqui um papel de bússola, apontando um novo norte. Daí chegarmos ao consenso de nomear esse CD com ela, inclusive porquê esse mesmo critério foi usado no CD anterior. Conto aqui alguma das histórias de cada composição, ou como eu pessoalmente as vejo. Então, pela ordem, começamos com Felipe na Área, do Tiago Costa, um sete ensolarado, com contracantos elaborados e surpreendentes, cheio de alegrias, com uma parte B muito inspirada, que termina como uma brincadeira. Um convite pra jogar mesmo.

Na sequência, Brasiliana, também do Tiago, que dá nome ao CD, uma melodia simples, fortemente brasileira, com uma ‘cama’ de piano maravilhosa que prossegue para um improviso coletivo bitonal (F e F#), daí uma série de ‘pirâmides’ onde o piano e as flautas se sobrepõem, num movimento ‘pifanístico que desemboca nos improvisos onde os ritmos vão se alternando, desdobrando, contorcendo até resultarem em ‘chamados’ para a volta ao tema. Aqui os contracantos de flautas se intensificam e o final é um grito que se perde. Tudo isso encorpado, solenizado, engrandecido mesmo pela voz da Mônica.

Espiral, de minha autoria, já foi gravado antes no CD Cartas Brasileiras, aqui uma versão de quinteto, num take muito inspirado, muito vivo. Aqui se fala dos ciclos da vida onde tudo se repete sempre diferente.

Labirinto é uma experiência melódico/rítmica em 12/8 onde melodias ecoam entre os instrumentos, o tempo 1 nem sempre é claro, contracantos distam apenas uma semicolcheia da melodia, tanto para frente quanto para trás, ressaltando a sensação de falta de ‘chão’ e provocando uma certa tontura, um certo transe. O pan utilizado também ressalta essa sensação, havendo momentos em que existe uma melodia à esquerda, outra à direita e outra ainda no meio. O título tem mais a ver com labirintite mesmo, no caso, a minha. Dediquei ao Gabriele Mirabassi, que com seus solos provoca essas vertigens.

Angulosa é uma valsa maravilhosa do Teco Cardoso, cheia de contracantos verdadeiramente angulosos. Já na introdução duas melodias em formato pergunta e resposta se entrelaçam lindamente. No B um uníssono muito bem escrito, cheio de intenções e um C muito inspirado nesse 3/4 que sempre me evoca uma pinta no rosto, uma rosa na boca.

Dança das Pipas é, espero, a primeira de muitas parcerias instrumentais com o Teco (e com to-dos os outros do Vento) que pretendo realizar. Em cima de um piano que o Tiago bem classificou como ‘motorzinho’, o Teco construiu um ballett de pipas para duas flautas – tudo a ver com Vento em Madeira e tudo mais, que o moço não dá ponto sem nó. Daí pediu pra Miroca fotos de pipas, vide capa, etc, etc. Mais um capítulo feliz.

01 Felipe na Área (Tiago Costa)
02 Brasiliana (Tiago Costa)
03 Espiral (Léa Freire)
04 Labirinto (Léa Freire)
05 Angulosa (Teco Cardoso)
06 Dança das Pipas (Léa Freire e Teco Cardoso)
07 Turbulenta (Léa Freire)
08 Nívea (Edu Ribeiro)
09 A Coisa Ficou Russa (Léa Freire)
10 Brasilianinha (Tiago Costa)

Edu Ribeiro - Bateria
Fernando Demarco - Baixo Acústico
Léa Freire - Flauta e Flauta Baixo
Teco Cardoso - Sax Soprano e Barítono, Flauta e Flauta em Sol
Tiago Costa - Piano
Mônica Salmaso - Voz (Part. Especial)

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LIRA

martes, 22 de abril de 2014

Banda Black Rio - Super Nova Samba Funk (2011)


The original Banda Black Rio were one of the great Brazilian bands of the 1970s and 80s. Formed by saxophonist Oberdan Magalhães, they were pioneers of the country's soul, samba and funk movement, and played a key role in Rio's black music scene in the days of the military dictatorship. The band stopped playing after Oberdan's death in 1984, but have now been revived by his son William, a singer and multi-instrumentalist who wrote or co-wrote every track on a set that's remarkable mostly for the number of celebrities who agreed to join in. Left to themselves, as on the title track, the band play cool, tight and rhythmic jazz-funk with a Brazilian edge, mixing brass with keyboards and guitar. They are great musicians, but sound even better as a backing band. Here, they are joined by a cast that includes the new samba hero Marcio Local and the charmingly relaxed Seu Jorge. There's a cool, drifting ballad from Gilberto Gil, and a lilting, slinky reminder from Caetano Veloso of the way Brazilian soul-funk was influenced by bossa and samba. Best of all, there's another great veteran, Elza Soares, with her upbeat, finger-clicking treatment of Isabela proving she is still in magnificent form.

01. Nove No Samba
02. Louis Lane (feat. Seu Jorge & Mano Brown)
03. America Do Sul
04. Quem Vem La (feat. Marcio Local)
05. Samba Nova
06. Som Preto
07. Deixa Estar (feat. Aleh)
08. Nossa Jornada
09. It's The Time
10. Back To The Project (feat. Flame Killer & God part 3)
11. Paname (feat. Pyroman)
12. Isabella (feat. Elza Soares & Cesar Camargo Mariano)
13. Lindos Olhos (feat. Seu Jorge & Don Pixote)
14. Final Feliz
15. Irera (feat. Gilberto Gil)
16. Aos Pes Do Redentor (feat. Caetano Veloso)

BUY THIS ALBUM!!!

CHRIS do BRASIL
(Faxineiro e LP's)

Banda Black Rio - Maria Fumaça (1977)


Nunca tinha ouvido. E hoje foi o dia de estudá-los um pouco, e o resumo é de uma banda de funk, mas com um remelexo pra lá de brasileiro. Esse é o primeiro álbum, no trabalho não dá pra ouvir tanta música, mas dos álbuns que ouvi, achei esse o mais tocante. Prepare-se que logo vem mais, e mais, e mais. Ou não? Vem sim. Que a sexta feira flua melhor ainda com essa jóia no ouvido de vocês! E lembrem-se de sempre, eu digo sempre, meditar para o melhor relaxamento!

Oberdan Magalhães: soprano, alto and tenor sax
Lúcio Silva: trombon
José Carlos Barroso - trumpet
Jamil Joanes: bass
Cláudio Stevenson: guitar
Cristóvão Bastos: keys
Luiz Carlos: drums, percussion

01. Maria Fumaça 
02. Na Baixa do Sapateiro 
03. Mr. Funky Samba 
04. Caminho da Roça 
05. Metalúrgica
06. Baião 
07. Casa Forte 
08. Leblon Via Vaz Lobo 
09. Urubu Malandro 
10. Junia

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CHRIS do BRASIL
(Faxineiro de LP's)

Banda Black Rio - Saci Pererê (1980)


Another work from the greatest Brazilian Funk/Soul band of the 70′s, Banda Black Rio. This is Saci Pererê.Cassiano, from Os Diagonais, a few posts ago, dos the arrangements for some tracks. This album remembers the style of Ed Motta, with the soul vocals in front of everything.

Bass Guitar – Decio
Drums – Paulinho Black
Guitar – Claudio Stevenson
Keyboards – Jorjao Barreto
Percussion – Bebeto (4)
Soprano Vocals – Oberdan Magalhaes
Tenor Saxophone – Oberdan Magalhaes
Trombone – Carlos Darci
Trumpet – Barrosinho
Viola – Claudio Stevenson
Vocals – Abobora, Gerson, Jorjao Barreto

01 Saci Pererê (Gilberto Gil)
02 Miss Cheryl (Jorjão)
03 Melissa (Oberdan Magalhães)
04 De onde vem (Ronaldo Barcellos, Lincoln Olivetti)
05 Subindo o morro (Cláudio Stevenson)
06 Amor natural (Jorjão, Zé Rodrix)
07 Profissionalismo é isso aí (Aldir Blanc, João Bosco)
08 Broto sexy (Oberdan Magalhães)
09 Tem que ser agora (Gastão Lamounier, Luiz Mendes Júnior)
10 Zumbi (Barrosinho)

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CHRIS do BRASIL
(Faxineiro de LP's)

Banda Black Rio - Gafieira Universal (1978)


Gafieira Universal is the second album by Brazilian Funk band Banda Black Rio released in 1978 vinyl format by RCA Records (103.0268) and reissued in 1993. Released in 2001 CD format by RCA Records and distributed by BMG Music under catalog number 74321865882.

Banda Black Rio
Oberdan Magalhães (sax tenor e flauta), Lúcio Silva (trombone), José Carlos Barroso [aka Barrosinho] (trompete), Cláudio Stevenson (guitarra), Luiz Carlos Batera (bateria, percussão e vocal), Valdecir Nei Machado (baixo e cuíca), Jorge Barreto [aka Jorjão] (teclados e vocal) e ainda Bebeto (percussão), Carlinhos “Pandeiro de Ouro” (pandeiro e cuíca) e Cristina Berio (xilofone)

01. Chega Mais (Imaginei Voce Dancando)
02. Vidigal
03. Gafieira Universal
04. Tico Tico No Fubá
05. Ibeijada
06. Rio De Fevereiro
07. Dança Do Dia
08. Samboreando
09. Cravo E Canela
10. Expresso Madureira

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CHRIS do BRASIL
(Faxineiro de LP's)

Milton Banana Trio - Samba é Isso Vol. 2 (1978)


I’m really happy with this Samba Saturday day, three solid releases covering different Samba styles. We started with Marchinhas de Carnaval, performed by several Brazilian artists, with some of them never spoke before, then we moved to the 70′s, showing Sonia Lemos and her third album for Continental, based on Samba de Raiz with Afro-Brazilian influences and the great finish with an artist that everybody likes, the legendary Milton Banana Trio. Three solid released very different to each other.

This is Milton Banana Trio – Tipo Exportacao (Samba e Isso) Vol. 2 (1978), for RCA Pure Gold. This cover alone worth the admission price, but there is another very nice finding on this album, Milton Banana sings for the first time on recording and he sings the last track, a medley with Milton’s tribute to Joao Gilberto. Personnel is not credited, but Milton Banana also writes liner notes and say special thanks to Maestro Cido Bianchi (in charge of arrangements), the bassist Claudio, the guitarist Heraldo and Edson. I’m not sure if they take part on this session.

01 – Oi Compadre (Martinho da Vila)
02 – Olho Por Olho (Daniel Santos / Zé do Maranhão)
03 – Qual É a do Boi (Herval Rios / Beto Sem Braço)
04 – Saco de Feijão (Francisco Santana)
05 – Ilha de Maré (Walmir Lima / Lupa)
06 – Eu Sou Bicho Homem (Otacílio / Ari do Cavaco)
07 – Tigresa (Caetano Veloso)
08 – Coisa da Antiga (Wilson Moreira / Nei Lopes)
09 – Propagas (Jorge Lucas)
10 – Por Que Será (Jorge Di)
11 – Ai Que Vontade (Dão / Beto Sem Braço)
12 – De Tombar Caminhão (Benito di Paula)
13 – “Ao Meu Amigo João” A Felicidade (Tom Jobim / Vinicius de Moraes) Chega de Saudade (Tom Jobim / Vinicius de Moraes) Doralice (Dorival Caymmi / Antônio Almeida) Bim Bom (João Gilberto) Aos Pés da Cruz (Marino Pinto / Zé da Zilda) Izaura (Herivelto Martins / Roberto Roberti)

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LIRA

lunes, 21 de abril de 2014

Gilberto Gil - Gilbertos Samba (2014)


Gilberto Gil, uno de los artistas de mayor renombre de la música popular brasileña, lanza Gilbertos Samba, una reinterpretación de clásicos atemporales grabados por João Gilberto; grandes canciones de autores de la talla de Tom Jobim, Vinícius de Moraes, Carlos Lyra y Caetano Veloso.

 Portada del disco «Gilbertos samba» de Gilberto Gil.La carrera de Gilberto Gil comenzó en la década de 1950 cuando era un niño, tocando el acordeón inspirado por Luiz Gonzaga, la música de la radio y las procesiones en la puerta de su casa: en el interior del Nordeste brasileño, el sonido que exploraba era el del campo.

Hasta que surgió João Gilberto, su guitarra, la bossa nova, y también Dorival Caymmi, con sus canciones de playa y su universo costero, tan diferente al rural. Al verse influenciado, Gil deja de lado el acordeón, adopta la guitarra acústica, y en seguida la eléctrica, la cual acoge las armonías particulares de su obra hasta el día de hoy, con una musicalidad que adoptó formas rítmicas y melódicas muy personales.


João Gilberto, uno de los principales intérpretes de la música brasileña de todos los tiempos, utilizó su guitarra para desarrollar un nuevo género musical, con un ritmo proveniente de la samba, y en el año 1958 lanzó su primer single, conmoviendo a brasileños de todo el país con su nueva y tan familiar forma de hacer música. La bossa nova hizo brillar a la música de Brasil, en el mismo momento en el que conquistaban su primer título futbolístico en la Copa del Mundo.

El nuevo álbum Gilbertos Samba es una reinterpretación a cargo de Gilberto Gil de clásicos atemporales grabados por João Gilberto; grandes canciones de autores de la talla de Tom Jobim, Vinícius de Moraes, Carlos Lyra y Caetano Veloso. Un poco de todo lo que João cantó, principalmente en sus primeros álbumes.


El disco fue grabado con tecnología analógica de estudio en Río de Janeiro, y cuenta con la producción musical de Moreno Veloso y su hijo Bem Gil. Justamente Bem acompaña a su padre en violas, guitarra y percusión, en un grupo que completan el virtuoso Mestrinho en acordeón y percusión y el multifacético Domenico Lancellotti en batería, percusión y MPC.

Con Gil en voz y guitarra, Gilbertos Samba es entonces una verdadera joya, dedicada del discípulo al maestro. Como concluye su hermano musical Caetano Veloso en las notas incluidas en el disco: "Escuchar a Gil cantando a João es sumergirse en toda la aventura de nuestra música y nuestra vida".

01 Aos pés da cruz
02 Eu sambo mesmo
03 O pato
04 Tim tim por tim tim
05 Desde que o samba é samba
06 Desafinado
07 Milagre
08 Um abraço no João
09 Doralice
10 Você e eu
11 Eu vim da Bahia
12 Gilbertos

BUY THIS ALBUM!!!

Chris do Brasil
(Faxineiro de LP's)

viernes, 18 de abril de 2014

RONALDO ALBENZIO: JAZZ by JAZZ




Queda muy poco para que JAZZ by JAZZ, producido, dirigido y presentado por RONALDO ABENZIO, cumpla 13 años en antena. Esta vez la sesión la inicia el inigualable Charles Mingus. Para empezar no está nada mal.

Escucharemos también a Johnny Adams, Cal Tjader, Charlie Byrd, Kenny Rankin, etc.

En el tercer bloque del programa una agradable sorpresa, un 65th aniversario... mejor lo descubren...

Para terminar músicos brasileños con Nilson Matta a la cabeza. Repertorio variado y genial el que nos ofrece RONALDO ALBENZIO en esta magnífica sesión. Escuchen y disfruten.

JAZZ by JAZZ, todos los Domingos a las 19:00h. (hora Brasil)

Feliz Semana Santa, Feliz Pascua.

(clique aquí)

João Castilho - Percepções (2013)


Há alguns anos, ao apreciar uma fotografia durante alguns segundos em um documentário na TV, Castilho percebeu que o som de seu aparelho estava desligado. Ao ligá-lo, havia uma música tocando, o que o fez se impressionar em como suas sensações foram alteradas. Ali, ficou evidente como era forte a influência da música na “percepção” de uma imagem. Nasceu então a idéia de criar um projeto envolvendo estas duas artes: a música e a fotografia. A proposta era relacionar uma música a uma foto. Um “jogo” de emoções onde um artista interpretaria a arte do outro através de sua própria arte? Sua amiga e grande fotógrafa Tatyana Andrade se encantou pela idéia e aceitou o desafio.

O disco PERCEPÇÕES é fruto deste projeto. Lançado pelo selo BR-12, PERCEPÇÕES é um CD autoral onde todas as composições foram inspiradas ou inspiraram fotografias.

João Castilho: guitar

01. Lembranças
02. Arranhando o Céu
03. Trama Azul
04. Madeira
05. Contemplação
06. Foi Assim
07. Percepções
08. Por um Instante
09. Olhos D'água
10. Barigui

BUY THIS ALBUM!!!

LIRA

jueves, 17 de abril de 2014

Noel Jewkes - Chasin' the Pres (Tribute to Lester Young) 2013


A tribute to Lester Young is the natural catalyst for this wonderful CD from the brilliant, masterful saxophonist Noel Jewkes. A legend among legends, Lester Young was one of the greatest figures in the history of jazz whose power and spirit transcended the tenor saxophone idiom, affecting the entire sound of jazz. Despite Young's pervasive effect, there has been a shortage of special tributes honoring his contributions to the birth of modern jazz.

Jewkes is an original musician, a premier tenor saxophonist, and an alto, soprano, clarinet and flute player, based in the San Francisco Bay Area. This recording, leading a band of top-ranked jazz musicians, has been long overdue and is both a tribute to Lester Young and a jazz celebration of Noel Jewkes.
The “Young Effect” prompted Young to be nicknamed “The President” or just “Pres.” As this CD demonstrates, Jewkes' ability to subtly unfurl nuances of jazz harmony and improvisation qualifies him as a member of Young's “Presidential cabinet.” The release of this CD fortifies Jewkes' solid reputation and will be welcomed by dedicated fellow musicians and enthusiastic fans alike.

Noel Jewkes was born in Utah on June 18, 1940. His mother, father, and uncles were all musicians: they formed the Jewkes Orchestra swing band, playing cowboy and country-western music for locals at church, school and other social functions. Jewkes joined the band at age 12, playing both clarinet and saxophone. Immersed in a deep musical environment, he became adept at a variety of instruments. He later attended college and studied music privately.

Jewkes moved to the San Francisco Bay Area and continued his musical growth and development, soon becoming one of San Francisco's bright lights, playing and recording on a very high level. He worked with Jon Hendricks and Jimmy Witherspoon, appearing in “Evolution of the Blues” production. He also worked with Mel Torme, Rosemary Clooney, Billy Eckstine, Mary Stallings, Jerry Hahn, Akira Tana, Jack DeJohnette, Weslia Whitfield, Mimi Fox, Larry Vuckovich, and Dave Ellis among others. Jewkes is an in-demand player.

Akira Tana, producer of this CD, suggested the liner notes include the story of the first time the teenaged Jewkes saw Pres perform. Likewise, Tana urged me to share my boyhood encounters with Pres.


Jewkes' first Pres experience was in 1954. Jewkes recalls: “Basie's Band was headlining, with Pres as the featured player. It was the band that included Frank Foster, Frank Wess, and Joe Williams. This Basie package came through Salt Lake City and played at a dance pavilion. Pianist Bud Powell's trio was part of the tour package, too.”

For my part, I was hotly in pursuit of Pres beginning at age 13, when I stood outside the entrance of “Jack's of Sutter Street” in San Francisco, catching the great sounds of Pres' tenor saxophone. After Pres noticed me hanging out at several of his dates, he asked me why I was there, I replied, “In your words, I have eyes for your sounds.”

My most memorable encounter with Pres occurred in Oakland's Chinatown. I had noticed a poster advertising a one-night stand featuring Pres and Billie Holiday at a beer joint named “Hamburger Gus's.” The entrance to Gus’s had swinging doors, open at the top about 18 inches. I had to check out this super gig, so I found a box to stand on and peered over the doors seeing the heads of Pres and Lady and digging the music. After the first set, Pres exited with a lady on each arm. Seeing me, he dropped the ladies, led me into the smoky joint, sat me on a stool by the stage and said, “The music will wind-up shortly... so dig it!” It was thrilling and unbelievable!

Back to Noel Jewkes and his song selection for this CD: “Some of the tunes I chose I think Pres would liked to have recorded, but never did.” Jewkes has always been a great fan of Pres. He explains: “Lester was the first modernist tenor player. Before Lester, I had devoted a lot of attention to Coleman Hawkins whose playing was more linear, more smooth and subtle. I was very fond of an album when I was still in high school. It was Oscar Peterson's quartet, featuring Pres with Oscar, Ray Brown, Barney Kessel, and J. C. Heard. The album on Verve Records is rightly named “Mr. President” and is a source of inspiration. I listened to it with intensity. That recording was one of the best things Lester ever did and I'm still impressed with it. That record fits the theme of a tribute to Pres. The standout jumping selection is “Tea for Two.” We came close to the same tempo.”

Jewkes showered praise on the exceptional musicians on this Pres tribute CD: “The rhythm section was vital and I tip my hat to them. Pianist Benny Green plays with total absorption - his conceptual consonance was unpredictable. Marcus Shelby's bass playing was sheer beauty. On guitar, Josh Workman has a great sense of swing and feeling. Drummer Harold Jones has perfect time conception and execution. The band members were fully in sync with each other - they were loose and elastic.”

Some comments about the selections on this CD might provide an insight into Jewkes' taste and ideas: Jewkes took the intros for “I Never Knew” and “I'll Never Be the Same” from original Pres recordings. The latter tune calls to mind the early recordings of pianist Teddy Wilson and Billie Holiday. On “If You Were Mine” Jewkes says: “I can hear Pres playing it in my head. Lester might have played it but he did not record it. Ditto for “Fine and Dandy,” which starts off as a slow ballad, then moves up to a medium swing tempo.” The derivation of “Moten Swing” is “You're Driving Me Crazy,” and it kicks off with the primary tune then segues into “Moten.” “D. B. Blues” has an uncommon structure - a bridge in a blues tune. The “D.B.” stands for the army detention barracks where Pres spent a year prior to his dishonorable discharge, and was a memory of the mistreatment he suffered in the U. S. Army. By the way, Jewkes' intro is different from Pres' on the same tune. “Lover Man” is associated with Billie Holiday. “I felt good playing it,” said Jewkes. Lester Young's classic signature tune, “Lester Leaps In” is played with a loose feel.

Marcus Shelby's insightful comment about Noel Jewkes is a potent wrap-up: “His harmonic and melodic concept leaves delicious melodies in your mind long after the song has ended.”

Hail Lester Young and Noel Jewkes! - Dr. Herb Wong

Noel Jewkes (ts)
Benny Green (p)
Marcus Shelby (b)
Josh Workman (g)
Harold Jones (ds)

01. I Never Knew
02. If You Were Mine
03. Db Blues
04. Fine and Dandy
05. Moten Swing
06. Tea for Two
07. I'll Never Be the Same
08. If Dreams Come True
09. Lover Man
10. Lester Leaps In

BUY THIS ALBUM!!!

Domi

Joe Beck - Get Me (2014)


It would be something of an understatement to say that the late Joe Beck was a fine guitarist. In truth, he was one of the most multifaceted players to wield the instrument during his lifetime. Beck was hailed for his funky fusion work, both as an individual and in combination with saxophonist David Sanborn, he was an ace studio musician, working with everybody from Miles Davis to Paul Simon to Gloria Gaynor, and he was a brilliant and daring interpreter of standards. It's that last aspect of his playing that shines brightly on this posthumously released live date. 

If this is truly Beck's final recording, it's a great way to cap a recording career. This album was recorded in 2006, two years before lung cancer took his life, and it's a shame that it took this long for it to reach the marketplace; it's a beauty, and one that almost never came to be. Anna de Leon, the proprietor of Anna's Jazz Island in Berkeley, California, had Beck at her club for two nights in September of 2006. Beck asked her to pick out a rhythm section, which is always a risky proposition, but she obliged. Little did anybody know that the combination of Beck, bassist Peter Barshay, and drummer David Rokeach would turn out to be such a winning combination. After the first night, de Leon realized that this music was too good not to preserve, so she arranged to have night two recorded. 

It's really hard to fathom that these three men had no history together prior to those two nights. All parties combine sensitivity and a daredevil attitude to create something special. Hearing the way Beck and Barshay dovetail and overlap on "Stella By Starlight," for example, is hearing, to quote writer Whitney Balliett, "the sound of surprise." Other highlights include a not-too-tender "Tenderly," "You And The Night And The Music," and a "Manha De Carnaval" for the ages. 

Beck and company are respectful of the music, but never excessively reverential. These men are willing to go off on tangents a bit, making these oft-performed pieces that much more interesting. Almost every number starts off with a Beck introduction, alone worth the price of admission. What follows—fluid chordal pathways, unexpected harmonics, ripping single note lines, swinging passages, and quiet scenarios—is the real show. Bits of banter are interspersed throughout the album, giving Beck a chance to share recollections of Antonio Carlos Jobim, praise his musical partners of the moment, discuss drinking, and liken the guitar to a six-piece band. 

Anna de Leon's instincts about these Beck shows were spot-on; it's a shame that night one never got recorded, but it's a good thing night two was preserved for posterity. Beck may be gone, but he still has much to offer. (DAN BILAWSKY, AAJ)


Joe Beck: guitar
Peter Barshay: bass
David Rokeach: drums

01. Stella by Starlight
02. Manha de Carnaval
03. The Guitar Is A Six Piece Band (Spoken)
04. Georgia On My Mind
05. Alone Together
06. Trio Interlude (Spoken)
07. Tenderly
08. On Ballads and Drinking (Spoken)
09. I Can't Get Started
10. You and the Night and the Music
11. Jobim (Spoken)
12. Corcovado
13. Georgia On My Mind (Reprise)

BUY THIS ALBUM!!!

Domi

Michael Musillami Trio - Dachau (2005)


The cult of youth has poisoned the world of music. Pop culture would have "instant artists shine momentarily, and then disappear quietly into the "where are they now category before they lose their baby teeth. In spite of this, seasoned musicians continue to move forward, breaking boundaries and defying the international fetishism of youth.

Michael Musillami is one such visionary musician. On Dachau, his veteran trio, augmented on several tracks to a quartet, quintet or sextet, fuses a warm traditional sound with highly modern playing into a seamless whole, stating unequivocally that the world of improvised music need not enslave itself to pop culture's obsession with disposable art(ists).

The realm of jazz guitar is fettered with a duality of possibilities: the classic tradition of Wes Montgomery and Jim Hall or the anything-goes realm of Bill Frisell. The jaunty melody of "Dresden" reveals the dichotomy that is Michael Musillami: a traditional jazz guitar sound coupled with a penchant for freely improvised lines, odd meters, and a conjuring of otherworldly soundscapes. This unlikely union creates a unique moment in jazz history: highly listenable free jazz guitar playing.

Throughout the record, Joe Fonda's warm bass tone anchors the movements of both Michael Musillami and drummer George Schuller. Like Scott LaFaro, he uses the entire register of the instrument for highly interactive and contrapuntal basslines. With music that exists on the fringes of jazz, maintaining group cohesion can be difficult. On the title track, "Dachau," Joe Fonda's playing serves to unite the frenetic drumming of George Schuller and the jaunty lines of Michael Musillami into a unified whole. Like Charlie Haden in Ornette Coleman's groups, Joe Fonda gives the music a completeness through strong melodic bass parts and intuitive interaction with the ensemble.

Veteran jazz drummer George Schuller is the MVP of Dachau. His clever and rambunctious playing keeps the record grooving continually, showing that freer music need not be devoid of feel. Moving seamlessly from the frenetic "Archives" to the melismatic "Dachau" with aplomb, Schuller is part of a rare breed of drummers who are capable of making the drums whisper, roar, groove or swing without sounding schizophrenic. Bringing to the table a dark cymbal texture and round drum tone that complement the ensemble perfectly, he is johnny-on-the-spot, catching everything everyone does and raising the musical bar continually.

Free improvisation can be a no man's land. The fainthearted need not apply. Over the years many carpetbagger musicians have seen fit to approach the daunting task of musical coherence in a freer setting without the ability to do so, effectively souring many ears to what can be highly imaginative and kinetic music. With Dachau, Michael Musillami demonstrates all that free music wants to live up to but often doesn't. Armed with a renegade ensemble of daring musicians with a classic jazz sound, Dachau is a work of surprising musical cohesion and inventiveness. (RENATO WARDLE, AAJ)

Michael Musillami: guitar
Joe Fonda: bass
George Schuller: drums, bells, shaker, toy hammer whistle

Peter Madsen: piano
Tom Christensen: tenor sax
Dave Ballou: trumpet

1. Dresden
2. Archives
3. Dachau
4. Part Pitbull
5. Rottweil
6. Today the Angels
7. Metaphor 3.4.5.

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Domi

Michael Musillami - Beijing (2003)


On the highflying Beijing, Michael Musillami sets up shop with a swinging team of sprightly improvisers in bassist Joe Fonda and drummer George Schuller. Musillami gets into an adventuresome mode on this set, and the others enlist for the fun-loving trip. They play mostly original compositions by Musillami or by band members collectively.

The music cooks in a stream of relaxed waves. Musillami’s delivery has lyrical leanings, but his improvising leaves convention behind to seek haven in more exotic realms. His output peaks with clear sound devoid of electronic fuzziness. Musillami sends out an unadulterated message that is very palatable while maintaining a challenging environment. He excels on the title cut with long, ringing choruses that dance in the air as flickering filaments of light.

Fonda and Schuller run with him on this very fast track. They open the set with a short percussive display of freeform interaction and then glide unerringly into their group role. Fonda gets into a consistently motivating groove with a solid, throbbing message; yet he also deviates off course with atypical contributions, particularly in the arco mode. Schuller similarly stirs the pot with a range of rhythmic cadence that maintains a degree of balance countered by off-balance, arrhythmic spurts to push the music in unpredictable directions.

For most of this charged session, it appears these musicians are having fun on this joy ride. They jab and poke at each other with playful teasing on “Pivot” and generally exude a sense of delight on most of the spirited tunes. The one exception is the haunting Thomas Chapin piece “The Present,” where the mood changes to pensive and the tempo to ballad pace. It offers the chance for Musillami to become an eloquent improviser with tender phraseology and softened interpretations.

Moodiness aside, the session sustains the perception of three artists cutting loose with invigorating songs that permit a large dose of self-expression to emerge from the tight group activity. It is a vehicle for improvisers to kick things into a higher gear with enthusiastic, interconnected playing. Musillami, Fonda, and Schuller do just that on this performance that dares you to remain still while the disc is spinning. ( FRANK RUBOLINO, AAJ)

Michael Musillami: guitar
Joe Fonda: bass, kalimba
George Schuller: drums, bells, shaker, toy hammer, whistle

01. Jade Welcoming (1:35)
02. Beijing (8:40)
03. Dazu (1:25)
04. Swedish Fish (5:38)
05. Fragile Forms (5:02)
06. Op-Ed (7:20)
07. Mogao (0:36)
08. Icons (3:43)
09. Pivot (4:10)
10. The Present (4:05)
11. Caterpillar (2:10)

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Domi

Paul Gonsalves - Ellingtonia Moods & Blues (1960)


One of tenorman Paul Gonsalves' earliest leader dates, Ellingtonia Moods & Blues was recorded in New York in February 1960. Produced by Stanley Dance for release on French RCA, it boasts a fuller sounding personnel than is heard on the earlier German LP and gives us an opportunity to hear how Gonsalves sounded when playing in a typical Ellingtonian combo of the sort popular in the 1930s and later. For this session, Dance surrounded the leader with hornmen of comparable tonal strength and improvisatory skills, including altoman Johnny Hodges, trumpeter Ray Nance and trombonist Mitchell "Booty" Wood, one of the best of Tricky Sam Nanton's stylistic beneficiaries. Not only did Dance make certain that there were sufficient arrangements and new compositions to frame the solos of these men, but he also secured the talents of more than compatible rhythmic accompanists, namely pianist Jimmy Jones, bassist Al Hall and drummer Oliver Jackson. The tunes include Hodges' "It's Something That You Ought to Know," "Way, Way Back" and the achingly slow "D. A. Blues," a three-way line that poses the alto lead against fills by the tenor over a subtly stated brass background; Gonsalves' "Chocataw" and "The Line-Up;" and the Ellington standards "Daydream," with Gonsalves offering a personal interpretation of the classic Hodges solo on a theme by Strayhorn and Duke, and "I'm Beginning to See the Light," a piece traditionally credited to a combine involving, among others, Harry James. Despite its brevity, this is an excellent and little-known session. (Jack Sohmer, JazzTimes)




1. It’s Something That You Ought To Know
2. Chokataw
3. The Line-Up
4. Way, Way Back
5. Daydreams
6. I’m Beginning To See The Light
7. D.A.Blues

Ray Nance: trumpet
Micel”Bootie” Wood: trombone
Johnny Hodges: alto sax
Paul Gonsalves: tenor sax
Jimmy Jones: piano
Al Hall: bass
Oliver Jackson: drums

Recorded (NYC) February 29, 1960

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JR

miércoles, 16 de abril de 2014

Alegre Corrêa - Leme (2013)


O violonista brasileiro Alegre Corrêa está lançando o seu décimo-terceiro disco. Leme, que foi gravado em Budapeste e em Viena, traz sete composições e tem a participação de músicos europeus e brasileiros.

Alegre Corrêa começou sua vida profissional tocando em bailes em Passo Fundo, sul do Brasil, no início dos anos setenta. Em 1988, decidiu ir trabalhar em Viena, onde permaneceu até 2009. Nesses 21 anos, construiu uma sólida carreira como guitarrista, compositor e arranjador. Em 2002, seu disco Mauve recebeu o Prêmio Hans Koller de Melhor Álbum Instrumental lançado na Áustria. No ano seguinte, foi o primeiro estrangeiro eleito Músico do Ano na Áustria, premiação entregue pelo secretário de Cultura daquele país. Depois de ter sido guitarrista titular da Vienna Art Orchestra durante vários anos, ingressou, em 2004, no Joe Zawinul Syndicate.

Neste novo disco, constam cinco peças que Alegre Corrêa compôs inspirado na obra de Darius Milhaud, compositor francês nascido em 1892, e que viveu no Brasil de 1917 a 1919, exercendo as funções de secretário do embaixador da França no Brasil, o poeta Paul Claudel. Milhaud foi muito influenciado pelos ritmos brasileiros e se reunia com a elite musical carioca, convivendo com Heitor Villa-Lobos, Alberto Nepomuceno, Oswaldo Guerra e Luciano Gallet. Em 1920, já de volta à França, escreveu Saudades do Brasil. Essa obra, escrita originalmente para piano, foi mais tarde orquestrada. Trata-se de uma coletânea de doze músicas, cada uma com o nome de um bairro carioca.

O interesse de Alegre Corrêa por Milhaud se deu a partir da proposta do maestro austríaco Christian Muthspiel, que sugeriu  que o brasileiro criasse “reflexões” sobre a obra Saudades do Brasil. Depois de dois meses de intensa pesquisa e introjeção na música de Milhaud, Alegre reinventou as músicas Sorocaba, Laranjeiras, Sumaré, Gávea, Corcovado e Leme, que foram apresentadas em três concertos, cujo programa consistia na apresentação das músicas originais de Darius seguida das reflexões escritas por Alegre. Os concertos aconteceram em março de 2001, na cidade de Linz (Áustria), com a Bruckner Orquestra; em outubro de 2004, em Viena, com a Camerata Salzszburg; e em dezembro de 2007, na Ópera de Hannover (Alemanha), com a Orquestra de Hannover. Em 2012, novos concertos foram realizados. Mas, diferentemente das apresentações anteriores, em que a orquestra tocava as obras de Millaud e a seguir o grupo de Alegre apresentava as reflexões, agora, orquestra e grupo, conjuntamente, tocavam apenas as reflexões e outras composições de Alegre Corrêa. Esses concertos foram realizados em 2013, no Festspielhaus, em St. Pölten, e na Grosser Saal do Musikverein de Viena.


Leme, o novo disco, traz cinco reflexões (Leme, Sumaré, Laranjeiras, Sorocaba e Corcovado) e outros dois temas (Encontro Marcado e Quiromante). As reflexões foram gravadas em Budapeste, em 2009, pelo Alegre Corrêa Group, formado pelos europeus Thomas Kugi (saxofones), Bertl Mayer (harmônica), Raphael Preuschl (baixo), Paul Urbanek (piano), Lana Cencic (vozes) e pelos brasileiros Márcio Tubino (flauta) e Fernando Paiva (bateria). Encontro marcado e Quiromante foram gravadas em Viena, no Jazzclub Porgy & Bess, em 2004, com  Elias Meiri (piano), Ronaldo Saggiorato (baixo) e Endrigo Bettega (bateria). Alegre Corrêa toca violão em todas as faixas.

01 - Leme
02 - Sumaré
03 - Laranjeiras
04 - Encontro Marcado
05 - Sorocaba
06 - Quiromante
07 - Corcovado

Para saber mais sobre Alegre Corrêa, visite www.alegrecorrea.com.br

O disco está à venda por R$ 20,00, no site www.cafemaestro.com.br

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AGENOR

Thelonious Monk Quartet (feat. Johnny Griffin) - Complete Live At The Five Spot 1958 (2 CD's)


Reviews:

-Thelonious Monk In Action

"Although the contents of the original Thelonious in Action vinyl comes from the August 7, 1958 show, the CD reissue, which was released three decades later, incorporates over 20 minutes of extras from a July 9 gig that had been previously rejected by the artist. While in exceptional form, Monk is far from casting the only or even the brightest light during these unforgettable sides. Joining him on-stage at the legendary Five Spot club are: Johnny Griffin (tenor sax), Ahmed Abdul-Malik (bass), and Roy Haynes. It's unfortunate that this unit did not remain together for any length of time as they are able to launch Monk's compositions into some fairly significant places. Johnny Griffin's aggressive performance style incorporates a lyrical and melodic undertone perfectly complementing Monk's sporadic inflections. "Coming On the Hudson" features Griffin weaving his magic around the melody while providing a decisive Coltrane-esque counterpoint to which Monk precariously locates his responses. The intensity of "Rhythm-A-Ning" lifts the whole combo after quickly developing the chorus. Griffin builds line upon melodic line, after which Monk responds in kind by adding distinct punctuations of his own. So powerful is Griffin's onslaught, Monk can be heard indicating more than once that Griffin should indulge in another verse. After a ragged but right beginning, "Evidence" becomes transcendental with Griffin, Monk, Malik, and Haynes -- who is frenetically brilliant throughout -- diving into solos which envelop the melody and ultimately expand the unique patterns and motivations."

-Misterioso

"This is the second long-player to be taken from the same August 1958 Five Spot recordings that had yielded the similarly brilliant Thelonious in Action The quartet heard on these sets includes Monk (piano), Johnny Griffin (tenor sax), Roy Haynes (drums), and Ahmed Abdul-Malik (bass). Their overwhelming and instinctual capacities directly contribute to the powerful swingin' and cohesive sound they could continually reinvent. While these are Monk's tunes, arrangements, and band, it is Griffin who consistently liberates the performances. During "Nutty," his flurry of activity — which adeptly incorporates several lines from "Surrey With the Fringe on Top" — has a maniacal swing that is highlighted by some definitive counterplay from both Haynes and Monk. Additionally, the transition between Haynes and Monk is organic and seemingly psychic. "Blues Five Spot" — a 12-bar blues homage to their current residence — features solos from each band member. Griffin and Monk again display the seemingly innate ability to instantly recalculate chord structures as well as transmute melodies. The show-stopping solo vamp from Griffin hurls the rhythm along while simultaneously dropping in quotes from other tunes — such as the theme for the animated Popeye cinematic shorts. Malik's brief solo, like his band interaction, is underrated yet precisely executed. The title track is given an exploratory performance. While Griffin aptly seizes the reins to blow his bop onslaught, Haynes' natural and subdued agility perfectly supports the extended tenor solo, creating some unique passages. Ironically, the one Monk solo performance, "Just a Gigolo," is the only composition not by Monk." Both by Lindsay Planer -All Music Guide


CD 1:
01. LIGHT BLUE (5:15)
02. COMING ON THE HUDSON (5:23)
03. RHYTHM-A-NING (9:28)
04. JUST A GIGOLO (2:09)
05. BLUE MONK (8:29)
06. EVIDENCE (8:45)
07. EPISTROPHY [Theme] (1:08)
08. NUTTY (5:22)
09. BLUES FIVE SPOT (8:12)
10. LET’S COOL ONE (9:15)
11. IN WALKED BUD (11:20)

Total time: 74:51 min.

CD 2:
01. MISTERIOSO (10:47)
02. EPISTROPHY [Theme] (1:04)
03. EVIDENCE (10:16)
04. BLUES FIVE SPOT (9:56)
05. IN WALKED BUD/EPISTROPHY [Theme] (10:57)
06. SWEET STRANGER (1:55)
07. ‘ROUND MIDNIGHT (6:18)
08. BYA-YA/EPISTROPHY [Theme] (11:55)
09. COMING ON THE HUDSON (6:04) (*) Bonus Track

Total time: 69:15 min.

CD 1 & CD 2 [tracks #1-8] from the 12" LPs "Thelonious Monk in Action" (Riverside R-262) and "Misterioso" (Riverside R-279), including additional and not originally issued material.

Personnel: Thelonious Monk (p), Johnny Griffin (ts), Ahmed-Abdul Malik (b) and Roy Haynes (d). Recorded live at the Five Spot Club, New York City, on August 7 [CD 1 & CD 2, #1-2] and on July 9 [CD 2, #3-8].

The bonus track features: Thelonious Monk (p), Johnny Griffin (ts), Donald Byrd (tp), Pepper Adams (bs), Wilbur Ware (b) and Philly Joe Jones (d). Recorded in New York City, on February 25, 1958.

Note: Art Blakey replaces Roy Haynes on CD 2, track#8 only. Monk plays solo piano on "Just A Gigolo" and "Sweet Stranger".

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JAZZZZ61

David Hazeltine - For All We Know (2014)


David Hazeltine é conhecido por sua sofisticação harmônica e pianismo elegante, traços que também eram características de jogo de Cedar Walton. Quando Hazeltine inicialmente estabelecido fazer o que se tornaria seu Sessões de fumaça de lançamento, pelo que sabemos, fazer um disco tributo era a coisa mais distante de sua mente e deve ser salientado que, pelo que sabemos não é, definitivamente, um registro tributo. No entanto, é difícil ignorar a importância do legado de Cedar Walton a ele. Hazeltine é um dos herdeiros importantes para a tradição do piano de Walton, por isso é natural que a sua gratidão e afeto seria temas dominantes nesta gravação. É também um registro especial porque documenta o que é essencialmente a primeira colaboração entre Hazeltine e saxofonista tenor Seamus Blake.

Foi uma parceria que ambos apreciamos imensamente e que funcionou muito bem com o resto do quarteto, o baixista David "Happy" Williams eo baterista Joe Farnsworth. O álbum abre com um dos originais inventivas do Hazeltine, "Et Cedra", que é também aquele que foi abertamente escrito com Walton em mente. Em sua torce melódicas e mais voltas e é harmonias sutis ainda inesperados, é rapidamente aparente porque Hazeltine tem um forte apoio tal. Outros destaques incluem Kurt Weill "My Ship" e turbulento "Eddie Harris" do Hazeltine que dá Blake a oportunidade de pagar alguns aspectos de sua autoria, desta vez para o mestre saxofone descolados. Quando For All We Know conclui com "AD Bossa," a realização em conjuntos que, apesar de jazz perdeu alguns de seus maiores talentos, há uma outra geração que é dedicado a manter a forma de arte vital e vivo.


Pianist David Hazeltine, a musician’s musician known for his harmonic sophistication and elegant pianism, delivers a thoroughly beautiful recording with his latest For All We Know. His rich sound and comping is often reminiscent of the late, great Cedar Walton and Hazeltine honors the piano master with several original compositions including “Et Cedra,” “Lord Walton,” and “Pooh,” as well as Kurt Weill’s “My Ship.” For All We Know also captures the first meeting between tenor saxophone sensation Seamus Blake and Hazeltine. It is abundantly clear on tracks like Charlie Parker’s “Cheryl” and Hazeltine’s “Eddie Harris,” that this collaboration is one worth returning to again and again. For All We Knowis available for purchase as a 8-panel CD-Deluxe Album complete with liner notes, interview and additional photos or as a high resolution download mastered for iTunes.

David Hazeltine: piano
Seamus Blake: tenor sax
David Williams: bass
Joe Farnsworth: drums

1. Et Cedra 6:12
2. My Ship 8:58
3. Pooh 8:21
4. Lord Walton 6:58
5. For All We Know 11:45
6. Eddie Harris 7:29
7. Cheryl 9:39
8. Imagination 7:10
9. A.D. Bossa 5:53

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LIRA