miércoles, 30 de julio de 2014

Trio Esperança - Doce França (2013)

Trio Esperança is a Brazilian vocal trio, formed in the city of Rio de Janeiro in 1958, by the siblings Mário, Regina and Evinha Correia José Maria. They had several hits in Brazil, such as "Festa do Bolinha" and "Filme Triste" - a version of the pop song Sad Movies (Make Me Cry), released as a single in 1962 - and released albums through Polygram Records, EMI, Universal Music and Philips Records.

After releasing 4 albums in France, the Trio Esperança took a break from the music business in 2002. The band returned on stage in 2008. In 2010, the Trio Esperança, composed by Evinha, Regina and Mariza, released a new album De Bach a Jobim on French label Dreyfus Jazz. The disc featured covers of music by The Beatles, Bach, Antonio Carlos Jobim, in addition to original material.

In 2013, almost 20 years after the release of "A Capela do Brasil", the first album they released in France, the Trio Esperança decided to pay tribute to French music, with their personal take on 14 songs by emblematic French artists, releasing a new album "Doce França".

01. Les Copains D'abord (2:38)
02. Quelques Mots D'amour (3:40)
03. Ce N'est Rien (3:01)
04. La Chanson Des Vieux Amants (Cançao Dos Velhos Amantes) (3:26)
05. Lily (Lily A Somali) (3:18)
06. Et Maintenant (2:54)
07. Chaque Jour De Plus (2:53)
08. La Boheme (Uma Bela Historia) (4:17)
09. Sob O Ceu De Paris (3:02)
10. Que Reste-t-il De Nos Amours (Bem Mais Que Tudo) (2:25)
11. Bancs Publics (Os Amantes Dos Bancos Publicos) (3:19)
12. La Vie En Rose (2:33)
13. Message Personnel (2:52)
14. Tendresse (2:18)

Direction artistique & Arrangements: Gérard Gambus
Enregistré par Gérard Gambus – GEMM
Mixé par Guillaume Thomas – Gyomsound
Masterisé par Sébastien Lorho – Passage à niveaux
Photos: Neyla Barreto

"Hearing is Everything" Peter Watkins



Vince Jones - The Monash Sessions (2014)

Source: jazzhead

Jazzhead is thrilled to announce the new release by Vince Jones: The Monash Sessions.

Vince Jones' Artist in Residence joins the esteemed list of artists who have recorded with the Sir Zelman Cowan School of Music at Monash University. Jones is an Australian musical icon and features one of the most recognisable voices and distinctive phrasing he has influenced legions of singers across the nation. 

The recording plays host to live and studio recordings of the elite music students collaborating with Vince and includes guest performances from Sam Keevers and Rob Burke. The majority of compositions are penned by Vince, spanning 30 years of recordings and includes two tunes from The Great American Songbook; always a staple in Vince’s repertoire. Vince’s compositions include fan favourites such as Jettison, This is The Woman, Union Man and Wonder World.Jones’ lyrics are at times commentaries on social issues with a meaning and relevance to the Vince Jones narrative; a story that is now influencing a new generation of young musicians.

Leading Australian jazz vocalist, Vince Jones, is renowned for his subtle, heartfelt style combining jazz phrasing with soul-derived moves, much as his repertoire combines jazz, blues, soul, folk and pop influences. This concert presents a new and exciting collaboration.

Vince (vocals, flugelhorn) will be joined by a larger ensemble, comprising students and faculty members from the jazz course at Monash University, including Rob Burke (saxophone) and Paul Grabowsky (piano). They will perform music from Vince's latest album Monash Sessions (Jazzhead), written while undertaking a teaching engagement at Monash University in 2013.

Vince Jones: The Monash Sessions; a real joy to hear. In stores June 6.


This is the Woman - arranged by James Mustafa

Union Man - arranged by Jordan Murray


Budgie,  Jettison

Bass - Joshua Manusama

Drums - Keiran Rafferty

Piano - Joel Trigg

Guitar - Tom Biffin

Tenor Sax - Paul Cornelius

Alto Sax - Liam Werrett

Blame It On My Youth, This Is The Woman, Union Man

Bass - Jordan Tarento

Drums - Rohan Moore

Piano - Daniel Mougerman

Guitar - Jonathan Skourletos

Alto Sax - Joe McEvily

Trumpet - Niran Dasika

Monash University Vocal Ensemble - Directed by Jacqueline Gawler

Paloma Ellis-Vega, Christina Serafy, Stephanie Macetta, Ella Patinson, Lauren 

Irwin-Ray, Jack Foy, Amber Ferraro, Tanya George, Alex Vella-Horne, Luke 

Stevenson, Imy Dale, Rebecca Barbie, Mikaela Brownley, Lizzie Anne, Dominique 

Garrard, Yu Lin, Katani La Rocca, Grace Cordell, Sarah Turner, Stephanie Abbott, 

Siobhan Louise Barry, Merrily Hansen, Sebastian Smart, Clary Riven, Andrew 

Masutti, Rachel Fegan, Ethan Brivik, Sarah Aarons, Tiffany Leung, Ido Zamir, 

Claire Howells, Elizabeth Miller, Lillian Albazi, Heidi Lupprian,  Marceau 

Camille, Lily Zhang, Jonathan Wright.

Wonderworld, Betweeen Your Eyes, Rainbow Cake

Bass - Oscar Neyland

Drums - Chris Cameron

Piano - Sam Keevers

Guitar - Tom Mansfield

Trumpet - Brae Grimes

Alto Sax - Josh Kelly

Tenor Sax - Steven Byth


Piano - Sam Keevers

Tenor Sax - Robert Burke

Just in Time

Duet with Sam Keevers - piano

01. Budgie (feat. Joshua Manusama, Keiran Rafferty, Joel Trigg, Tom Biffin, Paul Cornelius & Liam Werrett) 3:58

02. This Is the Woman (feat. Jordan Tarento, Rohan Moore, Daniel Mougerman, Jonathan Skourletos, Joe McEvily, Niran Dasika & Monash University Vocal Ensemble) 5:23

03. Rainbow Cake (feat. Oscar Neyland, Chris Cameron, Sam Keevers, Tom Mansfield, Brae Grimes, Josh Kelly & Steven Byth) 4:16

04. Blame It on My Youth (feat. Jordan Tarento, Rohan Moore, Daniel Mougerman, Jonathan Skourletos, Joe McEvily, Niran Dasika & Monash University Vocal Ensemble) 5:09

05. Jettison (feat. Joshua Manusama, Keiran Rafferty, Joel Trigg, Tom Biffin, Paul Cornelius & Liam Werrett) 5:18

06. Between Your Eyes (feat. Oscar Neyland, Chris Cameron, Sam Keevers, Tom Mansfield, Brae Grimes, Josh Kelly & Steven Byth) 4:23

07. Blue (feat. Sam Keevers & Robert Burke) 6:05

08. Union Man (feat. Jordan Tarento, Rohan Moore, Daniel Mougerman, Jonathan  Skourletos, Joe McEvily, Niran Dasika & Monash University Vocal Ensemble) 5:18

09. Just in Time (feat. Sam Keevers) 4:09

10. Wonderworld (feat. Oscar Neyland, Chris Cameron, Sam Keevers, Tom Mansfield,  Brae Grimes, Josh Kelly & Steven Byth) 5:26

"Hearing is Everything" Peter Watkins


Lost Tribe - Lost Tribe (1992)


01. Mythology
02. Dick Tracy
03. Procession
04. Letter to the Editor
05. Eargasm
06. Rhinoceros
07. Mofungo
08. Space
09. Four Directions
10. Fool for Thought
11. T.A. The W. (Tender as the Wind)
12. Cause and Effect


David Gilmore: Guitars
Adam Rogers: Guitars
Fima Ephrom: Bass
Ben Perowsky: Drums
David Binney: Sax

This is what modern fusion is at it's best. This group combines multiple genre's into something fresh and original. The playing is first rate. All of the musicians are in demand session men. They combine to create something really fresh and interesting. David Gilmore, Ben Perowsky, David Binney, Fima Ephrom and Adam Rogers combine here to create a fine blend of jazz, rock, funk and hip-hop. It's been a long time since there has been something as interesting as this. Dick Tracy, Procession, Letter to the Editor, Mofungo and Fool for Thought are real highpoints. These musicians play with skill and with the pieces in mind. The virtuosity is there but not at the expense of the compositions.
From the opening sax punctuations and eclectic guitar pulloffs of "Mythology" I was hooked. Being a bass player also drew me into Fima Ephrom's kinetic bass lines with all it's pops,snaps,slurs and machine gun fills. The odd time signatures did it for me as well. Who can argue with the funky 4/4-6/4 groove in the solo section of "Dick Tracy"? One of the best tracks on the album. But these guys can lay back and be beautiful as a waterfall as well.the swelling chords and understated drums of "Procession" cascade over your senses like honey on a tangerine. Fusion is truly a term which defines this band.Not convinced? How about some soulful rap for the unbeliever? "Open Letter To The Editor" does just that, complete with additude and streetwise rhyme. Rock? No problem."Eargasm" should do the trick.Still not convinced? Check out the Heavy Metal-esque,in your face crunch of "T.A. The W." "Four Directions" finds Lost Tribe at their best with lush layers of guitar and sax high-jinx. The cool slap bass and funk drums lay dowmn a bad-ass back beat that demands a standing ovation ( and a little James Brown dance move,if you please). The bass solo establishes Fima as a world class player with serious chops."Fool For Thought" revisits the themes established in "Four Directions" but leaves room for the guitars to do some serious fretwork. The rest of the album boasts some serious moments of pure fusion frenzy and shinning moments of musical genious.Too bad these guys are no longer together.


Ginger Baker's Jazz Confusion - Why? (2014)

Source: motema

Ginger Baker was once considered the musician least likely to survive the ‘60s. And yet, in 2014, he finds himself on the ascent. The award-winning 2012 documentary Beware of Mr. Baker brought renewed attention to his singular music, fiery and self-destructive personality, and dramatic life story. Ironically, his extreme adventurousness and impulsivity—evidenced, for example, by his leaving England and moving to Nigeria in 1970 to play and record music—are the same qualities that helped make him such a versatile and continually evolving musician. Baker has long ranked among the world’s greatest drummers, and critics have deemed his recent live shows with his quartet, Jazz Confusion, some of the best work of his career. On June 24, Motéma Music releases Why?, his first new recording in 16 years, coinciding with a thirteen-date North American tour with Jazz Confusion June 14-30.

For his time with the Rock and Roll Hall of Fame-inducted band Cream, Baker is often credited with revolutionizing rock drumming and influencing countless other rock drummers. But he has always been, first and foremost, a jazz musician. What distinguished his playing in Cream, Blind Faith and other bands, aside from his stunning virtuosity and dramatic flair, was the fact that he was essentially the first “jazz-rock fusion” drummer. He brought to rock the jazz technique he learned from his deep study of music by the likes of Baby Dodds,Max Roach, Elvin Jones and Art Blakey. Baker’s setup (two bass drums instead of one) and style (improvised drum breaks and solos) made him unique amongst his peers.

Baker’s love of jazz also cannot be decoupled from his deep appreciation for African music, introduced to him in the early ‘60s by his idol and friend Phil Seamen, which Ginger manifested in own his playing through the heavy use of toms, introducing an oft-imitated tribal sound to rock. This influence has been an essential part of Baker’s style throughout his career. It is no surprise then that African rhythm is a key ingredient on Why?

The inclusion of Abass Dodoo in Jazz Confusion accentuates the African feel of the album and hearkens back to Baker’s friendship with another Ghanaian percussionist, the master drummer Guy Warren. While visiting Warren in 1970, Baker became fascinated with the music he heard on a Nigerian radio station, contacted his friend Fela Kuti, went to Lagos, and decided to build a recording studio, Batakota (ARC). During construction, Baker and Kuti recorded Fela Ransome-Kuti and Africa 70 with Ginger Baker: Live at Abbey Road and London. Baker still considers that album one of the high points of his career. (Once ARC opened, in 1973, Paul McCartney and Wings recorded part of Band on the Run there.)

Baker continued to reveal his jazz chops in the Ginger Baker Trio (with Charlie Haden and Bill Frisell) and DJQ20 (with Ron Miles, Artie Moore and others), with whom he recorded his last album, Coward of the County in 1998. Why? is the next step in Baker’s return to his jazz roots, a culmination of his storied career and an amalgamation of his jazz and African music influences.

Why? features material Baker has explored while performing live over the last two years with Jazz Confusion. The music ranges from Wayne Shorter’s “Footprints” and Sonny Rollins’ “St. Thomas,” to “Aiko,” which adapts a Nigerian folk tune. The album’s title track echoes Baker’s early music with the Graham Bond Organisation, and represents Baker reflecting on his life: on the personal loss he’s experienced, the dreams he’s had fulfilled and destroyed, asking the question “why?” The tune starts with a prison work song about a man who killed his wife, and also includes “Wade in the Water” as a remembrance of Graham Bond, who died tragically in 1974.

Reviewing Baker and Jazz Confusion at Iridium last fall—Baker’s first New York City club gig since 1997—Ben Ratliff wrote in The New York Times that the band “comes to jazz sideways or through very old roots…Mr. Baker’s sound is so imposing and broad, slow and confident. It’s not loud with ambition, but with spirit and intent.”

About Ginger Baker

Ginger Baker’s recognition as a drummer began during his time in the Graham Bond Organisation, a band that toured with The Who, The Troggs, The Moody Blues and Chuck Berry in the early 1960s, attracting press interest for their outrageous behavior and riotous fun. By 1964, Melody Maker journalist Chris Welch had deemed Baker “one of Britain’s great drummers.”

Baker met Eric Clapton in 1966. The two were mutually impressed with each other’s playing after jamming together,  leading to Baker inviting Clapton to join his band. They soon added bass player Jack Bruce to form Cream. In Baker’s own words, they created “instant magic” and as a touring act broke box office records previously held by The Beatles.

After Cream came Blind Faith, in which Steve Winwood and Rick Grech joined Baker and Clapton. The band made just one album. When Clapton and Winwood left to pursue their own projects, the remaining members went on to form the jazz-rock fusion group Ginger Baker’s Airforce, which added sax, flute, organ and extra percussion.

During a trip to Africa Baker found himself inspired by Nigerian radio. Although there was a war going on, he was adamant about visiting Nigeria, and pushed to set up Batakota Studios in Lagos. Music aside, Africa afforded Baker a wonderful climate and a healthier lifestyle than that of rock n’ roll and touring. He discovered his love for polo and rally driving there, too.

Baker’s work with Airforce and his friendship with Fela Kuti paved the way for Baker’s next musical project: to work with African musicians. With his friend Fela Kuti, at Abbey Road, he recorded the landmark Fela Ransome-Kuti and Africa 70 with Ginger Baker.

Baker then went on to form the British band The Baker Gurvitz Army. Baker provided “extra sounds” on the debut album, such as wheel spins from his Jensen FF on the song “Mad Jack.” He also rode a wheeled swivel chair backwards down a flight of stairs for the LP’s second track.

After setting up a second recording studio, in North London, Baker formed Energy. Since then he has performed at various live events, such as Verona’s Percussion Summit and his own 70th birthday party, with special guest Steve Winwood, at Camden’s Jazz Café.

Ginger Baker’s Jazz Confusion made a sold-out four-night debut in 2012 at Ronnie Scott’s Club in London.

Ginger Baker - drums
Pee Wee Ellis - saxophone
Alec Dankworth - bass
Abass Dodoo - percussion

1. Ginger Spice (Ron Miles) 6:18
2. 12+ More Blues (Alfred 'Pee Wee' Ellis) 7:25
3. Cyril Davis (Ginger Baker) 6:44
4. Footprints (Wayne Shorter) 6:56
5. Aïn Témouchent (Ginger Baker) 6:46
6. St. Thomas (Sonny Rollins) 6:04
7. Aiko Biaye (Nigerian traditional, arr. Ginger Baker) 7:28
8. Why? (Ginger Baker) 4:45

"Hearing is Everything" Peter Watkins


Cyrus Chestnut - Midnight Melodies (2014)

THIS NEARLY PERFECT PIANO TRIO SET BY CYRUS CHESTNUT, captured at Smoke Jazz & Supper Club in New York, is his first live recording date. It retains all of the feeling and power of his thrilling live performances but also benefits from Smoke’s Steinway B that Cyrus claims is the best piano in the city. “It’s just my ticket. We connect. It’s warm and it’s sharp at the same time with a lot of earth in it. I like clubs like the Jazz Standard or Smoke, where you can sit down at the piano and get down-home, because that’s the kind of audience they attract.” Joining Cyrus are bassist Curtis Lundy and drummer Victor Lewis who both worked with the late John Hicks who was an important mentor and friend to Chestnut. Together, they take listeners on a musical odyssey that includes the music by Billy Strayhorn, John Coltrane, and, of course, John Hicks. There are also originals by Victor Lewis and Cyrus culminating in an impressive extended version of “Naima’s Love Song.” Cyrus is one of the great piano voices of his generation—or any generation—as he proves again with this rewarding live debut. Midnight Melodies is available for purchase as an 8-panel CD-Deluxe Album complete with liner notes, interview and additional photos or as a high resolution download mastered for iTunes.

Cyrus Chestnut: Piano
Curtis Lundy: Bass
Victor Lewis: Drums

01. Two Heartbeats
02. Pocket Full Of Blues
03. To Be Determined
04. Bag's Groove
05. Hey, It's Me You're Talkin' To
06. Chelsea Bridge
07. U.M.M.G.Upper Manhattan Medical Group
08. I Wanted To Say
09. Giant Steps
10. Naima's Love Song
11. The Theme

"Hearing is Everything" Peter Watkins