sábado, 2 de agosto de 2014


Espléndida entrega la que nos ofrece nuestro gran amigo RONALDO ALBENZIO, productor, director y presentador del inigualable programa de radio JAZZ by JAZZ.

En esta ocasión la apertura del programa viene de la mano de Count Basie. A continuación escucharemos a Steve Khan, Steve March Tormé, hijo de Mel Tormé, Wallace Roney, un poco de Bossa Nova y una gran banda en la Universidad de Brasilia. Acomódese y escuche con placer las selecciones de RONALDO ALBENZIO.



de la mano de


Todos los Domingos a las 19:00h. (hora Brasil)

Jim Stranahan Little Big Band - Migration to Higher Ground (2014)

Source: criticaljazz

Typical big band? Define typical. Intense lyrical flow and room to move highlight Migration To Higher Ground. The slightly more open ended arrangements allow for a the ensemble cast to move freely and make their own unique lyrical contributions. Players of note include trumpet titan Brad Goode and Stranahan's son Colin from the critically acclaimed trio Stranahan / Zaleski / Rosato. This is straight ahead big band with a boiling swing but a more cosmopolitan execution than similar ensembles. READ MORE

1. Mambo Facil
2. Bayou Bounce
3. Paul and Dave
4. Migration to Higher Ground
5. Blues and a Half
6. In Your Own Sweet Way
7. St. Thomas
8. Straight From the Source
9. Donna Lee

Jim Stranahan: alto saxophone, soprano saxophone, tenor saxophone
Caleb Starbuck: alto saxophone
Joe Anderies: alto flute, tenor saxophone
Chuck Schneider: tenor saxophone
Brad Goode: lead trumpet
Hugh Ragin: trumpet; Wade Sander: trombone
Ben Faust: sousaphone (2)
Justin Adams: piano
Mike Abbott: guitar
Bijoux Barbosa: bass
Todd Reid: drums
Glen Zaleski: piano (5, 7, 8, 9)
Rick Rosato: bass(5, 7, 8, 9)
Colin Stranahan: drums(5, 7, 8, 9)

"Hearing is Everything" Peter Watkins


The Hot 8 Brass Band - Tombstone (2013)

‘Tombstone’ is Hot 8 Brass Band’s third LP. The second instalment in a two-album set, it closely follows sister album ‘The Life & Times Of…’ (Nov 2012), which gained four and five star reviews including The Observer, MOJO, Metro, Songlines and The Big Issue, and widespread major UK and international radio support.

This new music comes hot on the heels of a three week sold-out tour of the UK and Ireland in March, in which the roof-raising New Orleans band treated audiences to the first live performances of hits from ‘The Life & Times Of…’ such as “Ghost Town”, as well as upcoming nuggets from ‘Tombstone’. Having always attracted attention for their music and their story (including featuring in Spike Lee’s documentary When the Levees Broke and the recent HBO series Treme), on this visit Hot 8’s ever-growing appeal led to their most diverse slew of media appearances yet, with sessions for Guardian Music, Cerys Matthews (BBC 6Music), BBC 1Xtra Breakfast, Loose Ends (BBC R4), Monocle 24, BBC World Service; and feature interviews for Craig Charles (BBC 6Music) and The Sunday Times.

‘Tombstone’ is a counterpoint to the straight-up party side of the band showcased on ‘The Life & Times Of…’. Thematically a more sombre, emotional record, it presents another chapter in the history of the Hot 8 Brass Band - a new window onto the lives, the friendships, the heartbreaks, the roots and culture of New Orleans brass music and its players. The majority of the songs are personal dedications, in memory of the four Hot 8 band members, and other musicians and dear friends, who have passed away. And those that aren’t dedication songs are new, original Hot 8 jams, party tunes that remind us – and the band - of why the music is worth it all; setting the scene for where the band are at today, while their city and its people still bear the scars of Hurricane Katrina, and where they are carrying the spirit next.

“These two records celebrate the times we have had both before and after the storm. Burying our dead and letting their spirits soar, celebrating our city and the lives that our band mates have lived individually and collectively as Hot 8,” explains band leader and tuba player Bennie Pete, of these two complementary releases.

‘Tombstone’ is an album of stories. “Tombstone Intro” is a prologue to all the tales contained within. As much a hip hop track as a brass one, the Intro spans the many styles and musical inspirations of Hot 8, and tells as many stories, giving way to an uninterrupted run of great songs infused with jazz, blues, funk and a heightening hip hop influence. Sparkling hooks, charged vocals and dynamic rhythms wind out into expressive and playful horn solo breaks. Life, death, tragedy and revelry come together in a bittersweet sonic stew. A symbolic symmetry emerges as the “Tombstone Outro”, rocking to the same atmospheric sway as the Intro, closes out he record. The first single, “Milwaukee Fat” (out 6th May), epitomises the album, showcasing one poignant and spirited dedication song for a lost musician and friend, and one raucous party tune (B-Side “Hot 8 Shit”) that updates the age-old tradition of the drinking song along a Big Easy hip hop tip.

In many ways their most deeply personal record, ‘Tombstone’ is also the first Hot 8 Brass Band album to feature all original compositions. While the roaring success of inspired cover versions - including “Sexual Healing” and “Ghost Town” - may have widened their renown, this innately talented ensemble, ensconced in New Orleans’ musical and sociological heritage, have lyrical depth and dexterity, compositional chops and improvisational flair to spare.

01. Tombstone Intro
02. Wolf Burger
03. Homies
04. Shot Gun Joe
05. Milwaukee Fat
06. Eldridge
07. We Goin' Make It
08. Hot 8 Shit
09. Big Girl
10. Take It To The House
11. Tombstone Outro

Bennie "Big Peter" Pete: leader, tuba
Terrell "Burger" Batiste, Alvarez "B.I.G. AL" Huntley, Raymond "Dr. Rackle" Williams: trombe
Jerome "Baybay" Jones, Keith "Wolf" Anderson, Jereau "Cousin" Fournett: tromboni Wendell "Cliff" Stewart: sassofoni
Harry "Swamp Thang" Cook: grancassa

"Hearing is Everything" Peter Watkins


Allan Holdsworth - None Too Soon (1996)

1. Countdown (3:11)
2. Nuages (5:41)
3. How Deep Is The Ocean (5:29)
4. Isotope (5:42)
5. None Too Soon, Part 1 / Interlude / None Too Soon, Part 2 (7:44)
6. Norwegian Wood (5:55)
7. Very Early (7:42)
8. San Marcos (3:24)
9. Inner Urge (6:15)

Total Time: 51:03

Gordon Beck / digital piano
Kirk Covington / drums
Allan Holdsworth / guitar, synthaxe
Gary Willis / bass

While electric guitarist Holdsworth retains his signature ultra-legato, speed demon sound, he has added a couple of new wrinkles to this date. 

He's attempting to play some legitimate jazz standards, a couple of Joe Henderson tunes, and other sidebar items. He's also working with the 

synthaxe, a synthesizer controller, on three cuts. The most revelatory moments of the date come from the acoustic sounding digital piano of 

Gordon Beck, a true master whose be-bop chops and inventive solo work cements the legitimate jazz aesthetic into the fiber of this music. 

Electric bass guitarist Gary Willis (of Tribal Tech) and drummer Kirk Covington work pretty well together, and swing, albeit in a more rock/R&B 

orientation. Holdsworth has a predilection for stating melodies very briefly before immediately going into a solo. This is most evident during John 

Coltrane's "Countdown," where he tosses out the theme with nice chords, then rips into his distinctive flowing single 16th and 32nd note lines. 

Holdsworth is not all flash -- he comps frequently and tastefully, as on the well-played Henderson piece "Isotope," getting out of Beck's path as 

the pianist digs into an aggressive, melody drenched solo. A 6/8 take of "Norwegian Wood" is quite interesting, with Beck's modal piano chords 

and Holdsworth's guitar melody working in opposing keys, adopting a sound closer to John Abercrombie. The leader skates around the melody of 

"How Deep Is the Ocean," with Beck proving himself a superior, cliche-free improviser reharmonizing the changes. Synth dominates the trumped 

up, phony take of Django Reinhardt's "Nuages," while a saving bass-led "Very Early" (Bill Evans piece) in waltz tempo has Beck shining on his 

sped-up improv from a slower introductory pace. Time and time again on this date he proves to be the true star. The remaining tracks are Beck's 

piano-driven, rather Pat Metheny-esque contemporary Southwest landscape hard swinger "San Marcos," and the synthaxe-oriented, three-note 

vamp of the title cut, with a more patiently constructed guitar solo at the beginning. Holdsworth is a speed freak, once and always, who cannot 

be tamed -- nor would his fans want him to. His multilayered, frenetic style is what fascinates his audience, but he is showing a need to calm 

down at times, and adopt different sounds aside from the single crystalline entity for which he is known.


Paul Bley, Gary Peacock & Paul Motian - Live in Switzerland (1999)

18 March 1999, Lugano, Technische Hochschule, Aula Magna

Paul Bley, piano
Gary Peacock, double-bass
Paul Motian, drums

1. Hackensack
2. Set Upset
3. Mambo Jambo
4. Ostinato
5. Moor
6. New Sphere
7. When Will The Blues Leave