martes, 26 de agosto de 2014

Brian Lynch and Emmet Cohen in quartet and duo - Questioned Answer (2014)


Source: Band Camp

This intergenerational collaboration between Grammy© Award winning trumpeter Brian Lynch and new piano star on the modern jazz horizon Emmet Cohen combines new school excitement and exuberant swing. In the quartet setting, joined by legendary drummer Billy Hart and master bassist Boris Kozlov, Lynch and Cohen present a program of their own searching and often epic original music, bridging traditional and contemporary sounds with virtuosity, passion and swinging aplomb. And as a duo, they essay and recast jazz classics and standards (both classic and contemporary) with warmth, intelligence and lack of cliche, often journeying into uncharted territory only bound by their searching imagination and desire to swing.

The musical lock between Lynch and Cohen has roots that go beyond the work they've put in towards crafting a distinctive sound in both quartet and duo formats. Their common ground in committing to grounded, yet contemporary and uncliched playing and composing, coupled with the mixture of Lynch's magisterial command and Cohen's poised beyond his years musicality, has resulted in a original and compelling new group sound tailored for today's listener.


Quartet and Duo:

1. Cambios 07:39
2. Dark Passenger 07:33
3. How Deep Is The Ocean 08:25
4. Buddy 09:08
5. Distant Hallow 08:33
6. I Wish I Knew 07:20
7. Petty Theft 11:21
8. Just In Time 06:06
9. Questioned Answer 07:43
10.Blues By Four (bonus track) 05:50

Brian Lynch trumpet and flugelhorn
Emmet Cohen piano
Boris Kozlov bass
Billy Hart drums 

 
Duo:

1. Cup Bearers 06:41
2. It Might As Well Be Spring 07:07
3. I Wish I Knew (alternate version) 06:43
4. Asiatic Raes 04:09
5. My Ideal 06:10
6. Steeplechase 05:52
7. Yardbird Suite 01:54

Brian Lynch trumpet and flugelhorn
Emmet Cohen piano 

 
"The most important thing I look for in a musician,

      is whether he knows how to listen."  - Duke Ellington -

 

GAB



Nate Najar Trio - Aquarela do Brasil (2014)



Source: candidrecords

The music of Brazil has captured the hearts and imagination of musicians and music lovers alike since the mainstream introduction of Bossa Nova in the second half of the twentieth century.

The "arrival" of Bossa Nova is generally associated with the landmark 1962 recording "Jazz Samba" from Charlie Byrd and Stan Getz. Other jazz artists, however, had already begun experimenting with the music, most notably Laurindo Almeida and Bud Shank, and even Dizzy Gillespie had a recording of Desafinado that predates "Jazz Samba." But it was the Byrd/Getz record that entranced the public imagination and launched the Bossa Nova Craze. Pretty soon record labels and promoters would put the name Bossa Nova on anything they could to make a sale. The latter half of the 1960's saw rock and roll take over much of the general populace and the Bossa Nova craze was over. Still, jazz artists had adopted the beautiful melodies, lush harmony and enthralling rhythm as fertile ground for improvisation. At the same time, the great Bossa Nova composers and practitioners continued to display their artistry for years to come.

The compositions on this recording represent a wide cross section of Brazilian musical influence, a Watercolor of Brazil if you will. Four of the selections come from one Bossa Nova's originators (and one of the finest composers of the twentieth century) Antonio Carlos Jobim, and yet all four are very much post Bossa Nova. The rest of the selections either predate Bossa Nova or are jazz tunes with a Brazilian influence. Jobim's Ligia came to me from João Gilberto and Fotografia from the wonderful record Elis and Tom featuring Elis Regina. Amparo and Chovendo Na Roseira came from an ultimately forgettable film called "The Adventurers" for which Jobim composed the score. The score, however, is most certainly unforgettable and Jobim would record these pieces a few more times over the rest of his career.

Aquarela Do Brasil is of course that gorgeous, soaring 1939 melody from Ary Barroso known throughout much of the world simply as "Brazil." Walt Disney introduced it to the wider population in 1942 and it has endured. Carinhoso is such a beautiful, pure melody and I fell in love the first time I heard it. 

Written by the wonderful Brazilian composer Pixinguinha, it came to me first via one of my favorite guitar players, Charlie Byrd. Charlie himself is represented with his own composition written for his daughter, Charlotte's Fancy.

Speaking of Charlie Byrd, one of his largest supporters, admirers and great friends was the WMAL DJ Felix Grant in Washington, DC. Felix was instrumental in helping to popularize Bossa Nova in DC and was a great supporter of all things jazz. Our bass player, Tommy Cecil, knew Felix quite well and wrote Samba For Felix in his honor. I thought it a terrific tune and asked Tommy if we could include it on the session. Chuck Redd and Tommy Cecil are two of the finest musicians I could ever hope to work with and I feel very fortunate to get to record and perform with them as often as I do. The fact that Chuck is equally strong on both drums and vibes is a tremendous benefit to the musical possibilities presented.


Nate Najar (unamplified guitar)
Tommy Cecil (bass)
Chuck Redd (drums and vibraphone)
Harry Allen (tenor saxophone)
Duduka Da Fonseca (drums)

01 Canto De Ossanha
02 Carinhoso
03 Ligia
04 Aquarela do Brasil (Brazil)
05 Amparo (Olha Maria)
06 Chovendo No Roseira (Double Rainbow)
07 Fotografia
08 Samba For Felix
09 Charlotte’s Fancy
10 Canto De Ossanha (extended version)

"Hearing is Everything" Peter Watkins


Domi

Marbin - The Third Set (2014)


Source: Band Camp

What does a band that has performed almost 1000 shows all over the USA over the last three and a half years do for an encore? Recording a scorching, balls-to-the-wall, three-alarm live album feels like a natural progression! Without question, one of the hardest-working, most motivated and driven independent bands in the world today, Marbin's The Third Set is a testimony to both that synonymous work ethic, as well as to the depth of musical diction, styles and textures these young gentlemen have achieved. Beyond that, it's a bone-crushing, no-holds-barred, sonic feeding frenzy!! "The two Danny's" (Dani Rabi on guitar and Danny Markovitch on sax) take a sizzling set of their best material to new heights and an unparalleled intensity: capturing facets of their style, sound and group interaction as only a smokin' live performance possibly could! 


Ever the musical chameleons, Marbin continues to expand their horizons -- pushing their music to the absolute limit, while keeping the accelerator pressed firmly to the floor! Both founders, Rabin and Markovitch, show more-than-ample evidence of the fire that burns in them both. Rabin's chops have never been more hard-hitting, emotional and convincing; with blazing legatos lines alternately punctuating proceedings with Beck-like melodic phrasings and sweet chord comp work, Dani's many hours of off-stage preparation and sustained musical growth are clearly in evidence. Markovitch plays with more fervor than ever before, with his perfectly-interspersed and -articulated lines weaving their magic throughout. The band never sounded tighter or more on top of their game. (... who said "playing with fire" was a bad thing?) The Third Set is the next step forward in the evolution of Marbin, as today's prodigies transform into tomorrow's progressive luminaries. Fasten your seat belts!!


1. Special Olympics 05:12   
2. The Depot 06:33
3. Crystal Bells 06:46
4. Redline 08:28
5. Culture 07:05
6. Vanthrax 05:40
7. Rabak 08:21
8. Splaw 06:08
9. Northern Odyssey 03:11
10.Volta 08:05
________

DANNY MARKOVITCH: saxophones
DANI RABIN: guitar
JUSTYN LAWRENCE: drums
JAE GENTILE: bass


"The most important thing I look for in a musician,
      is whether he knows how to listen."  - Duke Ellington -



GAB


David Pedrick - Time Remembered (2014)


Source: musemuse

Guitarist David Pedrick has earned accolades from critics and audiences alike for his work in a wide variety of styles. His performance credits run the gamut from jazz clubs to concert halls and he has been invited to perform for guitar societies, concert series, musical theater productions and music festivals throughout the U.S. Recent highlights include performances at The Strand-Capitol Arts Center, Kimmel Center for the Performing Arts, Fulton Opera House, Maryland Hall for the Creative Arts, Philadelphia Fringe Festival and the Wilmington Grand Opera House. His latest release Time Remembered was released in 2014.

The CD gently takes to flight with “Bill’s Vane” a methodical yet eccentric intro piece that flows and ebbs its way through to musical fruition. This first piece serves up impressive Nylon String Jazz guitar ambience served up against a dynamic rhythm section, and intoxicating vibe. The CD makes a great first impression and literally grabs your attention with its infectious musical personality. Track 2 “Van Libels” shifts gears a bit and keeps things moving in the same direction with more full tilt guitar melodies meshed against dynamic rhythm and hooky bass lines and melodic Saxophone accents. Track 3 “Lab Snivel” is a slamming ditty that serves up dynamic musical movement eventually lending itself to flowing rhythm, against a mesmerizing funked out vibe. The CD makes a great first impression, providing 3 solid gold standard Jazz musical experiences in a row. Musical textures reminiscent of classic Pat Matheny, Charlie Hayden, Jim Hill, John Abercrombie. Despite this it’s quite amazing how original Pedrick’s signature is and it something that goes beyond traditional pigeonholing. As the CD slowly unfolds you will notice most of the songs are very dynamic and passionate in nature, with crystal clear high end clarity and solid low end feel. The music itself goes down smooth and just fills the sonic space with what I would describe as exuberant musical meandering with all the progressive excitement of classic modern-day jazz. The musicianship though extremely conservative provides a lot of musical variety and s not to be underestimated. The dynamic musical syncopation is world class. All in all the CD has some truly impressive moments, showcasing impressive chops, dynamic grooves rich in melody and texture. What’s even more impressive is how well the guitar and piano share the sonic space equally. I was entertained the entire time and I can say this is the most unique jazz projects I’ve heard in a while. Drummer Dave Young pushes the natural accents and odd time signatures extremely well, Saxophonist Ryan Kauffman adds melodic fuel to the fire with his infectious melodies. Bassist Steve Meashey lays down the bottom end groove with several impressive bass solos to boot. Finally David Pedrick’s guitar virtuoso just makes the whole thing work as he provides the perfect balance between strong melodic delivery and sizzling jazz guitar chops. Pedrick is a master musician showcasing his amazing solo guitar skills and displays an expensive chord vocabulary. All the while displaying the A-Typical Gold Standard playing you would come to expect from a CD of this magnitude. From hypnotic "Vin’s a Bell” to jumpy “Navel’s Lib” to dynamic “Slab Niven” and “Ball Vines” to smooth as silk “Vain Bell’s” this CD pretty much has something for just about everyone. The CD ends with ”I’ll Be Van’s” the perfect finale statement for a CD of this caliber.


The song names are to say the least – odd, cryptic and mysterious to me. I’m not so sure how all of this ties into the CD title and concept. After spending some time with David Pedrick it's hard to find any solid weaknesses worth mentioning. Instead as Time Remembered progressed I became more and more impressed with it as a whole. Make no bones about it these cats can play. What I like most about the CD is it has all the aspects of old world meets new world contemporary Jazz. Most people will agree live performances pack a powerful punch are quite dynamic. Time remembered by David Pedrick gives off that kind of spontaneous feel and is an impressive musical production from start to finish. There’s not really a weak song on this entire catalog period! The musicianship is first rate and the songs are very dynamic and passionate. Each one possessing a unique personality, flair, and signature groove. Lastly - the playing and writing abilities of David Pedrick and his group are both amazing and brilliant.

David Pedrick, guitar
Ryan Kauffman, soprano saxophone
Steve Meashey, bass
Dave Young, drums

1. Bill's Vane 05:24
2. Van Libels 04:26
3. Lab Snivel 04:14
4. Vin's a Bell 04:18
5. Navel's Lib 04:18
6. Slab Liven 03:53
7. Vain Bells 04:55
8. Ball Vines 05:48
9. I'll Be Van's 02:31

"Hearing is Everything" Peter Watkins


Domi

Cannonball Adderley - Jump For Joy (1958)

Cannonball Adderley  Jump For Joy 1958

Tracks: 
01 I Got It Bad And That Ain't Good
02 Two Left Feet
03 Just Squeeze Me
04 Nothin'
05 Bli Blip
06 Jump For Joy
07 Chocolate Shake
08 If Life Were All Peaches and Cream
09 Brownskin Gal In Calico Town
10 The Tune Of The Hickory Stick


Personnel: 
Arranged By: Bill Russo and Richard Hayman
Cannonball Adderley, Alto Sax;
Emmett Berry, Trumpet;
Bill Evans, Piano;
George Ricci, Cello;
Dave Schwartz, Viola;
Gene Orloff, Leo Kruczek, Violin;
Barry Galbraith, Guitar;
Milt Hinton, Bass;
Jimmy Cobb, Drums.



Recorded: in NYC Aug. 20th, 21st 1958
Label: Mercury [SR 80017] LP 1958; Sears [SPS460] Vinyl, LP (RE) US 1958
Genre: Jazz, Bop

Previously released on Mercury records. Track order differs from original release, but track durations are the same. Cannonball's interpretation of Duke's musical, this lp is often paired with the "with strings" lp but that seems a bit of a lazy combination to me. And it gets dissed far too much. Yeah some of the tracks seem bloated at first but they end up balancing out nicely with the more sparse cuts. All around I think is a pretty good lp and a nice tribute to Duke. My copy is some weird release for Sears with this cartoon cover.... I love it. And the lp is great as well. The band is an all star bunch.


RAZ

Tingvall Trio - In Concert (2013)


Swedish pianist Martin Tingvall lives in Hamburg and the South of Sweden. The Tingvall Trio albums “Vattensaga (No.21) and “Vägen” (No.1) reached the German Jazz Charts, “Vägen also charted at the German Pop Charts (No 91). Martin Tingvall released his first solo – album “en ny dag” in 2012, it entered Top 5 of German Jazzcharts. He is also composing songs for various singer in pop/blues and writes score music for tv productions.


A1 Hjälten (Martin Tingvall / Tingvall Trio) 6:26
A2 Nu djävlar (Martin Tingvall / Tingvall Trio) 5:54
A3 Avsked (Martin Tingvall / Tingvall Trio) 4:30
A4 Vägen (Martin Tingvall / Tingvall Trio) 5:31
B1 Mustach (Martin Tingvall / Tingvall Trio) 5:44
B2 Movie (Martin Tingvall / Tingvall Trio) 5:04
B3 Hajskraj Martin Tingvall / Tingvall Trio) 5:33
B4 Utsikt (Martin Tingvall / Tingvall Trio) 5:18
C1 Valsang (Martin Tingvall / Tingvall Trio) 5:24
C2 Mjau (Martin Tingvall / Tingvall Trio) 5:55
C3 Efter livet (Martin Tingvall / Tingvall Trio) 7:22
D1 Alma (Vinyl Bonus Track) (Martin Tingvall / Tingvall Trio) 4:09
D2 Trolldans – Monster (Martin Tingvall / Tingvall Trio) 9:44
D2 Vaggvisa – Morgon (Vinyl Bonus Track) (Martin Tingvall / Tingvall Trio) 7:52

Martin Tingvall: piano
Omar Rodriguez Calvo: double bass
Jürgen Spiegel: drums & percussion

"Hearing is Everything" Peter Watkins


LIRA