martes, 2 de septiembre de 2014

Roscoe Mitchell and The Sound Ensemble - 3 x 4 Eye (1981)

Roscoe Mitchell And The Sound Ensemble: Roscoe Mitchell (alto & soprano saxophones), Hugh Ragin (piccolo trumpet, trumpet, flugelhorn), A. Spencer Barefield (guitar), Jaribu Shahid (bass, congas), Tani Tabbal (percussion). Roscoe Mitchell heads his Sound Ensemble, and this 1981 session presents them doing two extensive numbers and two shorter pieces. The longer works have fiery solos and intricate unison sections, while "JoJar" features Mitchell's group in a looser, more relaxed posture, and "Variations On A Folk Song" alternates between jagged, flamboyant solos and simple statements. This isn't among his most intense or combative dates, but Mitchell and the Sound Ensemble are still well worth hearing. ~ Ron Wynn

Bass, Congas – Jaribu Shahid
Engineer – Giancarlo Barigozzi
Guitar – A. Spencer Barefield
Percussion – Tani Tabbal
Photography By [Cover] – Lucio Maggio
Producer – Giovanni Bonandrini
Soprano Saxophone, Alto Saxophone – Roscoe Mitchell
Trumpet, Flugelhorn, Trumpet [Piccolo] – Hugh Ragin

1. Cut Outs For Quintet 17:17
2. Jo Jar 4:40
3. 3 X 4 Eye 12:11
4. Variations On A Folk Song Written In The Sixties 6:44

Recorded 18, 19 February 1981 at Barigozzi Studios, Milano, Italy

"Hearing is Everything" Peter Watkins


The Jimmy McGriff & Hank Crawford Quartet - Right Turn On Blue (1994)

Recorded: Power Station Studio A, Jan. 22-23 1994
Label Telarc [CD-83366] 19994

The New Hammond Organ XB3 at work ~ Rick

This major quartet has worked together since the late '80s. Jimmy McGriff is one of the giants of the Hammond organ and one of the bluesiest players ever to be called a jazz musician. McGriff stakes out a musical territory all his own, somewhere between the jazz of Jimmy Smith and the R&B of Booker T. and the MGs.

Since McGriff reached prominence in 1962 with his smash hit instrumental, I've Got A Woman, he has been revered as "the best blues-playing organist of them all". Though often classified as a jazz organist because he has imprinted his note-bending playing style on some of the best jazz standards, he remains one of the top Hammond B-3ers in the history of R&B, using his own style which is unlike that of his teacher, Jimmy Smith.

Fifty-seven year old McGriff grew up in Philadelphia surrounded by some of the pioneers of modern jazz organ, as well as other instrumentalists who would become top performers -- early musical associates were saxophonist Charles Earland and Archie Shepp, bassist Reggie Workman and drummer Donald Bailey. McGriff left a career in law enforcement to concentrate on music full time.

Since his big break with the Ray Charles band in the late 1950s, alto saxophonist Hank Crawford's searing, well-rounded sound has become one of the more recognizable and distinctive in the jazz world. An all-around player whose style has influenced contemporary saxmen, including David Sanborn, Crawford is also an accomplished leader-arranger who has composed and performed with a variety of pop/blues artists.

Right Turn On Blue is a session reminiscent of the groovin' Hammond B-3 quartets so popular in the Fifties and Sixties. Guitarist Rodney Jones brings his warm, melodic licks to the session and drummer Jesse "Cheese" Hameen II maintains the beat in fine style. Meshing soulfully, these artists take a swinging, finger-snapping, feel-good trip on the down-home road.

01 Next Time You See Me
02 Maggie
03 Red Top
04 Daddy's Home
05 Right Turn On Blue
06 Teach Me Tonight
07 The Masher
08 But On The Other Hand
09 Back At The Chicken Shack

Jimmy McGriff (Hammond Organ XB3)
Hank Crawford (Alto Saxophone)
Rodney Jones (Guitar)
Jesse Hameen (Drums)

"Hearing is Everything" Peter Watkins



Source: Allaboutjazz
Label: ECM

Saxophonist Mark Turner favors quality over quantity. Lathe of Heaven—his first outing as a leader since 2001—is his first on the ECM label. Turner has hardly been absent from the music scene as the intervening years have seen him as a sideman for guitarist Kurt Rosenwinkel and saxophonist David Binney among many others. He's gathered strong praise for his role on trumpeter Enrico Rava's fine New York Days (ECM, 2009) and as one-third of the trio FLY with drummer Jeff Ballard and bassist Larry Grenadier. Read more...

Lathe of Heaven
Year of the Rabbit
Ethan's Line
The Edenist
Sonnet For Stevie
Brother Sister

Mark Turner: tenor saxophone
Avishai Cohen: trumpet
Joe Martin: double bass
Marcus Gilmore: drums

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

Stefano Di Battista - Live At Casa Del Jazz (2009)

01. Rita
02. Valentina
03. Flora
04. Molly
05. Anna
06. Lucy
07. Ella

Stefano Di Battista - alt,soprano sax
Roberto Cecchetto - guitar
Roberto Tarenzi - pianoforte
Rosario Bonaccorso - bass
Roberto Gatto - drums

november 6, 2009


Christian Vuust - Urban Hymn (2014)

Source: Allaboutjazz
Label: DiGiDi

Multi-reedist/composer Christian Vuust has been a mainstay of the Danish jazz scene for close to thirty years. A professor at the Royal Academy of Music in his hometown of Aarhus, Vuust has crafted a significant discography as leader, working with some of Denmark's best jazz musicians. Urban Hyms marks a departure for Vuust, being his first CD recorded outside Denmark. Recorded in a single day in New York, Jeff Ballard, Ben Street and Aaron Parks's sophisticated yet subtle support frames Vuust's original compositions, which draw deeply from European and American wells alike. Read more...

1. Helgenæs 06:32
2. Lærke 05:15
3. Urban Hymn 05:31
4. Rubato NYC 06:34
5. Fjer 05:24
6. Wedding Song 05:13
7. Biking The Big Apple 04:02
8. Tompkins Square Park 05:09
9. Summer Bygone 04:09

   Christian Vuust (tenor sax, composition)
Aaron Parks (piano)
Ben Street (bass)
Jeff Ballard (drums)

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


Art Farmer & Phil Woods Together - What Happens?... (1968)

WHAT HAPPENS? ART FARMER & PHIL WOODS TOGETHER features six classic piano and horn jazz tracks including "Blue Bossa" and "Sunrise, Sunset." The individual discographies of both Art Farmer and Phil Woods are sizable, but this 1968 studio session seems to be their only joint recording in a small-group setting. With pianist Martial Solal, bassist Henri Texier, and drummer Daniel Humair (the latter two were members of Phil Woods' European Rhythm Machine at the time), the two completed this recording in three hours, even though there are some minor rough spots. A very snappy take of Michel Legrand's "Watch What Happens" is a perfect opener, with great interplay between Woods' energetic alto sax and Farmers warm flugelhorn. The rhythm section kicks off a furious tempo to Kenny Dorham's "Blue Bossa" and the co-leaders make the most of it. Gigi Gryce's stimulating blues "Blue Lights" is also full of fire in a brisk arrangement. "Sunrise, Sunset," the famous ballad from Fiddler on the Roof, is unusually fast, with plenty of risk-taking in the solos by Woods, Farmer, and particularly Solal. Oddly enough, the only pure ballad features are the solo tracks by Woods and Farmer; the alto saxophonist delivers an emotional, very dark interpretation of "Chelsea Bridge," while the flugelhornist chooses a less-familiar work, the richly textured "The Day After." Although the final results of this date might have been improved with an extra day of rehearsal, this Italian CD is still well worth purchasing. ~ Ken Dryden Re-Issue of Classic Jazz Recording On The Italian C.a.m. Label From 1968. This Session Features The Great Frontline of Art Farmer (Flugelhorn), Martial Solal (piano) and Phil Woods (Alto Saxophone). On This Recording These Great Players Tackle Well Known Standards Like, 'Watch What Happens' (michel Legrand), 'Blue Bossa' (kenny Dorham) and 'Blue Lights' (Gigi Gryce). A Fine Record Full of Long Extended Solos and Great Playing Throughout.

Alto Saxophone – Phil Woods
Bass – Henri Texier
Drums – Daniel Humair
Flugelhorn – Art Farmer
Piano – Martial Solal

1. Watch What Happens (Composed By – M. Legrand) 8:19
2. Chelsea Bridge (Composed By – B. Strayhorn) 7:40
3. Blue Bossa (Composed By – K. Dorham) 6:12
4. Blue Lights (Composed By – G. Gryce) 7:05
5. The Day After (Composed By – T. McIntosh) 6:30
6. Sunrise Sunset (Composed By – J. Bock, S. Harnick) 7:45

Recorded 12 October, 1968 in Rome
Original Recorded by Campi Records

"Hearing is Everything" Peter Watkins


Leo Parker - Rollin' With Leo (1961)

Label Blue Note Records [50999 2 65140 2 4] CD (RM) RVG Edition 2009 
Genre: Hard Bop, Saxophone Jazz

Leo Parker was the proud owner of a big, beefy baritone sax tone and a fluent technique that struck a great match between the gritty, down-home feeling of R&B and the advanced harmonies of bebop. At first, he studied alto in high school, even recording with Coleman Hawkins' early bebop band at age 18 on that instrument in 1944. But upon joining the legendary Billy Eckstine bop band in 1944-1945 and 1946, Parker switched to baritone and began to garner notice. He worked with Dizzy Gillespie's band on 52nd Street in 1946 and Illinois Jacquet's group in 1947-1948, and recorded with Fats Navarro, J.J. Johnson, Dexter Gordon, and Sir Charles Thompson; he scored a hit with Thompson, "Mad Lad," on the Apollo label. Parker seemed to be on his way, but drug problems -- an epidemic in the bop community -- kept interfering with his career, and he recorded only sporadically in the 1950s. In September and October 1961, Parker began a comeback on the Blue Note label with two lively albums that successfully combined his blues, gospel, and bop backgrounds. But only a few months later, a heart attack felled him at the age of 36. ~ Richard S. Ginell, AMG.

Drugs and addictions defined most of Leo Parker's adult life, finally claiming it entirely in February of 1962 when he was only 36 years old. Only months earlier in 1961, in two sessions held on October 12 and October 20, Parker had played his heart out in what would have been his second album for Blue Note Records that year, and it had appeared that the baritone saxophonist was well on his way to a much deserved career comeback. The sessions, however, weren't released until almost 20 years later. Rollin' with Leo, presented here in remastered form, is a wonderful portrait of this unsung but brilliant player, whose huge, sad, but almost impossibly strong tone always felt like it carried the world on its shoulders. The centerpiece of Rollin' with Leo is the fascinating "Talkin' the Blues," which unfolds, nearly themeless, like a late-night conversation, ebbing and flowing exactly the way a conversation does, with Parker's baritone swinging back to gather notes, but always moving and stretching forward, expanding the conversation until it seems like everything that could be said HAS been said. Parker's death was tragic because he had so much more to say, and that makes this fine set all that more of a treasure. ~ AllMusic

01 The Lion's Roar
02 Bad Girl
03 Rollin' With Leo
04 Music Hall Beat
05 Jumpin' Leo
06 Talkin' The Blues
07 Stuffy
08 Mad Lad Returns

Leo Parker, Baritone Sax
Bill Swindell, Tenor Sax
Blue Mitchell, Dave Burns, Trumpet
Bill Swindell, Tenor Sax
"Johnny" Adriano Acea, Piano
Al Lucas, Stan Conover, Bass
Wilbert Hogan, Purnell Rice, Drums

"Hearing is Everything" Peter Watkins