lunes, 15 de septiembre de 2014

Brian Bromberg - Hands (Solo Acoustic Bass) 2009

Brian Bromberg's first totally "Solo" acoustic bass recording. This is a state of the art, 100% digital hi resolution recording. This CD is quite unusual as it was recorded using only digital microphones. There were no mic pre-amps, outboard EQ, or analog signal path. This is truly a noiseless recording. The CD was recorded at 24 bit 96 kHz and is one of the must pristinely recorded CD's to date. All of the songs were recorded live with no overdubs. This CD was recorded for King Records in Japan.

This album is a rarity. He was released only for the Japanese music market!

Brian Bromberg (wood/bass/Malleo Guersam, Milano 18c)

01. Stella By Starlight
02. Cute
03. Solar
04. Beatles Medley: Day Tripper / Yesterday / Eleanor Rigby
05. Manha Da Carnival
06. In A Sentimental Mood
07. King Of Pain
08. Teen Town
09. Susumu's Blues
10. Use Me
11. Black Dog
12. What Are You Doing The Rest Of Your Life
13. Yeah


Pablo Bobrowicky - New York Connection (2005)

Source: Allaboutjazz
Label: Red Records

For his third album on the Italian Red label, Argentinean guitarist Pablo Bobrowicky relocated to New York City, recruiting the increasingly ubiquitous pianist Edward Simon and bassist Eric Revis, along with drummer Bruce Cox. The resulting set demonstrates Bobrowicky's supple tone and tastefully executed conception.
In a recent interview pianist Marc Copland described guitarist John Abercrombie as "a direct descendant of Jim Hall's approach to guitar—he thinks about what he's going to play before he plays it, what kind of chord he'll play and how it'll sound. The same description could easily be applied to Bobrowicky, an economical player whose every note seems carefully considered and judiciously placed. New York Connection doesn't break any new ground, but it sits comfortably in the mainstream, elevated more by the quality of the players than by the material itself.
Still, Bobrowicky's writing provides a certain degree of challenge by virtue of some of its twists and turns—the jazz waltz "Malbec has an understated kind of intensity and some unexpected changes, demanding that the soloist find a common thread through them. "One for Evans is somewhat deceptive in its easygoing lope; the changes are once again not entirely predictable, keeping the players on their toes.
But as much as Bobrowicky's writing presents its own set of subtle demands, it's always highly accessible. His playing is relaxed and unhurried, as is that of Simon, a pianist who has been proving himself an accompanist with a wide reach on recent albums with alto saxophonist David Binney, not to mention his own recordings for Criss Cross and Red Records. And while Bobrowicky's obvious Latin roots are in evidence on some of the recording—most notably on the Joe Henderson composition "Y Todavia la Quiero and his own Afro-Cuban "Some Changes, he has managed to transcend his roots, like the Venezuelan-born Simon. 
Clearly they're a part of who he is, but they don't dominate. He's just as comfortable with the soul jazz of "Suns as he is with the more urban feel of "NY Connection".   Read more...

Y Todavia la Quiero
One for Evans
No More No Less
Plain Jane
NY Connection
Some Changes
Black Narcissus
Another Look

Pablo Bobrowicky (guitar)
Edward Simon (piano)
Eric Revis (bass)
Bruce Cox (drums)

With guests:

Itai Kriss (flute)
Fabio Morgera (flugelhorn, trumpet and arrangements)
                                                                                     Jason Jackson (trombone, bass trombone)

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


Benny Carter - Further Definitions (1961)

A1.Honeysuckle Rose
A2.The Midnight Sun Will Never Set
A3.Crazy Rhythm
A4.Blue Star
B1.Cotton Tail
B2.Body And Soul

Jimmy Garrison Bass
Jo Jones Drums
John Collins (2) Guitar
Dick Katz Piano
Benny Carter, Phil Woods Saxophone [Alto] 
Charles Rouse, Coleman Hawkins Saxophone [Tenor]


Lucky Thompson - Lucky Thompson Meets Oscar Pettiford (1956)

Lucky Thompson (1924-2005) has probably been the most underrated tenorist of his generation. After an active period in both the New York and Los Angeles scenes during the Forties, his career began to suffer all kind of in and outs, and from 1949 up to 1954 Lucky’s name rarely appeared on jazz club marquees. Fortunately, since that year the ‘unlucky’ Lucky Thompson would temporarily find what he was looking for. Lucky described the sessions at hand as the first “I got the freedom and the men I desired.” 

Here he blows his heart out in one of the most sustained examples of creative, soulful improvisation ever recorded. It is a hard-swinging set powered by Lucky’s big tone and beautifully built ideas, featuring the strength and driving pulse of Oscar Pettiford’s bass.


01. Tom-Kattin
02. Old Reliable
03. A Lady’s Vanity
04. Translation
05. Nr #1
06. Nr #2
07. Good Luck
08. Tricrostism
09. Bo-Bi My Boy
10. Body And Soul
11. Op Meets Lt
12. Dancing Sunbeam
13. Little Tenderfoot
14. The Plain But The Simple Truth
15. Mister Man
16. Once There Was

Personnel and dates:

#1-4: Lucky Thompson (ts), Jimmy Cleveland (tb, out in #3), Hank Jones (p), Oscar Pettiford (b), Osie Johnson (d)
January 30, 1956

#5-7: Don Abney (p) replaces Hank Jones.
December 12, 1956

#8-11: Lucky Thompson (ts), Skeeter Best (g), Oscar Pettiford (b).
January 24, 1956

#12-15: Same personnel as above.
December 11, 1956

#16: Don Abney (p) replaces Skeeter Best. 
December 12, 1956

"Hearing is Everything" Peter Watkins