sábado, 11 de octubre de 2014


Deleite musical es lo que nos aporta nuestro amigo RONALDO ALBENZIO, productor, director y presentador de ese gran espacio radiofónico que es JAZZ by JAZZ. Cultura musical a su alcance.



de la mano de


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


Asa Trio - Craning (2014)

Source: Asa Trio

"I have fallen in love with this Icelandic band over the last few weeks and I think everybody seriously needs to check them out."
Stephan Moore, JazzWrap

"Kudos to the ASA Trio for thinking outside the box... They offered a fresh take on Monk compositions that anyone can enjoy. I certainly did." 
Atane Ofiaja, Elements of Jazz

"This was a well played album that should appeal not just to organ groove aficionados, but to all those who enjoy the music of the great composer."
Tim Niland, Music and More

"The interplay between the three musicians makes for a number of great musical moments within each piece, tied together with a solid groove with just the right amount of fluidity. ASA Trio brings a fresh approach to classic Monk’s compositions that is musically satisfying, emotionally fulfilling, and enjoyable on every level. This band from Iceland is strongly recommended."
Greg Harness, gregharness.com

“... able to not only play this music skillfully, but to imbue A Love Supreme with new and different depths.”
“ASA Trio has chosen to interpret a sacred text of jazz and they do so with skill, passion and just the right amount of reverence. Recommended.”
Jason Crane, host of The Jazz Session, thejazzsession.com

**** "Island in aller Munde: Gerade eben hat Björk ein neues Album veröffentlicht und die Frankfurter Buchmesse hat das enorme literarische Potential des kleinen Inselstaates aufgezeigt. Hier nun ein kräftiges Lebenszeichen des isländischen Jazz: Gitarrist Andres Thor, Schlagzeuger Scott McLemore und Organist Agnar Már Magnússon präsentieren ihre originelle Lesart des Monk’schen Œuvres in Form eines groovigen Orgeltrios. Die CD des ASA Trios zeichnet sich durch eine leicht trashige, lockere Attitüde aus, die den Kompositionen des Jazz-Säulenheiligen sehr entgegenkommt. Die Musiker sind versierte Solisten, die es gut verstehen, Klassikern wie „Bemsha Swing“ oder „Ask Me Now“ Leben einzuhauchen. Mit etwas mehr Mut zum eigenständigen Arrangement hätte das nicht nur eine sehr gute, sondern eine großartige CD werden können.", Concerto, Austria

“bluesy, funky, powerful... These are pieces that you rarely hear performed by Monk himself and the trios performance of Raise Four was magnificent.”
Vernhardur Linnet, Morgunbladid, Iceland

1.Something to Make You Change Your Mind 05:22
2.Newssong 06:21
3.Green Door 06:39
4.It's Alright 06:41
5.MC Lemúr 06:04
6.Omm 07:09
7.What Was I Thinking? 06:55
8.Stuð 08:15
9.On Pluto 10:58

ASA Trio:
Agnar Már Magnússon - organ
Andrés Thor - guitar
Scott McLemore - drums 

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


Dave Douglas - Strange Liberation (2004)


01. A Single Sky - 2:05
02. Strange Liberation - 8:04
03. Skeeter-ism - 5:58
04. Just Say This - 6:29
05. Seventeen - 8:39
06. Mountains From The Train - 5:15
07. Rock Of Billy - 5:55
08. The Frisell Dream - 3:54
09. Passing Through - 1:36
10. The Jones - 4:24
11. Catalyst - 5:08 

Dave Douglas trp
Bill Frisell  Guitar
Chris Potter sax tenor, clarinet bass
Uri Caine fender rhodes
James Genus contrabbass, bass
Clarence Penn drums, percussions

Based in New York, Dave Douglas is widely active and acknowledged in jazz and in wider experimental musics. In every year since 2000, he has been voted Trumpet Player of the Year in the 'Downbeat' Critics Poll. In 2005, he was awarded a Guggenheim Fellowship. In 2005, after leaving RCA, he launched his own record label, Greenleaf Music where he has released albums with his Quintet, the electronic sextet Keystone, the chamber ensemble, Nomad, and the brass quintet, Brass Ecstasy. Dave Douglas is a member of John Zorn's Masada and is the artistic director of the Workshop in Jazz and Creative Music at the Banff Center.

When we reviewed the 2006 release 'Meaning and Mystery' (which involved the same musicians minus Bill Frisell and with Donny McCaslin in place of Chris Potter) we noted Dave Douglas' liner note comments about the influence of Miles Davis:

It should be obvious to anyone who has heard this quintet that I love Miles Davis, and when someone says I'm influenced by Miles Davis I'm flattered. But aren't we all influenced? Anyone involved in American music has to at some point deal with the language of jazz and who could be more central to the modern vision of the music? And as a jumping off point for new quintet music, what better place is there to start? There is room to grow from Davis' music because he created so many open roads........... But the message in my opinion was not to stop there, but to keep growing, exploring and changing the sound and the context.

But, as might be expected from a composer and musician who is so aware of the great strengths of the American tradition in music, also, in a TV interview, he pointed to more wide ranging but equally important influences:

To understand American music you have to study Mingus and Monk and Wayne Shorter, Leo Smith and Lester Bowie, Dizzy Gillespie and Charlie Parker and Charles Ives and Aaron Copland and John Adams. It's an enormous country with music being made in a lot of different languages and what fascinates me is to be able to be open (to those influences) in as many ways as possible.

Dave Douglas

In teaming up with guitarist Bill Frisell for 'Strange Liberation', Dave Douglas has a partner who is also deeply innovative within the tradition of American music and who also has some of the genius of Miles Davis. As 'The New Yorker' commented:

'Bill Frisell plays the guitar like Miles Davis played the trumpet: in the hands of such radical thinkers, their instruments simply become different animals. And, like Davis, Frisell loves to have a lot of legroom when he improvises - the space that terrifies others quickens his blood.'

Bill Frisell has often been connected with Americana - the bringing of country, rock and other popular song formats into jazz - via his open chorded, spacey electric guitar approach – the apotheosis of the conventional take on jazz guitar. As he commented to 'Guitar Player' magazine:

"For me, it's really important to keep the melody going all the time, whether you are actually playing it or not, especially when it's some kind of standard tune or familiar song form. A lot of people play the melody and rush right into their solo, almost with an attitude of 'Whew - that's out of the way, now let's really play!' Then they just burn on chord changes, and it doesn't relate to the song anymore. I like to keep that melody going. When you hear Thelonious Monk's piano playing - or horn players like Ben Webster, Miles Davis and Wayne Shorter - you always hear the melody in there. Sonny Rollins is the classic example of that - I've read that he thinks of the words while he's playing the sax, so the song really means something to him. It's not just an excuse to play a bunch of licks over chord changes."

Bill Frisell's playing does often show country influences. 'When I was in Colorado (where he grew up), I never really played that country stuff or even liked it that much, though it was all over the radio. But as I got older, it crept into my music a lot.' But his music is essentially wider than what is implied by the term 'Americana', taking in avant-garde, electronica (via the use of delay and distortion effects) and rock. As he told 'Wired' magazine:

'When I was 16, I was listening to a lot of surfing music, a lot of English rock. Then I saw Wes Montgomery and somehow that kind of turned me around. Later, Jim Hall made a big impression on me and I took some lessons with him. I suppose I play the kind of harmonic things Jim would play but with a sound that comes from Jimi Hendrix'.

Bill Frisell

'Strange Liberation' is composed by Dave Douglas with Bill Frisell in mind as much as a continuation of his music with his quintet. It is a meeting of two minds that produces jazz of astonishing range and complexity yet is founded on memorable, sometime haunting melodic phrases that stay long in the mind.

'A Single Sky' is a short atmospheric opener that leads into the title track, an extended, Miles Davis inspired groove that, with instrumentation based around trumpet, electric guitar and Fender Rhodes with bass, sax and drums as accompaniment comes over as a funked-up cousin of Miles' music in the 'In A Silent Way' period.
'Skeeter-ism' blows in almost as a throw back to an earlier swing band era (featuring Chris Potter's bass clarinet to good effect) before delivering fine, jazzy, solos from Bill Frisell, Uri Caine and Dave Douglas himself.

The ballad-paced 'Just Say This' has Dave Douglas sounding more Miles-like as he plays with Harmond mute in place and this is in excellent juxtaposition to Bill Frisell's open guitar chords as the spiny theme unfolds, eventually opening the way for expansive solos from Chris Potter on tenor sax and Bill Frisell.
'Seventeen' returns to uptempo; Wayne Shorter influenced, with headlong rock-based themes, shifting time signatures and virtuoso soloing all round; a shiny jewel of a performance.

With the meditative 'Mountains From The Train', Bill Frisell's open chords, use of tape loops with George Harrison-like segments playing in reverse, the music enters deeper into Bill Frisell territory. However, Dave Douglas provides a haunting theme (carried on Fender Rhodes and then by the horns in unison) that holds the mood together expertly.
'Rock Of Billy' is upfront rock-a-billy, strongly danceable in a Carl Perkins meets Taj Mahal way, with Bill Frisell's guitar leading the driving music and Uri Cain's Fender Rhodes underpinning it all. Following a neat tempo change there is a searing solo from Dave Douglas and a bluesy work out from Bill Frisell.

'The Frisell Dream' offers a different showcase for the guitarist's take on jazz, with something like the same orchestral feel (carried on unison horns) of the earlier 'Skeeter-ism'. Here he is more noticeably country in his approach.
The short atmospheric piece 'Passing Through' leads onto 'The Jones', again more clearly Miles Davis influenced and with a beautiful theme carried on Harmon-muted trumpet and sax in unison. Solos from Uri Caine and Chris Potter impress.

The closing track, 'The Catalyst' approaches a more fusion-like approach with heady blowing over funk bass lines. Bill Frisell's deep blues riffed guitar cuts across the flow of the music as if it had come in from another world.  


Diverse - Our Journey (2014)

Source: Plastic Sax
Label: Buh Music

The release of Diverse's debut album in 2009 marked the start of the latest artistic renaissance of Kansas City's jazz scene.  The self-titled project served notice that Bobby Watson's jazz program at the University of Missouri-Kansas City was bearing fruit. 

It's taken five years for Diverse to issue the follow-up album Our Journey. A lot has transpired in the interim.  Originally a quintet, the core trio of trumpeter Hermon Mehari, bassist Ben Leifer and drummer Ryan Lee recently made Parisian pianist Tony Tixier an official member of the band.

Diverse has become well known in the region for its lively tributes to Michael Jackson and live recreations of albums by the likes of A Tribe Called Quest.  Jazz fans have witnessed a concurrent refinement of Diverse's jazz chops.

Given the breathless praise that's been heaped on Diverse (the author of this site not excepted), people might assume that Diverse is breaking new musical ground.  It's not.  Diverse's sound is rooted in the style of mid-1960s Miles Davis albums like E.S.P. and Nefertiti.  Recorded in Paris in 2012, Our Journey is a subtle, elegant and predominantly conservative statement.

Mehari employs the sort of wounded, highly emotive tone associated with Davis.  Guest saxophonist Logan Richardson plays the role of Wayne Shorter.  The Kansas City native's presence on the album is the primary reason jazz fans around the world are likely to take notice of Our Journey.  A member of NEXT Collective, Richardson is an established player.  Tixier makes for a solid Herbie Hancock.

Yet it's the rhythm section of Lee and Leifer that shines brightest on Our Journey.  The years they've spent working together result in many of the album's best moments.  Leifer's elastic bass and the bounce of Lee's drumming makes the Lionel Loueke-esque "Motherland" one of the standout selections.  The quiet power of the tandem on the more conventional title track is astounding. 

The melodic funk of "Full Circle" is immediately engaging.  Even so, "Full Circle"'s slick production and electronic elements belong on another album.  Its inclusion is Our Journey's only overt flaw.

One of my greatest fears as an intense observer of Kansas City's jazz scene is the prospect of Diverse relocating to Paris.  Yet thanks in large part to the path restored by Diverse, Kansas City once again looks like an attractive base for a new wave of young jazz musicians.

1.OUR Journey 08:56
2.Amor Fati 06:44
3.Jeudi à YJ's (1) 00:36
4.Motherland 04:49
5.Forever 08:07
6.Leave An Age 01:07
7.Sam 08:08
8.Jeudi à YJ's (2) 00:31
9.Full Circle 04:13
10.Tree Leaf Melody 03:13
11.Blanc 05:30
12.Barron's Blues 05:13
13.Jeudi à YJ's (3) 00:38
14.Rest In Peace 08:06

Hermon Mehari (trumpet)
Ryan J. Lee (drums)
Ben Leifer (bass)
Tony Tixier (piano)
Logan Richardson (alto saxophone).

Anthony Saunders (synth)
Tim Braun (guitar) on "Full Circle"

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


Oscar Peñas - Music for Departures and Returns (2014)

Source: Allaboutjazz

In putting together his fourth album, guitarist Oscar Penas looked to composers he connects with, songs that speak to him, and originals that fit comfortably with the rest. That's the concept here, plain and simple, and the end result is a thirty-eight minute beauty that's alluring and completely accessible.

Two different rhythm sections and three guests come and go during these eight tracks, but Penas' presence ties everything together. The first three numbers—a cheery choro featuring clarinetist Paquito D'Rivera, a take on "Rabo De Nube" that focuses in on Esperanza Spalding's supple vocals, and a solo guitar performance of "Skylark"—illustrate this point. These songs have little-to-nothing in common with one another, but Penas' personality serves as a bonding agent, bringing them closer than imaginable.

Further explorations find Penas putting his stamp on flamenco music ("Paco"), tilting toward tango ("The Everyday Struggle"), using a baroque-style exercise as a leaping off point ("Etude No. 1"), and balancing the mournful with the serene ("Canco Numero 6"). On those first three occasions, violinist Sara Caswell proves indispensable. She brings a mixture of energy and grace to this material, upping the level of excitement and deepening the conversation all at once. On "Canco Numero 6" she's absent, but Gil Goldstein's accordion provides the needed finishing touches.

In this day and age, when a large chunk of the jazz community views conceptual rigor and the creation of high art as a moral imperative, it's a joyous thing to hear artists like Penas buck the trend; he simply plays what he enjoys. - Dan Bilawsky -

Paquito's Choro
Rabo De Nube
The Everyday Struggle
Etude No. 1
Canco. Numero 6 

Oscar Penas: guitars
Sara Caswell: violin (4-7)
Moto Fukushima: six-string electric bass (4-8)
Richie Barshay: drums (4-8), cajon (4)
Edward Perez: bass (1, 2)
Rogerio Bocacato: drums (1, 2), percussion (1, 2)
Paquito D'Rivera: clarinet
Gil Goldstein: accordion (5, 8)
Esperanza Spalding: vocals (2)

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


Eric Dolphy / Booker Little Quintet - At The Five Spot Complete Edition (Live) 1961

2 CD set. For the first time on a single set. The complete recordings by the Eric Dolphy Quintet with Booker Little made live at the Five Spot Cafe in 1961. This material originally appeared on three separate LPs 'Eric Dolphy at the Five Spot Vols. 1 & 2' New Jazz NJ8260 and Prestige PR7294 and 'Memorial Album' –Prestige PR7334.

Volume 1

Recorded live at The Five Spot, New York, New York on July 16, 1961. Reed player/composer/arranger Eric Dolphy was, in the early '60s, in the vanguard of the free jazz movement, yet his music was not as avant-garde as some of his contemporaries'. The language was still bop, but Dolphy added new vocabulary and syntax, playing with a freer, more vocalized approach over more or less standard chord changes. Recorded in 1961, the At The Five Spot series of albums documents what may have been Eric Dolphy's finest group ever, as well as one of that era's best working bands. "Fire Waltz" is a crackling mid-tempo piece, where Dolphy's boldly unfettered yet focused alto points toward the future, while the rest of the band maintains an irresistible fancy-free groove. "Bee Vamp" features some stirring, crackling trumpet from Booker Little and some muscular, vocalized bass clarinet from Dolphy. Pianist Mal Waldron and drummer Ed Blackwell are luminously expressive throughout

Eric Dolphy (flute, alto sax, bass clarinet)
Booker Little (trumpet)
Mal Waldron (piano)
Richard Davis (bass)
Ed Blackwell (drums)

Volume 2

Recorded live at The Five Spot, New York, New York on July 16, 1961. Originally released on Prestige (7294). At The Five Spot series of albums documents what may have been Dolphy's finest group ever, as well as one of that era's best working bands. This quintet plays beautifully as a unit in extended performances of originals and standards, making tunes such as "Like Someone in Love" their own. Dolphy's flute is exquisitely lyrical, and Booker Little's trumpet is crisp and brassy, full of yearning and insight. Richard Davis and Ed Blackwell maintain a relaxed yet engaging swing, and Mal Waldron plays with an attractive, Thelonious Monk-like succinctness. "Aggression" features Dolphy with his unique sound on bass clarinet, but it's Little who shines the brightest--he has the shining technique of a Clifford Brown, and his daring approach and bristling, vocal tone prefigures Lester Bowie, Leo Smith, and other "new jazz" trumpet voices of the later '60s. 

Eric Dolphy (flute, bass clarinet, alto saxophone)
Booker Little (trumpet)
Mal Waldron (piano)
Richard Davis (upright bass)
Ed Blackwell (drums)

01. Like Someone In Love
02. God Bless The Child
03. Aggression
04. Fire Waltz
05. Bee Vamp
06. The Prophet
07. Booker's Waltz
08. Status Seeking
09. Number Eight (Aka Potsa Lotsa)
10. Bee Vamp #2

"Hearing is Everything" Peter Watkins