jueves, 30 de octubre de 2014

Red Rodney Quintet - One for Bird (1988)

Source: allmusic

Nearing the end of a career that was hampered for a time by drug addiction, Red Rodney had shaken his habit and was in top form on these 1988 live performances recorded at Slukefter in Tivoli, Denmark. Joined by two underrated musicians, alto saxophonist Dick Oatts and pianist Garry Dial, plus bassist Jay Anderson and drummer John Riley, Rodney is heard on both trumpet and flugelhorn, demonstrating that he still had plenty of chops this late in his career. While it is not surprising that a lot of material was previously played or recorded by Charlie Parker, with whom the leader toured and played long stands early in his career, Rodney also delves into later songs, such as an explosive update of his original bop vehicle "Red Arrow 88" (yet another "I Got Rhythm" variation) and a brief sign-off of Thelonious Monk's "Let's Cool One." Another CD of music from these nightclub dates appeared on Red Snapper, while both releases are combined in the later Steeplechase compilation Tivoli Session.

Red Rodney, trumpet
Dick Oatts, piano
Jay Anderson, bass
John Riley, drums

01. Little Willie Leaps
02. My Little Suede Shoes
03. Embraceable You
04. Blues For Alice
05. My Foolish Heart
06. The Night Has a Thousand Eyes
07. Red Arrow 88
08. Ladybird
09. Buzzy
10. Let's Cool One

"Hearing is Everything" Peter Watkins


Romero Lubambo - Só - Brazilian Essence (2014)

Source & Label: Sunnyside Records

The guitar is an instrument that is indelibly linked to the music of Brazil. At once a melodic, harmonic, and percussive instrument, the guitar is the perfect vehicle for a musical culture that has blended the elements of the European and African musical traditions for over five centuries, giving birth to the choro, samba and bossa nova.

The modern Brazilian guitarist is expected to understand and respect the tradition but he is also expected to bring something new in performance. Romero Lubambo provides a perfect example of a musician who has absorbed the legacy of his forebears, and then developed into the standard bearer of Brazilian guitar playing.

Lubambo’s new recording Só – Brazilian Essence is an effervescent musical statement of solo guitar playing, bridging the gap between preserving the tradition of Brazilian song and the evolution of the art.

Originally from Rio de Janeiro, Lubambo moved to the United States in 1985 where he quickly established himself as an important interpreter of jazz and Brazilian music. He became a first call musician for a coterie of the world’s best jazz and Brazilian artists, including Dianne Reeves, Diana Krall, Herbie Mann and Luciana Souza. Along with his solo projects and sideman work, Lubambo has also been a member of the collaborative group Trio Da Paz with bassist Nilson Matta and Duduka da Fonseca since 1990.

Though he has performed in many different musical combinations, the solo guitar concert has been a mainstay of Lubambo’s. On Só, he wanted to recreate the sound and intimacy of a solo guitar performance. Lubambo approached his friend and recording engineer David Darlington and recorded thirteen spontaneous tracks that feature his own original compositions along with a generous helping of compositions by legendary Brazilian composers, including Tom Jobim and Vinicius de Moraes.

The recording begins with an intricate, up-tempo reading of Ary Barroso’s “Aquarela” which leads to a lovingly nuanced rendition of Jobim and de Moraes’s “Brigas Nunca Mais.” Lubambo’s “Paquito In Bremen,” written for the guitarist’s good friend, the legendary Cuban woodwind player Paquito D’Rivera, follows in a ruminative vein while Mario Adnet’s “Pedra Bonita” is shifty, with its harmonic intricacy. Carlos Lyra and de Moraes’s “Você e eu” is at once subtle and spicy, while Lubambo’s “Song for Kaya” is a heart lilting bossa nova. The poignant “Luisa” is a bittersweet tune written for Lubambo’s daughter.

Carlos Lyra and de Moraes’s “Coisa Mais Linda” continues the program in typical Brazilian saudade fashion and even includes a moving vocal from Lubambo. Jobim and de Moraes’s chestnut “Insensatez” is slowed down for a resonant rendering. Cesar Camargo Mariano’s “Samambaia” is a tempered samba with unique call and response pattern. “By the Stream” is a moving ballad by Lubambo and Pamela Driggs, which presages another Jobim and de Moraes classic, “A Felicidade.” The recording concludes with the only non-Brazilian composition, “Laura,” written by David Raksin and Johnny Mercer, performed in a way that complements the Brazilian esthetic perfectly.

Romero Lubambo has proven his expertise in the field of Brazilian music and jazz. His new recording Só – Brazilian Essence is a wonderful reminder of Lubambo’s talent not only as a guitarist but as a valuable interpreter of his native land’s musical output.

1. Aquarela Do Brasil 04:18
2. Brigas Nunca Mais 03:35
3. Paquito in Bremen 04:19
4. Pedra Bonita 04:05
5. Você E Eli 04:01
6. Song For Kaya 04:56
7. Luisa 03:03
8. Coisa Mais Linda 03:43
9. Insensatez 05:56
10.Samambaia 05:39
11.By The Stream 05:13
12.A Felicidade 04:01
13.Laura 04:12  

Romero Lubambo - guitar 

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


Peter Rosendal / Old Man's Kitchen - Love For Snail (2012)

Source: Sundance
Label: Stunt Records

In 2013, The Danish Arts Foundation awarded pianist and composer Peter Rosendal’s latest release with his boundary-expanding group Old Man’s Kitchen (Stunt Records).
An obvious and correct choice, because Rosendal’s deep well of imagination seems bottomless. Erik Bach, chairman of the foundation’s music committee, said the following of the recipient: “...one of the most unique and original talents of our times”.
In Old Man’s Kitchen, Rosendal has found the perfect playground to combine all his various inspirational sources free of any inhibiting genre labels. He continues to surprise us with the original
and extremely personal world of catchy tunes and colorful and adventurous musical imagery of his composed work as well as in the improvised passages.
The adventure continues in the “sequel” LOVE FOR SNAIL, where
countless ingredients are combined to create deeply pleasing, imaginative and universal music.
One moment you feel secure in your musical comfort zone and the next, he pulls the carpet out from under your feet, and Old Man’s Kitchen is on toward new destinations. The album is full of
cocky, subtle, devil-may-care ideas – a virtuoso’s play with expression and inspiration.
The line-up in Old Man’s Kitchen is unorthodox and features a handful of Denmark’s finest musicians handpicked from the Danish jazz elite. The bandleader, Peter Rosendal, plays piano,
Wurlitzer, melodica and flugabone (a rare instrument reminiscent of an overgrown flugelhorn). The rest of the band includes violinist Kristian Jørgensen, clarinetist Peter Fuglsang, trombonist Peter Jensen, bassist Kaspar Vadsholt and drummer Jeppe Gram.
LOVE FOR SNAIL is a humorous, original and extremely musical mixture of this, that and everything  performed with warmth and virtuosity.

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


Collier & Dean - Sleek Buick (2014)

Source: Tom Collier

Seattle-based vibist Tom Collier and bassist Dan Dean have been playing music together since they were teens back in the '60s. Here, they gather with long-time friends, pianist Don Grusin, saxophonist Ernie Watts, and drummer Alex Acuna, to revisit the energy & spirit of their 1980 LP, "Whistling Midgets." With tight, fleet lines and rollicking grooves, the duo's time-earned telepathic musical connection makes "Sleek Buick" a festive treat. Also featured are drummer Ted Poor, trumpeter Allen Vizzutti, and saxophonist Gary Herbig.

"Totally controlled awesome! With tight, fleet lines and rollicking grooves, the duo's time-earned telepathic musical connection makes "Sleek Buick" a festive treat."  - editors, All About Jazz magazine
"Hip, creative but still accessible, everybody here is playing like they are having a good time..." - Chris Spector, Midwest Record
Several significant musicians appear on the album including saxophonists Ernie Watts and Gary Herbig, trumpeter Allen Vizzutti, keyboardist Don Grusin, guitarist John Morton, fiddle and mandolin player Andy Leftwich, and drummers Alex Acuña and Ted Poor.

1. Sleek Buick 4:10
2. California Avenue 4:58
3. WMB's 6:52
4. Touching 8:15
5. Lettercollum/Paris 6:25
6. A Corona Haze 3:57
7. Playas de Rosarito 3:59
8. Mallet Tech 5:31
9. Ethiopian 5:24
10. Walking In My Old Shoes 5:27  

Tom Collier - Vibes, Marimba, Xylophone, Keyboards
Dan Dean - Bass, Percussion, Keyboards, Ukelele, Classical Guitar
Don Grusin - Piano, Rhodes, Keyboards
Alex Acuna - Drums
Ernie Watts - Tenor Saxophone
Gary Herbig - Alto & Baritone Saxophones
Ted Poor - Drums
Andy Leftwich - Mandolin, Fiddle
John Morton - Acoustic Guitar, Papoose Guitar, Dobro, Electric Guitar
Allen Vizzutti - Trumpet, Piccolo Trumpet
Jon Goforth - Alto & Baritone Saxophones 

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


Red Rodney Quartet - Red Giant (1988)

Red Rodney's comeback in the late '70s was quite inspiring and found the veteran bebop trumpeter playing even better than he had during his legendary period with Charlie Parker. He started his professional career by performing with Jerry Wald's orchestra when he was 15, and he passed through a lot of big bands, including those of Jimmy Dorsey (during which Rodney closely emulated his early idol Harry James), Elliot Lawrence, Georgie Auld, Benny Goodman, and Les Brown. He totally changed his style after hearing Dizzy Gillespie and Charlie Parker, becoming one of the brighter young voices in bebop. Rodney made strong contributions to the bands of Gene Krupa (1946), Claude Thornhill, and Woody Herman's Second Herd (1948-1949).

Off and on during 1949-1951, Rodney was a regular member of the Charlie Parker Quintet, playing brilliantly at Bird's recorded Carnegie Hall concert of 1949. But drugs cut short that association, and Rodney spent most of the 1950s in and out of jail. After he kicked heroin, almost as damaging to his jazz chops was a long period playing for shows in Las Vegas. When he returned to New York in 1972, it took Rodney several years to regain his former form. However, he hooked up with multi-instrumentalist Ira Sullivan in 1980 and the musical partnership benefited both of the veterans; Sullivan's inquisitive style inspired Rodney to play post-bop music (rather than continually stick to bop) and sometimes their quintet (which also featured Garry Dial) sounded like the Ornette Coleman Quartet, amazingly. After Sullivan went back to Florida a few years later, Rodney continued leading his own quintet which in later years featured the talented young saxophonist Chris Potter. Red Rodney, who was portrayed quite sympathetically in the Clint Eastwood film Bird (during which he played his own solos), stands as proof that for the most open-minded veterans there is life beyond bop.

“… this excellent and restrained session will bring more accolades to this little giant of jazz, Red Rodney .” ( Jazznews )

“ Here is one of the most listenable Red Rodney records to come along in years….It is Rodney’s superbly lyrical work that makes this an essential record .” ( Jazz Journal )

01. Red Giant (Red Rodney)
02. Greensleeves/Giant Steps (John Traditional/Coltrane)
03. You Leave Me Breathless (Frederick Hollander)
04. Love Letters (Victor Young)
05. Helene (Red Rodney)
06. Sun Child (Ron Miller)
07. Everytime We Say Goodbye (Cole Porter)
08. Jitterbug Waltz (Fats Waller)
09. For All We Know (S/Coots Lewis)
10. Invitation (Bronislav Kaper)

Red Rodney, trumpet
Butch Lacy, piano
Hugo Rasmussen, bass
Aage Tanggaard, drums

"Hearing is Everything" Peter Watkins