sábado, 1 de noviembre de 2014

RONALDO ALBENZIO: JAZZ by JAZZ


Interesante y explosiva entrega generosamente aportada por RONALDO ALBENZIO

GATO BARBIERI
MARTY PAICH
JOSHUA REDMAN
IRENE KRAL
MATT MATHEWS
GENE HARRIS
PAPHAEL RABELLO
IDRISS BOUDRIOUA
entre otros












ESCUCHEN Y DISFRUTEN!!!

JAZZ by JAZZ

de la mano de

RONALDO ALBENZIO

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

(CLICKE AQUÍ)

RONALDO ALBENZIO - JAZZ by JAZZ

Matiss Cudars Quartet - Melancholia (2012)


Source: Cdbaby


Warm friendship and a strong musical connection brought these four pronominal musicians together. The music they create gives an emotional and esthetic enjoyment to an audience of any kind – young indie kids, jazz and improvised music lovers, educated music knowers and people who like seeing 4 friends enjoying making music and interacting on stage. Their musical influences vary from 20th century classical music to Radiohead; swing, hard-bop to Meshuggah; traditional folk music from all continents to Björk and Sigur Rós. Based on jazz improvisation their music encompasses lots of elements from various music genres - folk music integrity, indie rock energy, and classical music harmony.

“When I'm playing with my quartet”, says Matiss, “I feel like a kid with many beautiful toys, sharing the moments of joy with my friends. I can do anything that comes in my mind and my band members will respect it all and make it sound beautiful. Playing with them makes me hear more things than I hear usually. It makes me be more creative, imaginative and spontaneous.”
It all started on 2010 when Matiss moved to The Netherlands to study at the Amsterdam Conservatory. There he formed Matiss Cudars Trio, which, soon after, won the Grand Prix at the Prinses Christina Concours 2010 and was prized for it's unique organic sound. For the diversity of sound and musical possibilities the saxophone was added soon after and the Matiss Cudars Quartet started performing around Europe.
Musicians and listeners characterize their music as an emotionally touching, interactive, sometimes explosive, yet lyrical melodic contemporary jazz.


1.Mé 01:35
2.Mist Of Banff 07:10
3.Chipmunk Play 06:22
4.The Dancer 06:12
5.Lan 02:04
6.Little By Little 06:24
7.Our Little Secret 04:10
8.Cho 02:28
9.The Lunar Eclipse Night 06:31
10.Biking Under The Violet Sky 08:26   
11.Lia 04:40
   

Matiss Cudars - guitar
Toms Rudzinskis - alto sax
Lennart Heyndels - double bass
Niels Engel - drums



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


GAB
 

Jesse Stacken - Helleborus (2014)


Source: Jesse Stacken


Pianist / composer / improviser, Jesse Stacken has been a vital force on the New York City creative music scene for over a decade. He continually brings freshness to the stage, whether through conceptual ideas or inventive spontaneity. He has led the Jesse Stacken Trio with bassist Eivind Opsvik and drummer Jeff Davis since 2005. The group has release three critically acclaimed records on the Fresh Sound New Talent label. Stacken also has a longtime partnership with the cornetist Kirk Knuffke. As a duo, they have release four award-winning records on the Steeplechase label. Stacken’s forthcoming record features an all-star line up of Tony Malaby, Sean Conly, and Tom Rainey playing several of his original compositions. He has Along with performing in many of New York City’s best venues, Stacken has toured North and South America, Europe, and Japan, including appearances at the North Sea Jazz Festival and Vancouver Jazz Festival. Stacken has also received critical acclaim for several internet recording projects he’s done in recent years on this website. He has performed and/or recorded with Tony Malaby, Tom Rainey, Andrew D' Angelo, Donny McCaslin, Peter Van Huffel, Liam Sillery, Michael Blake, Darcy James Argue’s Secret Society, and Tyshawn Sorey.


01. Dog Walk 4:30
02. Hidden Solitude 9:01
03. Upper Deck 4:32
04. Cork Soles 5:17
05. Field of Grass 9:32
06. Ambrose Burnside 4:26
07. Give 3:40
08. Sad Clown 4:08
09. Helleborus 4:11


Jesse Stacken (p)
Tony Malaby (ts, ss)
Sean Conly (b)
Tom Rainey (d)


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


GAB
 

Hal Galper Trio - O's Time (2014)


Source: Allaboutjazz



It's hard to be innovative in the piano trio format. The last big change happened in the late fifties and early sixties, with pianist Bill Evans' groundbreaking trio featuring bassist Scott LaFaro and drummer Paul Motian. The democratization of input and interplay changed the trio game, and countless groups have worked on refining that Evans approach ever since. A more recent development has been bombast and the inclusion of rock and poplar tunes into the jazz piano trio endeavor—with varying degree of success. Rubato playing, the stretching of the varying of tempos, in a three way improvisational way, is pianist Hal Galper's contribution to piano trio innovation.  
O's Time is Galper's fifth recording in the rubato style on Origin Records. His trio, with bassist Jeff Johnson and drummer John Bishop, perfected their approach with 2011's Airegin Revisited. The current offering rolls that artistic peak out on a high plateau, twsiting the familiar (John Coltrane "Like Sonny," Charlie Chaplain's "Smile") into different shapes, revealing different sides to the melodic threads. 
"Coltrane's "Like Sonny" opens the set. The three voices bounce off each other like a cocktail party conversation, synchronous and discordant at the same time. And like that party, as the drinks flow, the volume rises toward the raucous, without, on this tune at least, actually going there. Then there's the Zen serenity of a Johnson bass solo, sparely comped by Galper. 
Saxophonist Wayne Shorter's "Wildflower" has a "fractured then put back together" feeling, turbulent drums from Bishop behind Galper's relative restraint. "O's Time," written by Galper in honor of alto saxophonist/free jazz pioneer Ornette Coleman, moves away from the concept of restraint. It rolls and tumbles and sounds like, at its peak, a piano trio stuffed into a burlap bag and pushed down the stairs, with the players hanging on tight and still keeping the tune from chaos. And Charlie Chaplain's much-covered smile sounds like they're set up on the back of a flatbed truck, careening ninety miles an hours down a winding mountain road. - Dan McClenaghan -


Like Sonny 
Wildflower
O's Time
Moonglazed
Smile
Our Waltz 


Hal Galper: piano
Jeff Johnson: bass
John Bishop: drums 



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




GAB

Red Rodney Quintet - Red Snapper (1989)


Born in Philadelphia, PA, he became a professional musician at 15, working in the mid-1940s for Jerry Wald, Jimmy Dorsey, Georgie Auld, Elliott Lawrence, Benny Goodman, and Les Brown. He was inspired by hearing Dizzy Gillespie and Charlie Parker to change his style to bebop, moving on to play with Claude Thornhill, Gene Krupa, and Woody Herman. In 1949 he accepted an invitation from Charlie Parker to join his quintet. As the only white member of the group he was billed as Albino Red when playing in the racially segregated southern United States. In 1950 he joined the Charlie Ventura band. He also recorded extensively.

In 1958 he left jazz because of diminishing opportunities, lack of acceptance as a white bebop trumpeter, and problems with the police about his drug addiction. He continued to work in other musical fields. Although he continued to be paid well, he supported his drug habit through theft and fraud, eventually spending 27 months in prison.

1963 proved to be the deepest challenge; during a run-in with police, a detective hit him in the mouth, loosening several teeth and starting the cycle of dental issues that continued into the 1970s when he made a comeback. In Sept. 1963 his father died and a month later, while his wife was driving him back from a Las Vegas gig, his wife lost control of their car, plunging down an embankment on the Nevada highway. Rodney, asleep in the back seat, awoke to find his wife and 14-yr. old daughter dead.

During 1969, Rodney was in Las Vegas playing alongside his fellow Woody Herman colleague, trombonist Bill Harris, as part of the Flamingo casino house band led by Russ Black. Similar work continued through 1972.

Red Rodney, trumpet, flugelhorn
Dick Oatts, alto sax, tenor sax
Garry Dial, piano
Jay Anderson, bass
John Riley, drums

1. Shutters
2. Ugetsu
3. What'll I Do?
4. Sonato for Joan
5. For you
6. Red snapper
7. Splurge
8. Greensleeves/Giant Steps

"Hearing is Everything" Peter Watkins


Domi