viernes, 7 de noviembre de 2014

Rex Richardson - Bugles Over Zagreb: The Music of Doug Richards (2014)


BUGLES OVER ZAGREB, the sixth album from international jazz trumpeter and Yamaha Performing Artist, Rex Richardson, will be released on October 14, 2014 and will be available on iTunes, Amazon, CD Baby, and http://rexrichardson.net.

Highlighting his personal style, which combines a singular virtuosity with an endlessly inventive approach to improvisation, BUGLES OVER ZAGREB solidifies Richardson’s status as a world-class trumpet player. Embodying both jazz cool and masterful range, he is an accessible artist and educator who will foster the genre for many years to come.

Inspired by a spectrum of musical characteristics from across the globe and recorded live at Croatian Radiotelevision studio Bajsić, the album is composed and conducted by Grammy-nominated Doug Richards; one of the most innovative composers of symphonic jazz today.


BUGLES OVER ZAGREB begins with the “INTERCONTINENTAL CONCERTO FOR TRUMPET AND JAZZ ORCHESTRA.” The musical journey takes the listener from Africa to Asia where we hear a blend of Richardson’s solos on trombone and piccolo trumpet. Then straight through to Europe and Australia where Richardson plays a quadruple-time improvisation on flugelhorn to a melody inspired by Bach and the shepherds-crook cornet during a convergence of musical cultures using the iconic “Waltzing Matilda.” The adventure continues to North America where Richardson’s trumpet turns home, celebrating the musical majesty of the U.S. on W.C. Handy’s “Aunt Hagar’s Blues.” Ernesto Nazareth’s “Oden” creates the basis for an unexpected direction to South America where Richardson performs on all five of the instruments associated with each prior track. During his cadenza, he traces the six continents in reverse order.

Keep your passport handy! The journey isn’t over yet. The second half of the album is entitled “DUKAL BUGLES” by Doug Richards. The work, written as a tribute to Duke Ellington's best-known trumpet stars, consists of five sections (tracks) unfolding into one continuous movement.

BUGLES OVER ZAGREB is an epic, globe trekking treasure highlighting two American jazz masters at work.


01. Intercontinental Concerto: Africa (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
02. Intercontinental Concerto: Asia (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
03. Intercontinental Concerto: Europe (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
04. Intercontinental Concerto: Australia (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
05. Intercontinental Concerto: North America (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
06. Intercontinental Concerto: South America (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
07. Dukal Bugles: Ray Nance Tribute (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
08. Dukal Bugles: Rex Stewart Tribute (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
09. Dukal Bugles: Cootie Williams Tribute (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
10. Dukal Bugles: Bubber Miley Tribute (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)
11. Dukal Bugles: Clark Terry & Cat Anderson Tribute (feat. Doug Richards & Croatian Radiotelevision Jazz Orchestra)

"Hearing is Everything" Peter Watkins


Domi

Clarence Penn & Penn Station - Monk: The Lost Files (2014) COMPLETE!!!!


Source & Label: Origin Records
 
“...gesture and space surging from a place of heart-felt and fluid integrity...Penn exudes such enthusiasm and love for the music - it is simply impossible not to feel uplifted.”
- JazzTimes
Since he arrived in New York City in 1991, drummer/composer/arranger Clarence Penn has placed his unique blend of mega-chops, keen intellect, and heady musicianship at the service of a staggering array of A-list artists, all documented on several hundred studio albums. On this recording, Penn leads his dynamic quartet through thoroughly fresh and modern renditions of classic Thelonious Monk staples. Filled with the spirit and joy associated with Monk, he's taken all the things he loves in the music and brought them into the present.
- See more at: http://originarts.com/recordings/recording.php?TitleID=82674#sthash.RJc4oWSl.dpuf

“...gesture and space surging from a place of heart-felt and fluid integrity...Penn exudes such enthusiasm and love for the music - it is simply impossible not to feel uplifted.”
- JazzTimes -

Since he arrived in New York City in 1991, drummer/composer/arranger Clarence Penn has placed his unique blend of mega-chops, keen intellect, and heady musicianship at the service of a staggering array of A-list artists, all documented on several hundred studio albums. On this recording, Penn leads his dynamic quartet through thoroughly fresh and modern renditions of classic Thelonious Monk staples. Filled with the spirit and joy associated with Monk, he's taken all the things he loves in the music and brought them into the present.



1. Well, You Needn't
2. Green Chimneys
3. Evidence
4. Friday The 13th
5. I Mean You
6. In Walked Bud
7. Hackensack
8. Bemsha Swing
9. Think Of One
10. Rhythm-a-ning
11. Solato's Blues

Chad Lefkowitz-Brown - Saxes
Donald Vega - Piano
Gerald Clayton - Rhodes (6)
Yasushi Nakamura - Acoustic & Electric Bass
Clarence Penn - Drum



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




Mark Simon Quintet - Inkling (2014)


Gab's Rating: ☆ ☆ ☆ ☆


With Inkling, Simon assembles a group of Portland veterans, all of them long-time collaborators who were hand-picked to present this music: Paul Mazzio, Devin Phillips, Chris Higgins, and Larry Bard. And Simon himself has earned this same status by holding the regular piano chair in bass legend Leroy Vinnegar’s quartet for four years in addition to his own notable work as a leader.
Each of these experienced players brings a special blend of talent and personality to the music, and Simon capitalizes on this with his deft compositions. Like Ellington, “Mark writes with the individual musicians in mind. He finds their strengths as players, but sometimes even writes for their weakness to spur them on to greater heights,” said tenor saxophonist Devin Phillips.
“In life, as well as on the band-stand, sometimes you have no idea what is going to happen next. However, if you have an inkling of an idea, 99 out of 100 times, that is exactly what will happen,” says Mark Simon of the title of his third album as a leader. But its also a guiding principle of his work as an artist. His compositions and playing capture the confidence of his philosophy, as well as a heavy dose of old school swing.
“Mark is one of the more brilliant pianists and composers in the Northwest. His range of work extends from the early years of bebop to the avant-garde; definitely a pianist to watch out for.” - Ron Steen
Mark Simon couples jazz experience with a myriad of jazz influences to create a style of playing and writing that offers a mature outlook while pushing his work out to the edge of contemporary jazz.
A Chicago-born Cub fan, Simon has been playing jazz for over 30 years. He started by playing along with old Jazz At The Philharmonic records from his father’s massive and eclectic record collection, which ran the gamut from early jazz master Louis Armstrong to avant-garde Cecil Taylor. By 13, Mark was listening to Lester Young, Charlie Parker, Roy Eldridge and other jazz legends while his school chums were gearing up to Led Zeppelin.
From “sitting in” with his father’s records, he enrolled in a youth summer jazz camp at the University of Illinois, where he was exposed to the live side of jazz. Mark would sneak out of the dorm at night to sit in with the faculty on jam sessions, providing him with a sense of excitement in playing that he’s never lost. “The faculty would have these all-night jams and I was the only student invited to sit in. It was an awesome and valuable experience and it gave me a real foundation in jazz”.
Mark has been a Portland resident since 1978, when he came west from Chicago to study jazz at Mount Hood Community College. Since then, he’s played with most of the jazz stalwarts in the Portland area, including Mel Brown, Glen Moore, Nancy King and Ron Steen.



1. Glad Bags
2. Caramel Creek
3. Simon Sez
4. Taxometer
5. Escapade
6. Mr. D.P.
7. Blew Brush Sermons
8. Song For My Grandparents
9. Inkling
10. Everything's Copasetic



Mark Simon - Piano, Composer
Paul Mazzio - Trumpet/Flugelhorn
Devin Phillips - Tenor Saxophone
Chris Higgins - Acoustic/Electric Bass
Larry Bard - Drums, Darbuka 



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


GAB
 

Expansions: The Dave Liebman Group - Samsara (2014)



Dave Liebman is forever restless. An extremely emotional and expressive player, he has formed, after 20 years in a group featuring guitarist Vic Juris, the new group Expansions, purposefully bringing in and connecting with players of the younger generation. Adapting himself to their harmonic language and rhythmic patterns, he continues to expand and grow, resulting in the superb album Samsara.

The new group includes bassist Tony Marino, with whom he has a twenty year relationship, and three adept and original young players -keyboardist Bobby Avey, reed man Matt Vashlishan and drummer Alex Ritz. He knew Avey and Vashlishan from many interactions in his local area, and Ritz was recommended by other drummers with whom he had worked.

The group has obviously developed great rapport, because while Liebman always leans towards free improvising, the music is tight as a drum. Avey and Vashlishan push Liebman as much as he leads them, and Ritz reacts instantly to any and all twists and turns, while Marino always seems to know what to do, and when to do it.

Liebman is just as likely to play an achingly beautiful line as he is to shriek or erupt with a blizzard of notes. The free sections are bound by those with (a usually complex) groove, making the music quite accessible. Stylistically, the music lies between modern post-bop and the avant-garde, as high energy (though always under control) pieces alternate with melodic and/or tonal ones. Thus, Expansions' music is quite accessible by most everyone. Listeners experienced with the modern, more experimental side of jazz will feel quite at home and just might here echoes of the music of say, Greg Osby or Loren Stillman.

Avey and Vashlishan helped produce the record and did the editing and mixing. They are central to Samsara's sound; an Avery composition "Simply" opens the album and the title tune "Samsara" by Vashlishan, closes it. Every track, even such melodic ones as "Sivad" or "Searcher 2" is quite intense, producing a pacing that builds to the highly emotional "Child Refugee" and the smoking "Samsara." While Avey's keyboards provide the harmonic foundation and spice, Vashlishan is Liebman's partner and foil; they trade lines many times, as well as producing contrapuntal harmony.

Samsara is exciting music, and from the opening notes of "Simply" to the last notes of "Samsara," one cannot turn away. Simply fantastic.


Dave Liebman: soprano saxophone, wooden flute
Bobby Avey: piano, electric piano
Matt Vashlishan: alto saxophone, clarinet, flute
Tony Marino: electric bass, acoustic bass
Alex Ritz: drums, frame drum

01. Simply
02. Ugly Beauty
03. Endive
04. Liberian Hummingbird
05. Rhythm Thing
06. Searcher 2
07. Level One
08. Embers
09. Sivad
10. Child Refugee
11. Samsara

"Hearing is Everything" Peter Watkins


Domi

Tom Lagana - Tom Lagana Group (feat. George Garzone) Vol. 1


This album came out of a concert last September at the University of Maryland Baltimore County. It also comes out of a long tradition of guitars and saxophones playing Brazilian music – and we’re not just talking Getz and Gilberto here, though their spirits loom large on this recording. In this country the tradition dates back to the early 1950s, when Brazilian guitarist Laurindo Almeida and American saxophonist Bud Shank made a series of recordings for Pacific Jazz that blended North American jazz improvisation and Brazilian melodies and rhythms. The records were hugely influential in the U.S. and in Brazil. This was almost a decade before Charlie Byrd made his famous trip to Brazil and came back to record the album with Stan Getz that would produce the Top 20 hit, “Desafinado.”

But it was the Stan Getz/Joao Gilberto record that was the inspiration for this one. Back to that September concert: the day of the show, the musicians weren’t sure what they were going to play. Tom started humming one of the songs he’d heard on “Getz/Gilberto:” Ary Barroso’s “P’ra Machuchar Meu Coracao.” That was all they needed. As Tom says, “I still to this day cannot figure out why that song wasn’t a MEGA hit. It is simply one of the most beautiful melodies ever written.”

The inspiration carried through to the recording session: the quartet laid down eight tunes the first day; the remaining pieces in half of the next day; and the album was mixed on the third day … despite the fact that this is Tom’s first recording to feature him playing acoustic nylon string guitar exclusively. His first two albums mostly featured electric guitar – his first instrument (he grew up in Davidsonville, Maryland, wanting to be a heavy metal guitarist). But this isn’t the work of an electric player dipping his toe into acoustic music.

After graduating from the Berklee College of Music in Boston, where he met saxophonist George Garzone, Tom got a Masters in Performance from Towson University. There he focused primarily on classical guitar and went on to teach classical ensemble at the school. He’s done master classes with Dusan Bogdanovic and Ralph Towner and played for Italian guitarist and composer Carlo Domeniconi, whose “Koyunbaba” is a staple of contemporary guitar repertoire. It would be an understatement to say that the nylon string sits well under Tom’s fingers.

He’s brought all of his influences together here (except maybe heavy metal): his affinity for improvisation; his understanding of the nylon stringed guitar’s colors and nuance; and especially his love for Brazilian music. He sums that up beautifully: “The harmony and melodies are simple – that is why people relate to them. Then, when the groove hits them, you are getting them in a place they cannot see but can feel. It’s music to move the masses.”

The connection is intensified by his partnership on this recording with saxophonist George Garzone.  The blend, supported by such a warm rhythm section (Tom Baldwin (b) and Dominic (d)), is reminiscent of the smooth and sensuous Getz – Gilberto sound.

01. Outra Vez
02. Para Machucar Meu Coração
03. Shadow of Your Smile
04. Something Special
05. Holland Tunnel
06. Moonlight in Vermont
07. Armando's Rhumba
08. Bossa Moderna
09. Alone
10. Brigas Nunca Mais
11. Nature Boy


LIRA

Oleg Lundstrem Orchestra - In Swing Time (2014)


Since Russian bandleader Oleg Lundstrem was around 70 when he recorded this CD, one might expect the music to be Russian versions of swing standards, but actually the music is quite modern, sort of an updated Thad Jones/Mel Lewis-type orchestra. No personnel listing is given although the liner notes refer to pianist Mikhail Okun, trumpeter Yuri Parfenov and tenorman Vyacheslav Preobrazhenski. The charts make liberal use of brass choirs and expertly set up the soloists, of which the tenor is the most talented. Overall this is a professional and rather enjoyable big-band outing from a Russian legend who led his first orchestra in 1934.


1. In Retro Style
2. The Dawn Came
3. Embraceable You
4. Sprint
5. Lilac in Bloom
6. Jive
7. Why?
8. A Study for Orchestra

"Hearing is Everything" Peter Watkins


Domi