sábado, 29 de noviembre de 2014


Distinguido programa el aportado por el productor, director y presentador de JAZZ by JAZZ, RONALDO ALBENZIO. Disfrutarán de una gran variedad de propuestas, ricas composiciones magistralmente interpretadas. Entre otros artistas aparecen:

Junior Mance

Harvey Mason

Gerry Mulligan

Charlie Fowlkes

Serge Chaloff

Zé Nogueira



de la mano de


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


Linus - Onland (2014)

Could a sound turn inward and face itself? When I really listen to this music, I feel like I'm staring into the sky. How do they do it? The boundless aspect implies a dreaming state, yet at the peripheries of the reflective finger picking which blossoms in the most beautiful modulations, and the speculative breath which converges and diverges with the tempo, constantly tightening and loosening its grip, there is a longing again, like the feeling that you may lose touch with something or someone you love and you must see them one more time. - Eyvind Kang

1. Dit 06:19
2. Weer Zien 06:26
3. Tune Out 03:54
4. Schaterhout 01:56
5. Wi Sla Wa 04:59
6. Herzog 04:08
7. Schets 02:02
8. Allemaal Goed 05:56
9. So It Has Come To This 06:48

Thomas Jillings – tenor saxophone, alto clarinet
Ruben Machtelinckx – acoustic baritone guitar

"Hearing is Everything" Peter Watkins


Ernst Glerum & Uri Caine - Sentimental Mood (EP) 2014

Después de su excelente dúo con Dave Douglas en Present Joys, Uri Caine genera otra de esas sociedades en las que impera lo camerístico como concepto impuesto a un repertorio más o menos establecido en el tiempo. Si en aquel eran canciones religiosas norteamericanas de antaño, en éste son fatigadísimos standards de jazz, pero interpretados de manera novedosa.

Si el piano de Caine sigue manteniéndose en los límites del clasicismo aplicado al jazz, con algunas filigranas pero con un swing apenas insinuado, el contrabajista Ernst Glerum, al trabajar con un instrumento de menor tamaño que el habitual y al usarlo, muchas veces, como un chelo, ancla ese concepto de música de cámara. El resultado es maravilloso: conmovedor, punzante, insinuado, todo lo melódico que se puede ser y, llegado el caso, suavemente rupturista. El problema principal de este disco, y tal vez no sea un problema, pero es algo a tener en cuenta, es su escasa duración. Apenas veinte minutos: Ellington, Barris, Monk y Kern versionados por dos músicos excelentes en cinco temas de entre tres y seis minutos en lo que parece la muestra gratis de un disco completo.

Ernst Glerum, contrabajo
Uri Caine, piano

1. Black and Tan Fantasy
2. I Surrender, Dear
3. Evidence
4. In a Sentimental Mood
5. Yesterdays

"Hearing is Everything" Peter Watkins


Nels Cline & Julian Lage - Room (2014)

What began as an article for JazzTimes penned by Nels Cline about his favorite Jim Hall songs has culminated into this: an encounter of two highly regarded and open-minded guitarists from two generations that followed the one from the iconic guitarist who, in a roundabout way, put them in the same room.

Yes, it’s a long story, and Cline explains it all here, but these paragraphs are devoted to the end product, Room, a document of the unexpected alchemy between Cline and his younger partner in this collaboration, Julian Lage.

Room — set for release November 25, 2014 via Mack Avenue Records — puts these two guitar greats in the purest possible setting: just the two of them, using a total of two guitars a piece, with no effects and recorded ‘live.’ Moreover, all of the material was brought in by each of these participants.

You don’t have to be a guitar freak to appreciate chiming sonorities of an unadorned guitar, and how in the right hands they can create music of mystery, drama and genuine feeling. They get their rich tone not from pedal or studio wizardry but straight from exquisite archtop guitars (Cline’s is a ’65 Gibson Barney Kessel while Lage plays a custom Linda Manzer) or acoustic ones (Cline chooses a ’62 Gibson J-200 and Lage favors his ’39 Martin 000-18). Lage is placed in the left channel and Cline on the right.

Put on your headphones for Room; this way you can hear on “Abstract 12″ how the music emanating from each channel is an independent entity onto itself but the two sides fit together perfectly. The highly synchronous “Racy” soon gets its groove on, with the thematic lines done in unison while Cline and Lage switch off comping and lead roles.

Cline and Lage liberally cross the lines separating jazz, folk, and chamber music, but the advanced bop tunes usually prove to be the most harmonically demanding ones, the ones that reveal how adept these guys are in handling the complexities of the material and still maintain their musical bond. Cline’s “Blues, Too” that originally appeared The Nels Cline Singer’s The Giant Pin and again in front of an audience for Initiate is perfect for this setting, a song motivated by Hall but imbued with Cline’s adventurous spirit. The two use Cline’s inverted blues merely as a jumping off point, traversing over Americana terrain, engaging in freestyle tête-à-tête and returning to the theme just in time to bring the adventure to a close. Cline titled “Amenette” as an amalgamation of the names of his drummer Scott Amendola and free jazz pioneer Ornette Coleman, and this feisty song stretches bop out to its outer limits like “Blues, Too,” but grounded with short, well-placed harmolodic figures played together.

The four acoustic numbers introduces new timbres but the same chemistry. “Whispers From Eve,” dedicated to the late bassist Eric Von Essen, has a folksy gentleness that’s contemplative and impressionistic, and breezily comes upon a gorgeous melody somewhere in the middle; they move on but stray only within a short distance from it. “Odd/End” sure enough has an odd 7/8 meter but that’s hardly what makes it click; it’s about the flow, which oscillates between moments of tension and release, keeping the flamenco-tinged energy level constant.

Nominally, Room is ‘jazz,’ but in reality, it’s just ‘music,’ the kind of music that can only be carried out by a guitar or two. Julian Lage and Nels Cline have long had it within themselves to bring out the full range of affection that’s possible from just six strings and frets and little else. The special thing about this rendezvous is how fully they brought out these aspects from each other. They’re having fun with their immense talents, and it’s hard not to share in that fun as listeners.

Abstract 12 
The Scent of Light
Whispers From Eve
Blues, Too
Odd End
Freesia/The Bond

Nels Cline, guitar
Julian Lage, guitar

"Hearing is Everything" Peter Watkins