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En Memoria de Lyle Mays 1953-2020

Lyle Mays, el tecladista que pasó una parte importante de su carrera grabando y actuando como miembro del Grupo Pat Metheny, murió el 10 de febrero en el Hospital Adventista de Simi Valley, California. Tenía 66 años.

Si bien la causa específica de la muerte no se hizo pública en el momento de la publicación, la sobrina de Mays, el vocalista de jazz Aubrey Johnson, dijo en una publicación en las redes sociales que se produjo "después de una larga batalla contra una enfermedad recurrente".

"Lyle era un músico y una persona brillante, y un genio en todos los sentidos", escribió. "Era mi querido tío, mentor y amigo, y las palabras no pueden expresar la profundidad de mi dolor".

Después de que se informara la noticia de la muerte de Mays durante la segunda semana completa de febrero, Metheny publicó el siguiente mensaje en su sitio web: “Lyle fue uno de los mejores músicos que he conocido. A lo largo de más de 30 años, cada momento que compartimos en música fue especial. Desde las primeras notas que tocamos juntos, tuvimos un vínculo inmediato. Su amplia inteligencia y sabiduría musical informaron cada aspecto de quién era en todos los sentidos. Lo extrañaré con todo mi corazón ".

Mays nació en Wausaukee, Wisconsin, el 27 de noviembre de 1953, en una familia musical. Mientras que sus padres tenían trabajos constantes, ambos albergaban un profundo amor por la música y tocaban instrumentos: su padre era un guitarrista autodidacta y su madre tocaba el piano y el órgano, principalmente en la iglesia. Mays hizo lo mismo, tomó lecciones de piano de un maestro local y, finalmente, comenzó a tocar órgano en la iglesia de su ciudad cuando era un adolescente.

Casi al mismo tiempo, se convirtió en un entusiasta fanático del jazz después de encontrarse con el Festival de Jazz de The Montreux Jazz de Bill Evans , un álbum de trío en vivo con el sello Verve que contó con el bajista Eddie Gómez y el baterista Jack DeJohnette. Según Steven Cantor, el coproductor de los dos primeros álbumes en solitario de Mays (un LP homónimo de 1986 y Street Dreams de 1988 ), “estaba completamente desconcertado por [la grabación en vivo de Evans]. No podía entenderlo en absoluto. Pero dado su interés en la música y que estaba tocando el piano en ese momento, se convirtió en algo que tenía que descubrir ".

Los estudios de jazz de Mays lo llevaron a la North Texas State University (ahora la University of North Texas), donde estudió bajo la dirección de Leon Breeden y se unió a la prestigiosa One O'Clock Lab Band de la escuela, junto con el bajista y futuro colaborador Marc Johnson y el futuro El baterista de Freddie Hubbard Steve Houghton. Mays se convirtió en el arreglista principal del grupo, con su toque distintivo y solos de piano impresionistas escuchados en el álbum nominado al Grammy de la banda, Lab '75.

Si bien el primer concierto profesional de Mays fuera de la universidad fue tocar con la banda de Woody Herman, fue su trabajo con Metheny lo que definió los próximos 30 años de su carrera. Los dos se conocieron en un festival de jazz en Wichita, Kansas, en 1974. Pero pasarían varios años antes de que comenzaran a actuar y grabar juntos, comenzando con el álbum Watercolors de Metheny en 1977 . A partir de ahí, Mays se convirtió en el miembro más antiguo del Grupo Pat Metheny, coescribiendo gran parte del material de la banda y combinando el piano acústico con una gama cada vez mayor de sintetizadores para agregar texturas confusas y fantasiosas a sus sesiones.

La asociación creativa de Mays y Metheny también se extendió fuera de la banda. 1981 vio el lanzamiento de su álbum dúo, As Falls Wichita, So Falls Wichita Falls , y Metheny contribuyeron a la producción de algunas grabaciones en las que Mays obtuvo la mayor facturación: Fictionary de 1993 (con el bajista Johnson y el baterista DeJohnette) y Solo de 2000 (Improvisations For Extended piano) . Se puede encontrar una idea de lo que hizo que su relación fuera tan fructífera en una entrevista que Mays le dio a DownBeat para la edición de marzo de 1993, cuando se lanzó Fictionary .

“Acabábamos de terminar una gira, cuando Pat se me acercó y me dijo: 'Deberías ir al estudio. Realmente creo que tu forma de tocar es la mejor que te he escuchado tocar '”, le dijo Mays al escritor Martin Johnson. “Estaba como ... gracias [se encoge de hombros ]. Sin embargo, casi me resistí a la idea. No había preparado un registro.

“En los dos primeros discos que hice [ Lyle Mays y Street Dreams ], pasé mucho tiempo en la preproducción orquestando cosas. Ni siquiera estaba en mi mente hacer un disco acústico. Tengo que darle crédito a Pat; me convenció para que lo hiciera ".

Otra salida para Mays llegó a través de encargos de Rabbit Ears, una productora que contrató a actores famosos para leer historias infantiles y músicos modernos para proporcionar las bandas sonoras. Mays creó dos obras para la compañía que le permitieron aprovechar sus influencias clásicas a fuego lento.

"Si escuchas la partitura de The Tale of Mr. Jeremy Fisher ", dijo Cantor, quien produjo las sesiones, "es Stravinsky. Es la instrumentación de L'histoire Du Soldat . Un conjunto de seis o siete piezas con muchos instrumentos de viento de madera. Y el otro que hizo, al este del sol, al oeste de la luna , fue cinematográfico. Escribió una media hora de música que era tan hermosa y expansiva y funcionó muy bien con la historia ".

Después del lanzamiento del álbum final de Pat Metheny Group, This Way Up de 2005 , Mays comenzó su lenta retirada del mundo de la música.

Como Metheny lo puso en su página de Facebook recientemente, la rutina de giras que se esperaba de cualquier músico de jazz que trabajara en Mays.

"El estilo de vida de salir a la carretera noche tras noche", escribió Metheny, "a veces cientos de noches a la vez, no es para todos y tiene desafíos reales ...". Hicimos una breve ronda de conciertos hace un tiempo, y estaba claro en todos los sentidos que ya había tenido suficientes hoteles, autobuses, etc. ”.

Mays vivió en silencio el resto de sus días en California, trabajando en la industria informática y alentando los esfuerzos creativos de su sobrina. Pero lo que el mundo perdió con su fallecimiento es, como lo expresó Cantor, “un intelecto asombroso. Increíble enfoque y sorprendente claridad. Y gran arte ".

In Memoriam:Larry Coryell

(Galveston,Texas,2 de abril de 1943-Nueva York,19 de febrero de 2017).

En 1950 se instaló junto con su familia en Richmond (Nueva York), donde comenzó a tocar rock y country, hasta que a los quince años comenzó a recibir clases de jazz. En Nueva York, tocó con Charles Lloyd y, después, con la banda de Chico Hamilton (1966), sustituyendo a Gabor Szabo. Entre 1967 y 1968,permaneció en el cuarteto del vibrafonista Gary Burton,pasando después por las formaciones de Herbie Mann,Steve Marcus y Mitch Mitchell. Después se incorporó a la Jazz Composer's Orchestra,hasta formar su propio grupo de jazz rock, The Eleventh House,en 1973.

Más tarde se incorporó a una serie de exitosos conciertos en trío con John McLaughlin y Paco de Lucía. El grupo realizó diversas giras por Europa y publicó un DVD de su actuación en el Royal Albert Hall de Londres, titulado Meeting of Spirits. A comienzos de 1980,su adicción a las drogas motivó su sustitución por Al Di Meola.Después,Coryell mantuvo este tipo de formato con otros guitarristas,como Philip Catherine o Christian Escudé. En 2007, publicó una autobiografía titulada Improvising:My Life in Music.

Fue un guitarrista virtuoso, con un estilo conformado como un «cocktail sabroso y explosivo de country, western, blues,bop y hallazgos de Sonny Sharrock y Jimi Hendrix»

Zafhfaroni - 48 Horas 1988

01- P´al galleguito (Firpo)

02- Rhodes (Firpo)

03- Zafhfarrancho (Sadi)

04- Hot Club (Firpo)

05- Microtema II (Firpo)

06- F M D (Sadi)

07- Vada (Firpo)

08- Viento de vientre (Firpo)

09- Costa Azul (Notaro)

10- Por el caño (Firpo)

11- Fhfranz II (Schimid)

12- 64 Y 1/2 (Firpo).

Luis Firpo – Guitarra

Fernando Notaro – Teclados

Jorge Sadi – Bajo

Jose Schimid – Bateria.

Zafhfaroni fue una banda de jazz-rock fusión uruguaya fundada a fines del año 1982.

Historia:

La banda fue creada en 1982 por Luis Firpo en guitarra,José Schmid en batería,Arturo Meneses en bajo, Ricardo León en piano y Luis Alderotti en teclados.Con esa integración editaron el disco "Bala Cósmica", lanzado por el sello Orfeo en 1985.Tiempo después la banda cambió su formación incorporándose Jorge Sadi en bajo y Fernando Notaro en teclados, sustituyendo a Arturo Meneses y Luis Alderotti respectivamente. Con esta integración editan su segundo álbum titulado "48 horas".En este álbum también participa Ricardo Nole en teclados.

Su último álbum fue editado en el año 1990 bajo el nombre "Matafuego".4 En el mismo participa Daniel Jacques en bajo y voz ingresando a la banda en lugar de Jorge Sadi. En esta obra contaron con la participación en teclados de Hugo Fattoruso el cual intervino en dos de los temas del álbum. La banda se separó en 1992.

Discografía:

Bala Cósmica (Orfeo.1985)

48 horas (Orfeo.1988)

Matafuego (Orfeo.1990)

Candeias ‎– Sambaiana 1976

Reissue Japan 2004

Sambaiana

Casas De Invierno

Palmeiras

El Tren De Tom

Paolinho

Zimbao

Managua.

Dave Brubeck (December 6, 1920 – December 5, 2012)

"Thanks for all the music you gave to our souls"

Dave Brubeck Quartet - Blue Rondo A La Turk Carnagie Hall 1963.  

Great Dave Brubeck Quartet 12 long performance of the famous jazz standart. It was recorded at the famed Carnegie Hall in New York City on February 21, 1963. It was described by critic Richard Palmer as "arguably Dave Brubeck's greatest concert" and a "truly majestic record that should be in every serious collection"; for Don Mather it is "one of the all time great live jazz performances". * Dave Brubeck - Piano * Paul Desmond - Alto saxophone * Eugene Wright - Double bass * Joe Morello - drums.

Poncho Sanchez - Raise Your Hand (2007)

01. Raise Your Hand
02. Tropi Blue
03. Shotgun
04. El Agua De Belen
05. Rosarito
06. Maceo's House
07. ¿Dónde Va Chichi?
08. Gestation
10. Knock On Wood.

Hancock - M.Brecker - Hargrove - Directions in Music:Live at Jazz Baltica (2002) DvD

 01.The Sorcerer 

02.Misstery 

 03.Naima 

04.So What/ Impressions 

05.D Trane 

06.Transition 

07.My Ship 

08.Pinocchio 

Herbie Hancock (Piano) 

Michael Brecker (Tenor sax) 

Roy Hargrove (Trumpet) 

George Mraz (Bass) 

Willie Jones III (Drums).

Format: MPEG-4 at 898 Kbps 

Length: 668 MiB for 1h 44mn 1s 800ms
Aspect: 640 x 480.

Chick Corea - Early Days (1969)

01.The Brain 7:24

02.Converge 8:00

03.Waltz For Bill Evans 6:42

04.Sundance 11:46

05.Dave 8:55

06.Vamp 9:55

07.Jamala 14:08.

Recorded In New York, 1969.

Michael Franks - Time Together (2011)

01.Now That The Summer's Here (ft. Eric Marienthal)

02.One Day In St. Tropez

03.Summer in New York

04.Mice

05.Charlie Chan In Egypt

06.I'd Rather Be Happy Than Right

07.Time Together

08.Samba Blue

09.My Heart Said Wow

10.If I Could Make September Stay

11.Feathers From An Angel's Wing.

Michael Franks - vocals

Chuck Loeb - guitars,keyboards,drum and percussion programming

Mike Mainieri - vibraphone

Mark Egan - bass

Will Lee - bass,background vocals

Wolfgang Haffner - drums

Eric Marienthal - alto sax

Till Bronner - trumpet

Carmen Cuesta - background vocals

Gil Goldstein - piano

Romero Lubambo - guitar

Shawn Pelton - drums,percussion

Rogerio Boccato - percussion

Lizzy Loeb - background vocals

Veronica Nunn - lead and background vocals

Scott Petito - bass

Jerry Marotta - drums

David Spinoza - guitar

Beth Nielsen Chapman - background vocals

Charles Blenzig - piano,keyboards

Jay Anderson - bass

Billy Kilson - drums

David Mann - sax

Alex Sipiagin - trumpet

Tim LeFebvre - bass

Greg Cohen - bass

Joe Banadio - drums,percussion

Clifford Carter - keyboards.

SOURCE:
SOMETHING ELSE!

You don't see me cover a lot of jazz vocalist or smooth jazz records, so you may wonder what is up with this piece about a record from smooth jazz's premier vocalist, Michael Franks? When I informed our own Mark Saleski my intention to cover Franks his reaction was to disgusted “ewwwww!" but that didn't faze me one bit. I've already long ago admitted that Franks' music was a guilty pleasure of mine, so it's not like I'm going to back down, now.

I guess the appeal is due in part to the fact that I've I go back a long ways with Mr. Franks. First catching the Art Of Tea tune “Mr. Blue" on a college radio around 1980, the soft crooning of clever lyrics mated to above-par sideman work got me hooked. With his tales of whirlwind, wit-filled romances usually at some of the world's most exotic getaway destinations, Franks could be thought of as crossover jazz's own Jimmy Buffet. But with his unhurried, breathy delivery, I find him to be more like a modern-day Chet Baker (Baker the vocalist, not when he's playing trumpet). By the middle of the '80s, he became a favorite among the college set who found R.E.M. too harsh, and he was even a semi-fixture on VH-1. The music also got more pop-oriented and, I dare say, louder. As the 90s wore on, he slowed down his pace and the tempo of music. Time Together is his first one since Rendezvous in Rio five years ago.

Time finds Franks still decelerating, with production even lighter than Rio even though five different producers were used on this record. Perhaps ironically, he's slowed down to the gentle tempos of his 70s music, but with arrangements about as lean and feathery as its ever been...and a better fit for him, I might add. Franks doesn't resort to the sly double-entendre's or outright silliness of “Popsicle Toes" or “Baseball," but many other hallmarks of his classic style are firmly in place. He still writes all the songs, and keeps to romantic/escapist themes and even on the one serious-minded song, “Charlie Chan In Egypt," he avoids the heavy-handed lectures, always finding a way to make his message easier to accept.

The breezy, Brazilian feel found on pretty much every album since 1977's Sleeping Gypsy pervades this one, too. So are the references to the straight jazzers or Brazilian jazzers—on this album, he's named checked Ahmad Jamal, Antonio Carlos Jobim, and Astrud Gilberto—even when the music is often only tangentially jazz. Other times, he does cross right into piano bar chanteuse territory ("One Day In St. Tropez," “Charlie Chan," “My Hear Said Wow"), something he's quite comfortable doing, with all-acoustic (or nearly so) instrumentation.

Session player obsessives can always find plenty of top drawer names credited on a Michael Franks album and this one is no exception. There's a nice mix of old-school studio hands (Jerry Marotta, Gil Goldstein, David Spinozza, Will Lee, Mike Mainieri) with the next generation (Eric Marienthal, Tim Lefebvre, Till Brönner). Chuck Loeb, probably the current generation's Larry Carlton (and, naturally, Carlton's replacement on that smooth jazz supergroup Fourplay), makes the biggest footprint with contributions on five of the eleven tracks and producing four of them. Whenever he's around, the songs sound more contemporary and polished, but thankfully, he took care not to push it too far into generic snooze jazz. The opener “Now That The Summer's Here" (video above) is the best of Loeb-produced tracks, the synths staying safely in the back, Franks voice up front, and Loeb's damned tasty guitar licks providing most of the best accents.

Pianist Goldstein's production kept things stripped nearly bare, preferring a piano/acoustic guitar/bass/percussion formats. Bassist Scott Petito produced the charming “Mice," well played by him, Marotta on drums, Spinozza on guitar and Mainieri on vibraphone, a real throwback to the vintage Franks. Keyboard player Charles Blenzig was behind the boards for the best of the “straight" jazz cuts, “Charlie Chan In Egypt," with a premier rhythm section of Jay Anderson (bass) and Billy Kilson (drums). Original Pat Metheny Group bassist Mark Egan produced the final track “Feathers From An Angel's Wing," playing both a lead fretless bass and a conventional fretted bass, and giving Frank's ethereal melody an appropriately delicate treatment.

A mellow voice and mellow music, Time Together requires a relaxed, content mood to fully enjoy. But isn't that the mood we wish to be in, anyway? Maybe this is the real reason for my strange attraction to the music of Michael Franks; he's always exuding that chilled-out state of mind. I wanna be that way all the time, too.

The Crusaders - Southern Comfort (1974)

01.Stomp and Buck Dance

02.Greasy Spoon

03.Get On the Soul Ship

04.Super Stuff

05.Double Bubble

06.The Well's Gone Dry

07.Southern Comfort

08.Time Bomb

09.When There's Love Around

10.Lilies of the Nile

11.Whispering Pines

12.A Ballad for Joe (Louis).

Wayne Henderson - Trombone

Wilton Felder - Saxophone

Joe Sample - Keyboards

Nesbert "Stix" Hooper - Drums.

Review
by Jason Elias

The follow-up to 1973's Unsung Heroes was the first of the group's Blue Thumb efforts to be distributed by ABC Records. The label switch also coincided with the inclusion of lyrical guitarist Larry Carlton as a full-fledged member. Although much of Southern Comfort puts a gloss on ideas made definitive on earlier efforts, the complaints are minimal and this remains the most appealing, multi-faceted incarnation of the band. The first track, "Stomp and Buck Dance," is an offhanded and skilled approach to the group's patently earthy style. The insistent "The Well's Gone Dry" has the edginess of some of the better tracks on Unsung Heroes, and has Carlton doing great work on the bridge. Not surprisingly, it is Carlton's presence here that adjusts the band chemistry and makes the best of Southern Comfort even more so. The best track here, the poignant "When There's Love Around," has Carlton's guitar attaining the perfect sense of longing that meshes well with Joe Sample's trademark Fender Rhodes tones. The last tracks here are also in a thoughtful ballad vein: "Lilies of the Nile" has great horn work from Wilton Felder and Wayne Henderson, and the last track, "A Ballad for Joe (Louis)," is a heartfelt rumination on the death of the famed boxer, featuring Sample's inherent sense of melody. A good representation of the Crusaders' tasteful and intelligent playing, Southern Comfort is more than recommended to their fans.

Akiko Tsuruga - Oriental Express (2009)

01.J's Groove 04:25

02.Oriental Express 04:25

03.Teach Me Tonight 04:06

04.Frim Fram Sauce 04:55

05.Take It Easy 05:48

06.Bright Eyes 03:48

07.Killing Me Softly With His Song 05:26

08.Magic E 05:43

09.Closer I Get To You 03:20

10.Dreamsville 04:30

11.Sidewinder 06:19.

Wilson 'Chembo' Corniel - Percussion (tracks 1,5,7,9,11)

Eric Johnson - Guitar

Rudy Petschauer - Drums

Akiko Tsuruga - Hammond B-3

Jerry Weldon - Tenor sax (tracks 1,4,7,8,10).

Recording information: Showpalce Studio, Dover, NJ (04/28/2008-04/29/2008).

With her third release as a leader, Japanese-born jazz organist Akiko Tsuruga demonstrates her growth as a player, having distilled the essence of many of the giants of the instrument, including Jimmy Smith, Charles Earland, Mel Rhyne, Brother Jack McDuff and others. One of relatively few women who has gained exposure playing jazz organ, Tsuruga shows a surprising maturity at the instrument, using a wide variety of dynamics, while her adventurous spirit shows in her improvising and choice of rhythms. Two of her sidemen on these sessions, tenor saxophonist Jerry Weldon and drummer Rudy Perschauer, were members of McDuff's final band and their presence no doubt stimulated the young organist. Also making important contributions are guitarist Eric Johnson and percussionist Wilson Chembo Corniel, both of whom appeared on her previous 18th & Vine CD SWEET AND FUNKY. Her breezy setting of "The Frim Fram Sauce" (a hit for pianist Nat King Cole during the 1940s) and funky Latin setting of Lee Morgan's "Sidewinder" are highlights. She's equally adept handling standards like "Teach Me Tonight" and Henry Mancini's lush ballad "Dreamsville," both of which prominently feature Johnson.

Akiko Tsuruga's second release on 18th & Vine couldn't be more perfectly named. Oriental Express transports the listener on an exciting journey through soul-jazz, R&B, jazz standards and originals.

Masterful B3 style that appeals to fans of Shirley Scott, Jack McDuff, Big John Patton, Dr. Lonnie Smith & Brother Jack McDuff and Jimmy Smith. Regularly performs as a key member of the Lou Donaldson Quartet. Also performs with the Jackson Brothers, Jerry Weldon Trio, and Madam Pat Tandy Group.

Featured in DownBeat's 56th Annual Critics poll as "Rising Star Organ." Author of jazz instructional book Hammond Organ Complete (Berklee Press). First jazz organist to receive the "New Star Award" by Swing Journal. Previous 18th & Vine release named Best CD of 2007 by DownBeat, and reached # 13 on the jazz radio charts.

"Akiko Tsuruga, a New Yorker who relocated there six years ago from Osaka, Japan, uses powerhouse chops, good taste, and impeccable sense of swing and extra large ears to remind us of everything we always loves about the organ-trio tradition." - DownBeat.

"Wow! New York based Hammond B3 organist and pianist Akiko Tsuruga's latest CD, Sweet and Funky, is as the kids used to say 'the bomb' ! Tsuruga has too much funkiness in her to settle for playing just a 'good' solo. Her lines pile on top of each other with the force of a tsunami until the energy has been ratcheted up to tidal wave proportions." - JazzReview.

"Akiko Tsuruga ranks as one of the top organists around today." - Scott Yanow, All Music Guide.

Ray Mantilla with Bobby Watson - Dark Powers (1988)

01.Dark Powers

02.Catch Me If You Can

03.Dialogue

04.Curveball

05.The Things You Do

06.Hostage

07.Rostro de Ti.

Ray Mantilla-Percussion

Bobby Watson-Sax (Alto)

Eddie Martinez-Piano

Viven Ara Martinez-Vocals

Dick Oatts-Flute, Sax (Soprano), Sax (Tenor)

Rubén Rodríguez-Bass

Steve Berrios-Percussion, Drums.
Recording information: Sound Ideas Studios, New York, NY (02/26/1988).

Ray Mantilla nació en 1934 en el ritmo rico, baile loco ambiente del Sur del Bronx donde rítmica afro-cubana con el jazz formas transmutó armonías y sensibilidades en las calles, los hogares y salas de baile. Por 21, Mantilla fue en el escenario tocando los tambores de conga contemporáneos junto con Eddie Palmieri y Ray Barretto, que el único juego de Neo-síntesis Nuyorican conocida como 'salsa'
Con el flautista Herbie Mann, Ray Mantilla entró en la atención internacional en 1960. Luego, Max Roach le invitó a ser parte del clásico "Libertad Ahora Suite" la grabación. Después de una temporada en Puerto Rico, donde perfeccionó sus habilidades en la trampa tendida, Ray regresó a los Estados a encontrarse de gira a nivel nacional y en Europa y Japón, con Art Blakey y los Jazz Messengers. Para los siete años Ray se ha ocupado con su Blakey fuera de horas de trabajo haciendo trabajo de estudio durante la grabación y la realización de casi todas las principales figura en el jazz incluyendo cantantes Eartha Kitt y Josephine Baker.
En 1977, Ray Mantilla se convirtió en el primer músico de América del Norte América para jugar en Cuba desde la revolución cubana cuando él apareció allí como un miembro histórico de la buena voluntad dirigida por Dizzy Gillespie.
Ray Mantilla ha incluido la carrera de composición en muchos legendarios Jazz y Latin Jazz conjuntos. Una breve lista de créditos incluye la Mantilla, Max Roach, Charles Mingus, Ray Barretto, Gato Barbieri, Sonny Stitt, Bobby Watson, Herbie Mann, Tito Puente, Cedar Walton, y Freddie Hubbard. Prolífico en el estudio, Mantilla se pueden escuchar en más de 200 álbumes. Él ha aparecido en los principales clubes de la ciudad de Nueva York - Apollo Theater, Palladium, Blue Note, SOB's, Birdland, Grasa del martes, la aldea Puerta y el Village Vanguard, además de muchos de los principales festivales internacionales de jazz como San Remo, la Pori Jazz Festival, JVC Jazz Festival, Festival de Jazz de Montreaux y el Gran Desfile de Jazz.
Ray Mantilla describe su música como "Latin Jazz con ritmos latinos auténticos". Su objetivo, dice "es seguir jugando a la buena música, las personas han venido a vernos, y para preservar la tradición." En 2003 firmó con Ray Mantilla Savant Records y su primer disco para el sello, "El hombre-Ti-Ya" fue puesto en libertad (SCD 2059). Su más reciente grabación, "Buenas vibraciones" (SCD 2073) añade el sonido único de Mike Freeman vibraciones a su conjunto.
********************
Ray Mantilla was born in 1934 in the rich rhythm, dance crazy environment of the South Bronx where Afro-Cuban rhythm with jazz harmonies and sensibilities transmuted forms in the streets, homes and dance halls. For 21, Mantilla was on stage playing modern conga drums with Eddie Palmieri and Ray Barretto, the only game of Neo-Nuyorican synthesis known as 'salsa'
With flutist Herbie Mann, Ray Mantilla entered the international spotlight in 1960. Then, Max Roach invited to be part of the classic "Freedom Now Suite" recording. After a stint in Puerto Rico, where he honed his skills in the trap, Ray returned to the States to be on tour nationally and in Europe and Japan with Art Blakey and the Jazz Messengers. For seven years Ray has been busy with his Blakey outside working hours doing studio work during recording and performing almost every major figure in jazz singers including Eartha Kitt and Josephine Baker.
In 1977, Ray Mantilla became the first musician from North America to play in Cuba since the Cuban revolution when he appeared there as a historical member of the goodwill led by Dizzy Gillespie.
Ray Mantilla's career has included many legendary jazz composition and Latin Jazz ensembles. A brief list of credits includes Mantilla, Max Roach, Charles Mingus, Ray Barretto, Gato Barbieri, Sonny Stitt, Bobby Watson, Herbie Mann, Tito Puente, Cedar Walton, and Freddie Hubbard. Prolific in the studio, Mantilla can be heard on over 200 albums. He has appeared in major clubs in the city of New York - Apollo Theater, Palladium, Blue Note, SOB's, Birdland, Fat Tuesday, the Village Gate and the Village Vanguard, and many of the major international jazz festivals such as San Remo, the Pori Jazz Festival, JVC Jazz Festival, Montreaux Jazz Festival and the Grand Parade of Jazz.
Ray Mantilla describes her music as "Latin Jazz with authentic Latin rhythms." His goal, he says "is to keep playing good music, people have come to see us, and to preserve the tradition." In 2003 he signed with Savant Records Ray Mantilla and his first album for the label, "Man-Ti-Ya" was released (SCD 2059). His most recent recording, "Good Vibrations" (SCD 2073) adds the unique sound of Mike Freeman vibrations as a whole.

Reuben Wilson - On Broadway (1968)

01.On Broadway 8:10
02.Baby I Love You 5:28
03.Ain't That Peculiar 6:42
04.Ronnie's Bonnie 9:48
05.Poinciana 9:10.

Drums – Tommy Derrick

Guitar – Malcolm Riddick

Organ – Reuben Wilson

Recorded By – Rudy Van Gelder

Tenor Saxophone – Trevor Lawrence.

Reuben Wilson's debut album for Blue Note.

Review
by Stephen Thomas Erlewine
On Broadway, Reuben Wilson's debut for Blue Note, is a little undistinguished, but it remains an enjoyable exercise in late-'60s soul-jazz. Like many of his peers on Blue Note, Wilson's soul-jazz displayed a familiarity with contemporary soul and R&B styles. Not only does he cover R&B hits like "On Broadway," "Baby I Love You" and "Ain't That Peculiar," but the interplay between Wilson, guitarist Malcolm Riddick and Tommy Derrick occasionally recalls Stax, Motown and uptown soul. The combo, which also features tenor saxophonist Trevor Lawrence, remains rooted in jazz, with the organist demonstrating a Jimmy Smith influence, but the jazz feeling is tempered by a desire to work a groove instead of improvising or attempting to reach new sonic territory. And On Broadway is a successful groove record, but in comparison to the two albums that followed, it's a little uneven.

Roberto Carcasses - Invitation (2000)

01.Llegó, Llegó

02.De la Habana a Nueva York

03.Puerto Padre

04.Velas Içadas

05.California en Clave

06.Monk's Mood

07.Descargasses

08... Y Llegó el Invierno

09.Tonada Para Robin.

Roberto Carcassés, piano

Jorge Pérez Zagua, bass

Hilario Bell, drums

Oliver Valdés, drums

Alejandro Aparicio "El Pícaro", congas

Mario Hernández, trumpet

Yazek Manzano, trumpet

César López, alto sax

Alfredo Thompson, baritone sax

Elmer Ferrer, guitars

Amado Dedeu, vocals

Bobby Carcassés, vocals

Liliam, vocals

Pancho Terry, chekeré drums, vocals.

Roberto Carcassés - Invitation
2000

Cuban Music Series. The New Generation.

Interactivo leader debut album.
Featuring guitar wizard Elmer Ferrer and former Irakere members César López, Mario "El Indio" Hernández and Alfredo Thompson.

Brought to you by TQMP
The Quality Music Project

I love it when drummers become pianists because they bring a propulsive charge to the instrument. Just listen to how Eddie Palmieri, Omar Sosa and Roberto Carcassés manage meter and time. Carcassés, a conservatory-trained percussionist from Cuba, makes his debut with Invitation, a CD that shows how his rhythmic approaches enhance his montuno-driven grooves and intricate angular melodies.

In the 1990s Carcassés, son of renowned jazz singer Bobby Carcassés, was part of the pivotal Latin-jazz band Columna B, with saxophonist Yosvany Terry and drummer Dafnis Prieto. Roberto and his contemporaries created a new view of jazz by building on contemporary rhythms such as songo and timba. From the dancehall Afro-funk opener, "Llego, Llego (Timba Mabo)," to the solo piano closer "Tonada Para Robin," Roberto threads a musical journey that speaks to this fusion.

A street rumba, "De La Habana a Nueva York," opens an homage to Mario Bauza, which features Carcassés' scat-crazy dad. Roberto gives "Monk's Mood" a Cubano reworking with the beautiful voice of Liliam passionately delivering the Brazilian ballad "Velas Icadas." Don Pancho Terry offers a santeria prayer on "Descargasses (Ochun)" over a 6/8 beat with a funky twist, but it's young Roberto who shines with creative sparkle on this Invitation.
-- Jazz Times

One of the finest Afro-Cuban jazz projects in recent years. Tight, spicy, and full of unexpected turns. There is a whole lot of talent in this band.
-- descarga.com

Hot on the heels of arranging and performing on Selma Reis's introspective homage to romantic Cuban boleros The Air of Havana, pianist Roberto Carcassés extroverts himself with high-energy jazz that hones the sharp edge of traditional Cuban music. The descarga "Llego, Llego" kicks off the disc with the flare of Mario "El Indio" Hernandez and Yazek Manzano's tandem trumpets, smoothing the way for a piano tribute to piano-man composer Hilario Durán that's capped by Irakere's Alfredo Thompson on tenor sax. "Monk's Mood" syncopates the Thelonius Monk classic, taking an already up-tempo composition and flinging it into near delirium. The improvised "Descargasses (Ochun)" builds from Pancho Terry's chant to the Orishas as handclaps, good vibes, and rippling piano hold the jam together. Carcassés is one of the finest Cuban pianists and arrangers around, never stooping to convention while staying just this side of the familiar, and the varied material here shows off his melodic gifts to the hilt.
-- amazon.com

* * * * * * * * * * * * * * * * * * *

Roberto Carcassés es un joven músico hijo del jazzman cubano Bobby Carcassés. Se graduó de la Escuela Nacional de Arte en percusión en 1991. A pesar de esto, su carrera profesional la ha hecho como pianista y como tal ha acompañado a Gema y Pavel, dos cantantes cubanos asentados en España, en el disco Trampas del tiempo, ha grabado con el grupo Columna B, y ahora presenta su primer disco en solidario: Invitation.

Su juventud no le impide presentar este CD acompañado de músicos de tan reputada jerarquía como los saxos del Irakere César López y Alfredo Thompson, el trompetista Mario Hernández y su propio padre, Bobby Carcassés.

En Invitation, Carcassés muestra una gran calidad como pianista, pero aún más su capacidad como arreglista y director musical. La banda suena compacta, haciendo jazz afrocubano del bueno. El jazz latino en general está buscando horizontes. El jazz le da múltiples posibilidades mientras más hurga en él. Lo afrocubano también. Carcassés hace ver que puede nadar profundamente en ambas aguas. La trompeta de Hernández y los saxos de los Irakere, suenan de manera sublime, en la descarga que abre el disco –Llegó, llegó de Changuito– donde el propio Carcassés muestra su talento como pianista. Le sigue De La Habana a Nueva York, un homenaje a Mario Bauzá con la participación de la educada voz de Bobby Carcassés y los soneos de Amado Dedeu, nombrando una lista de rumberos que incluye a puertorriqueños como Giovanni Hidalgo o Cachete Maldonado, Jerry González y cubanos que optaron por el exilio como Patato, Mongo Santamaría, El Paisa... en un ejercicio que se comienza a repetir cada vez con mayor frecuencia, para beneplácito de los melómanos.

Le sigue una versión de Puerto padre, la composición de Emiliano Salvador que ya se ha transformado en un standard, en una versión interesante que respeta el espíritu del arreglo de la grabación de (Emiliano) Salvador de 1979, Nueva Visión.

Le sigue una canción de Ivan Lins adaptada como bolero y vocalizada por Liliam. Quien esto escribe no se le da fácil cualquier bolero cantado "educadamente". Este no es la excepción. Desencaja un poco con el resto del disco, a pesar de estar bien ejecutada y con un sentimental solo de guitarra de Elmer Ferrer.

California en clave, original de Carcassés, brilla por su alegría y gracia y calienta el ánimo que pudo haber enfriado la anterior. Tiene un original solo de saxo alto de César López que introduce el del pianista. La batería, el chekeré y las congas juegan al contrapunto. Bien.

Sigue la composición de Thelonius Monk, Monk's Mood, donde Carcassés nuevamente da muestras de su sabor a hora de los solos, respetando el jazz, es decir, faltándole el respeto a todo menos al ritmo y la armonía, y Mario Hernández exhibe su habilidad soplando la trompeta.

Descargassés, pieza para piano, voces (casi toda la banda) y palmas, metiéndose en el canto religioso, alegre y festivo, para terminar con dos temas de piano solo que cierran el CD.

Invitation es un paso adelante en el jazz afro cubano.
-- anapapaya.com.

Tony Lakatos - Gypsy Colours (2006)

01.Crying Away from India 10:42

02.Matilem 8:29

03.Bebop 4:13

04.Relaxing at the Coffee House 6:09

05.O.C. 6:58

06.East of the Moon 5:00

07.Troublant Bolero 6:46

08.Duj-Duj Dema Devla Phaka Duj 5:21

09.Night, Like a Sea 6:06

10.Mr. Fried 7:13.

Andras Lakatos - drums

Gyorgy Orban - bass

Monika Rostas - vocals

Szakcsi Bela Lakatos - piano

Tony Lakatos - saxophone.

Tony Lakatos - Gypsy Colours (2006)

Though still underrated by the media at large, saxophonist TONY LAKATOS has progressed to become one of the most popular protagonists on his instrument, acclaimed by jazz fans in Europa, and especially in the USA. His own production work with Randy Brecker, Billy Hart, Trilok Gurtu, Joanne Brackeen, Adam Nussbaum, George Mraz, Al Foster, Jimmy Scott supplies ample testimony of his craft, backed up by guest appearances on albums from a.o Wolfgang Haffner and Masha Bijlsma.

On his latest production, this native Hungarian now residing in Frankfurt, Germany has turned his ear to Gypsy culture, back to the roots. Together with pianist Szakcsi Bela Lakatos, meanwhile a fixture wherever Jack De Johnette appears, he has designed an up-to-date reflection of both jazz and Gypsy influences. The simple fact that these musicians have found styles of their own over the years precludes any direct association with that grand seigneur of Gypsy Jazz, Django Reinhardt, nor is the listener being handed yet another version of someone's idea of World Music.

All of the musicians involved on this effort come from Hungarian Gypsy families with long traditions in the field, though their attention has been decidedly devoted to jazz improvisational work. For Tony and Szakcsi , the source of inspiration was to combine these two worlds that don't really lie all that far apart, and yet retain each one's special ambience. For example, the evolution of Gypsy culture from its origins in India to the East and West European present is taken up on the plaintive “Crying Way From India”, a piece kept in a lyrical style well reminiscent of the classic melodic craft known from Hungarian Gypsies.

Tony Lakatos - Gypsy colours at the Frankfurt Jazz Festival 2010

Jean-Michel Pilc - New Dreams (2007)

But Not For Me

A Child Is Born

Trees Part I

Hummingbirds

New Dreams

Satin Doll

Widmung

Old Joe

Action

The Meadow

Burning Path

The Brook

Simplicity

Straight No Chaser

Trees Park 2.

Jean-Michel Pilc: piano

Thomas Bramerie: bass

Ari Hoenig: drums

Mark Mondesir: drums.

By
LAUREL GROSS,
Published: October 14, 2007

Like a master builder, pianist Jean-Michel Pilc constructs and reconstructs, but instead of fixed or stable edifices his creations are more like castles in the air. All the better. There's nothing stiff or rigid about what he makes through his playing and composing so there's room for listeners to breathe as they explore these new spaces with him.
If all this sounds a bit strange, just listen to New Dreams. Move along with him note to note, moment to moment. Trust. If you have the ears for it, you will find this time well spent. It's pure delight to follow Pilc without knowing where you are going—and it's impossible to know where he is going, until he gets there. So every song on this recording is an exploration, a discovery.
There are standards (including "But Not For Me, "A Child Is Born, "Satin Doll and "Straight No Chaser ), ten of the fifteen tracks are Pilc originals ("Trees Part I, "Hummingbirds, "New Dreams, "Action and "Trees Part II, among them) and there's also a rearrangement of Robert Schumann's "Widmung. Every one is exquisitely, delicately rendered and, in some ways, it doesn't matter what is a standard and which is a Pilc original—they all sound completely fresh. At times, it's like hearing an extraordinary magical music box which just refuses to play the prescribed tunes again and again, the same way, as would be expected. Pilc seems to tinker with one's perceptions. An original heard for the first time can sound extremely familiar, a standard unknowable. And even when hearing this music on repeated listening, everything still sounds unexpected.
Throughout, Thomas Bramerie on bass and Ari Hoenig and Mark Mondesir, sharing drum duties, provide elegant and subtle support perfectly attuned to Pilc's unclassifiable sounds.
If you are talking (or thinking or analyzing how these great effects are achieved or why Pilc chooses to do things as he does) you can't be hearing. And if you're not hearing fully, you're not experiencing this music. So stop reading and, in this age of multitasking, go against the grain and do only one thing: Listen.

Track Listing: But Not For Me; A Child Is Born; Trees Part I; Hummingbirds; New Dreams; Satin Doll; Widmung; Old Joe; Action; The Meadow; Burning Path; The Brook; Simplicity; Straight No Chaser; Trees Park 2.

Personnel: Jean-Michel Pilc: piano; Thomas Bramerie: bass; Ari Hoenig: drums; Mark Mondesir: drums.

Joey DeFrancesco, Guido Basso, Lorne Lofsky, Vito Rezza - One Take: Volume One (2008)

My Romance

If I Were A Bell

My Funny Valentine

Someday My Prince Will Come

How Insensitive

Walkin

Caruso.

Vito Rezza - Drums

Guido Basso - Trumpet, Flugelhorn

Lorne Lofsky - Guitar

Joey DeFrancesco - Organ (Hammond).

By
RAUL D'GAMA ROSE,
Published: August 15, 2008

“ When these magical moments find their way to heart and mind they will remain vivid long after the sound of music has vanished into the night. ”

Joey DeFrancesco, Guido Basso, Lorne Lofsky, Vito Rezza
One Take, Volume One
Alma Records
2008

The beauty of jazz is that it is music containing the sound of surprise. Most jazz musicians only plan what they are going to play, not how they are going to play it. So it may be different each time it is played. Then there is the jazz jam, the descarga. Things heat up as the jam progresses. The group gets tighter and the music starts to flow, bubbling like a brook, tumbling like a waterfall, roaring like a river in flood. Making it up as they go along, the jazz jam may not be a big deal for seasoned musicians.

But to jam a recording session and do it all in just one take... Now that is really something—close to a miracle. Now it's much more than just a jam. So was Alma Records producer, Peter Cardinali in over his head when he dreamed up this project? Jaws may have dropped, but on evidence, for all the wrong reasons.

Here on One Take, Volume Oneis the miraculous evidence of four superb musicians getting together to pull it off. And Alma captured that on CD and DVD simultaneously, which makes it even more remarkable. One Take, Volume 1 brings together the mighty Canadian jazz guitarist, Lorne Lofsky, venerable flugelhorn player, Guido Basso, and percussionist, Vito Rezza with the magnificent Hammond B3 of none other than Joey DeFrancesco. Although listeners are sure to find the CD breathtaking, the DVD is highly recommended as well.

Nothing—not even the finest sounding CD—can completely replace the experience of "being there" at the moment when the music happens. When these magical moments of melody, harmony and rhythm unfold on the unsuspecting ear and find their way to the innermost recesses of the heart and mind's eye they will remain vivid and be remembered long after the sound of music has vanished into the night. For this reason alone, the DVD will hold pride of place in any music library shelf. The CD, of course recommends itself, being one of a kind and playable anytime, even when you cannot afford the intrusion of the picture.

Now, what makes this project unique is not necessarily what makes it a resounding success. This is largely due to the simple fact that the atmosphere was electric. Musicians knew what they were committing to tape and also the fact that had just one shot at making it work. Remember, this is not just a jam, but also a one-take jam. There is so much respect here. No one is leader, just four fine musicians getting down and making the impossible happen.

The super session kicks off with producer Peter Cardinali defining the challenge, and the musicians deciding who will call the tunes. Basso calls Rogers and Hart's "My Romance." He also states the theme with his hallmark luscious, warm tone and then proceeds to take a beautiful, understated solo for a couple of choruses. DeFrancesco eggs him on with the occasional growling chord or resonant flourish. Lofsky solos next and in the first few notes provides notice of why he is one of the most valued interpreters of song and also one of the leading solo guitarists in the jazz scene in Toronto. His solo is crafted with flighty exuberance, almost the antithesis of Basso's warmth—almost personifying the moment when lovers intertwine—one playing off the sensuousness of the other's shy skittishness. DeFrancesco's solo is full of dazzling twists and turns as the inner drama of the song unwinds.

If the DVD is to be believed, then this is just a warm-up and is followed up—without flourish—by Frank Loesser's classic, "If I were a Bell." By now the band is really cooking, with Basso and DeFrancesco describing and defining the song from its head. It's taken slightly faster than Miles Davis' classic readings, with Rezza adding a touch of humor as he sounds the bells at the beginning of the track.

There is also some fine interplay between the musicians—especially when Rezza takes his star turn when he extrapolates the theme. Lofsky calls the next tune, "My Funny Valentine," and proceeds to define the pace as well. By now the unit is really cooking. Basso's flugelhorn plays low notes that one never really thought were possible on a flugelhorn. Lofsky's fretwork is fluid, and he paces his solo with an unmatched sense of space. DeFrancesco's playing slightly behind the beat is also quite special, as are the clever changes throughout the song.

Rezza and DeFrancesco together shape "Someday My Prince Will Come" as a slightly faster waltz. By now the group is steaming and nothing can come between the magic and the music, which gets even more adventurous from here on. Solos are more risque. Notes are more twisted. Harmonics are grabbed from out of thin air and every musician is heard digging deeper—from the upper register of the fretboard to the highs and lows of the flugelhorn, every musician stretches outside his comfort zone. DeFrancesco is particularly awe-inspiring on "Someday My Prince Will Come." He appears to have unearthed the magical nature of the protagonist's longing for being united with her love. During the final choruses of the song, the interplay between musicians sharing and exchanging bars with Rezza is also fascinating. Rezza also unearths otherworldly tones from his range of drums and his subtle shading is also near perfect, thanks to masterful use of brushes.

The session peaks on Tom Jobim's "How Insensitive." Here every musician navigates the twists and turns of the many-layered emotions of the song as if they were privy to special secrets, as if they know of the intimacy that exists every time you negotiate a Jobim song. Basso by now has found a link between flugelhorn and trombone and almost sounds like both. DeFrancesco is dazzling once again and you can see why he has the two finest hands—especially his effortless left hand—on the Hammond B3 since Jimmy Smith and Larry Young. And Lofsky's reading of the song is, once again, just perfect with his breathtaking glissandos and chordal variations. Richard Carpenter's "Walkin'" is no less a wonder. DeFrancesco and Rezza are particularly exuberant and recall the electricity of that day when Miles Davis made this track his own. Now you can feel yourself awaiting the end.

Here producer Peter Cardinali apparently had a surprise for the group—especially DeFrancesco. The DVD tracks him as he emerges from the recording booth with a score-sheet with his arrangement of Lucio Dalla's extraordinary chart, "Caruso." Apparently none of the musicians had heard of this track. So the sound of surprise takes on new meaning. Now Cardinali invites the musicians into his recording booth, ostensibly to hear the original. They emerge from the booth and appear to be fired up. Not only is the track an inspired choices for a date such as this, but the musicians appear to be moved by the music. DeFrancesco is spectacular as he opens the melody; Lofsky and Basso give mesmerizing performances on guitar and flugelhorn.

You know now that if the session does not end here, the emotion and the electricity of the event will dissipate completely. And so ended the first of one of Alma's most ambitious projects. As a listener you find yourself asking whether the session was a success. The answer comes faster than you would have expected. And the moments of magic will last a very long time indeed.

The DVD also features some interesting features—including the "Food for Thought" segment, which provides a subtle hint as to why the session was such a resounding success. A word about the CD: this is an analog recording that is digitally mastered. So the quality of sound is truly life-like.


Tracks: My Romance; If I Were A Bell; My Funny Valentine; How Insensitive; Walkin'; Caruso.

Personnel: Joey DeFrancesco: Hammond B3 organ; Guido Basso: flugelhorn and trumpet; Vito Rezza: drums; Lorne Lofsky: guitar. Peter Cardinali: producer.

Elvin Jones - On The Mountain (1975)

01.Thorn Of Aa White Rose (5:09)

02.Namuh (7:50)

03.On The Mountain (4:40)

04.Smoke In The Sun (4:06)

05.London Air (5:35)

06.Destiny (7:29).

Jan Hammer - keyboards

Gene Perla - bass

Elvin Jones - drums.

This 1975 date for the brilliant drummer, with Jan Hammer on keyboards and bassist Gene Perla, is a minor, if somewhat overlooked, classic from the tail-end of the early '70s to the mid-70s' run of great jazz fusion releases. Both Perla and Hammer worked with Elvin Jones between 1971 and 1973, in bands featuring saxophonists Frank Foster, Joe Farrell, Steve Grossman and Dave Liebman. Here, the smaller format allows for a tight group sound with openings for strong solos and fluid interplay throughout. Jones is well up in the mix, giving fans a front-row opportunity to enjoy the drummer, both in all-over-the-kit, rolling-thunder mode and in the subtler moments of his peerless brushwork. The trio perform a half-dozen originals by Perla and Hammer. The impressive writing has a definite jazz sensibility, but Hammer's Moog and electric piano work, Perla's alternating between electric and acoustic basses, and Jones' own fierce eruptions provide a satisfying, rock wallop in several spots. ~ AllMusic.

Don Rendell Quintet - Space Walk (1972)

On the Way leading into Antibes

Summer Song

The Street called Straight

Euroaquilo

Space Walk

A Matter of Time.

Bass – Jack Thorncroft

Drums – Trevor Tomkins

Soprano Saxophone, Tenor Saxophone, Flute, Alto Flute – Don Rendell

Tenor Saxophone, Clarinet, Flute – Stan Robinson

Vibraphone, Flute – Peter Shade.

This is the first complete LP by the Don Rendell Quintet which came into being when the Don Rendell/Ian Carr Quintet split, amoeba-like, into separate units. (Rendell's quintet was heard on part of "Greek Variations" —Columbia SCX6414--which I reviewed in December 1970.) As always Rendell acts as a catalyst, drawing the best from his fellow musicians and setting both example and inspiration to younger men in his employ. Stan Robinson, who partners Don in the front line, has developed into an assured, confident tenor soloist just as Ronnie Ross did when he joined the Rendell Quintet eighteen years ago. In fact there are times when I find it difficult to tell Don and Stan apart, so strong is the Rendell influence. On drums is the ever-improving Trey Tomkins, still one of this country's most underrated percussionists. Jack Thorncroft, an Australian, is the big-toned bass player while Peter Shade doubles flute and vibraphone. With Rendell and Robinson each playing tenor, clarinet and flute (and Don also playing soprano) the quintet is capable of producing a wide variety of tone colours. On Antibes, for example, there are consecutive flute solos by Robinson, Peter Shade and the leader. All four tunes on Side 1 were composed by Rendell who is one of the fastest and most prolific jazz composers I know. (I once arranged to meet him for lunch. I arrived on time but Rendell, who hates to be late for an appointment, had turned up ten minutes early. While waiting for me he had jotted down the melody line and chord symbols for a thirty-two bar chorus tune which had just occurred to him.)
The strength of the writing is in the first side with Summer Song a little gem of a composition. Street Called Straight has an opening eight bars which sound, melodically and harmonically, like an oblique approach to I Can't Get Started. The resemblance ends there however but this is a track on which, until I referred to Charles Fox's useful sleeve-note, I was almost certain that it was Don who took the tenor part. (In fact Rendell plays flute on this number while Stan Robinson switches to tenor.)
The writing on Side 2 is shared; Euroaquilo (composed by Robinson), Space Walk (Peter Shade) and A Matter Of Time (Trey Tomkins and tenor saxophonist Dave Quincy). Some of the tracks have an easy ambiguity in terms of time and it says a great deal for Don Rendell, who has spent so much of his life thinking and playing in common time, that he moves over and through the changing time signatures with complete freedom. This is really a very attractive and thoroughly professional album which has steadily grown on me since I first received it. Strongly recommended. A.M.

Dave Grusin - Discovered Again! Plus (1976) [Remastered 2004]

01.A Child Is Born (3:49)

02.Keep Your Eye On the Sparrow (4:20)

03.Sun Song (4:45)

04.Captain Bacardi (2:41)

05.Git Along Little Dogies (4:34)

06.The Colorado Trail (5:00)

07.Cripple Creek Breakdown (4:47)

08.Adeus A Papai (2:22)

09.Keep Your Eye On the Sparrow (theme from Barreta) (4:23)

10.Sun Song (4:44)

11.Git Along Little Dogies (4:33)

12.The Colorado Trail (5:20).

Dave Grusin (piano)

Harvey Mason (drums)

Ron Carter (bass)

Lee Ritenour (guitar)

Larry Bunker (percussion).

Lincoln Mayorga, co-founder of Sheffield Records, has wanted to make a direct-to-disc album with Grusin for many years, and Grusin became intrigued with the challenge. Finally the idea and the occasion met. Direct-to-disc recording implies spontaneity. One performs live. The stylus hits the lacquer, cuts a continuous groove starting at Note 1, Side 1. It will not terminate until the last note of Side 1, and then 2. In this sense it is a live performance. Yet, the music must be painstakingly rehearsed so that the engineer can cope with the heroic task of mixing as he records. For it is an engineer’s medium. This puts aching pressure on the musicians trying to stay in touch with their own impulses. What the engineer must program, the musicians must de-program as they go. Somewhere in this minefield an unusual quality of music emerges. It is never child’s play. For this extraordinary task, Grusin hired a special group of musicians. They are also the same guys Grusin hires for most of his work. They’re up to it and they suit him. One, bassist Ron Carter, was an import.

Anyone who knows jazz knows Ron Carter. The sound he can get from an acoustic bass (full sized, not three-quarter) is like nobody else’s sound. It is particularly satisfying to hear the depth with which that sound is caught within the direct-to-disc recording medium.

The guitar player is Lee Ritenour, who is too young to play as well as he does, but Grusin lets him get away with it. Indeed, it would be hard to stop him. It is difficult to pin down the reasons for rapport between musicians at their work. Grusin and Ritenour generate a similar momentum; they’re both fast, disreputable, and great little dancers.

Drummer Harvey Mason is a staple of your basic Dave Grusin rhythm section. His agility is seemingly effortless. I’ve seen him sight-read complicated time signatures while I was still trying to hear them in my head. He also has a silly streak that’s hard to resist. Most important in this case, he keeps the time where Grusin likes to hear it, while painting on colors of his own. And if this were not enough, he often brings a shopping bag full of homemade popcorn to the dates.

Larry Bunker is the formidable vibraharpist and percussionist on the album. You should be so lucky as to be in any kind of trouble on a record session and have Larry Bunker there, imperturbably drinking his black coffee, waiting, ready to bail you out. Rarely have I known a more contained musician, nor a more various and capable one. Bunker is what the word veteran is for. ~ ElusiveDisc.

Dusko Goykovich – Blues In The Gutter (1983)

01.Think In Half Time

02.Faros

03.Oo-Bop-P’da

04.Samba- De Loves Me

05.Intro

06.Nursery Sketch

07.Blues Inthe Gutter.

Dusko Gojkovic (tp,flh)

Erich Kleinschuster (tb)

Milos Krstic (p)

Kreso Remeta (b)

Alvin Queen (ds).

An excellent bop-based soloist who has recorded rewarding sets for Enja, Dusko Goykovich played in Yugoslavia and Germany before visiting the U.S. for the first time with Marshall Brown’s International Youth Band (playing at the 1958 Newport Jazz Festival). Goykovich attended Berklee (1961-1963) and played with the orchestras of Maynard Ferguson (1963-1964) and Woody Herman (1964-1966) before deciding to return to Germany, leading a group with Sal Nistico (1966). He was with the Kenny Clarke-Francy Boland Big Band (1968-73) and had a 12-piece band with Slide Hampton (1974-1975). Miles Davis is his main influence, but Dusko Goykovich (who has been quite active during the ’80s and ’90s in Europe) has his own extroverted style.
— Scott Yanow.