Tuesday 27 October 2009

Lee Konitz Quintet - Peacemeal (1969)

01.Thumb Under
02.Lester Leaps In
03.Village Joke
04.Something to Sing
06.Body and Soul
07.Peasant Dance
08.Fourth Dimension
09.Second Thoughts
10.Subconscious Lee
11.Lester Leaps In
12.Body and Soul
13.Subconscious Lee.

Lee Konitz - Alto, tenor, and Multivider (electric) saxophones
Marshall Brown - Valve trombone, baritone horn
Dick Katz - Acoustic and electric piano
Eddie Gomez - Bass
Jack DeJohnette - Drums.

Mike Stern - Voices (2001)

01.One World
02.The River
03.Slow Change
04.Wishing Well
05.Still There
07.What Might Have Been
08.Leni's Smile
09.Way Out East.


Mike Stern - guitar
Jim Beard - keyboards
Richard Bona - vocals, bass, kalimba
Michael Brecker - saxophone
Dennis Chambers - drums
Vinnie Colaiuta - drums
Chris Minh Doky - acoustic bass
Bob Franceschini - saxophone
Lincoln Goines - bass
Philip Hamilton - vocals
Jon Herington - rhythm guitar
Elizabeth Kontomanou - vocals
Arto Tuncboyaciyan - percussion, vocals.

Charles Mingus - Mysterious Blues (1960)

01.Mysterious Blues
02.Wrap Your Trouble In Dreams [Take 5]
03.Body And Soul [previously unreleased, alternate take]
05.Reincarnation Of A Love Bird [previously unreleased, alternate take]
06.Me And You Blues
07.Melody From The Drums [previously unreleased, alternate take].

Charles Mingus (acoustic bass)
Eric Dolphy (alto saxophone, bass clarinet, flute)
Charles McPherson (alto saxophone)
Booker Ervin (tenor saxophone)
Roy Eldridge, Ted Curson, Lonnie Hillyer (trumpets)
Jimmy Knepper (trombone), Tommy Flanagan, Nico Bunick (piano)
Jo Jones, Dannie Richmond (drums).

Saturday 24 October 2009

Marc Johnson - Right Brain Patrol (1992)

01.They Love Me Fifteen Feet Away
02.Batuki Burundi
03.Netcong on My Mind
04.Right Brain Patrol
05.Heru Nazel
06.Inside Four Walls
10.Log o'
11.Light in Your Eye
12.The Call.

Ben Monder - Guitar (Acoustic),Guitar, Guitar (Electric)
Arto Tuncboyaciyan - Percussion, Voices, Vocals
Marc Johnson - Bass.

Omar Sosa - Ballads (1997 - 2000)

01.Mis Tres Notas
02.Para Ella
04.Twice As Sad
05.Gracias Señor
06.Para Dos Parados
07.Antes De Ir Va Esto
08.Tienes Un Solo

Omar Sosa (piano, percussion)
Maria Marquez (vocals)
Gerardo Cilvetti (violin, viola)
Daniel Khachatrian (cello)
Sheldon Brown (bass clarinet, tenor saxophone)
Geoff Brennan, Rahsaan Fredericks (double bass)
Elliot Kavee (drums)
Rattu Lama (tabla); Jesus Diaz (percussion).

Friday 23 October 2009

Ornette Coleman - Love Call (1968)

02.Love Call
03.Open To The Public
04.Check Out Time.

Bass - Jimmy Garrison
Drums - Elvin Jones
Saxophone [Alto], Trumpet - Ornette Coleman
Saxophone [Tenor] - Dewey Redman
Recorded At A & R Recording, NYC.

Ornette Coleman - Ornette At 12 (1969)

03.New York
04.Bells And Chimes.


Bass - Charlie Haden
Drums - Denardo Coleman
Producer, Violin, Trumpet, Saxophone [Alto] - Ornette Coleman
Saxophone [Tenor] - Dewey Redman.

Thursday 22 October 2009

Edward Simon - Beauty Within (1993)

01.Mastery Of All Situations
02.Beauty Within
03.Rare Days
04.In Seach Of Power
05.Reprise 1
06.El Dia En Que Me Quieras
08.The Calling
09.Reprise 2.

Horacio "El Negro" Hernández - Drums
Anthony Jackson - Bass
Edward Simon - Piano
Diego Urcola - Trumpet.

Dizzy Gillespie & Machito - Afro-Cuban Jazz Moods (1976)

01.Oro, Incienso Y Mirra

Bass [Fender] - Carlos Castillo
Bongos, Cowbell - Mario Grillo
Conductor, Arranged By - Chico O'Farrill
Congas - Pepin Pepin
Drums - Mickey Roker
Drums [African] - Julito Collazo , R. Hernandez
French Horn - Brooks Tillotson , Don Corrado (tracks: A side only)
Leader - Machito
Maracas, Claves - Frank "Machito" Grillo
Piano [Electric] - Jorge Dalto
Producer - Arturo O'Farrill , Mario Bauza
Saxophone [Alto], Clarinet - Mario Bauza
Saxophone [Alto], Flute, Piccolo Flute - Mauricio Smith
Saxophone [Baritone], Clarinet [Bass] - Leslie Yahonikan (tracks: B side only)
Saxophone [Tenor], Clarinet - Jose Madera Sr.
Saxophone [Tenor], Flute [Alto] - Mario Rivera (2)
Soloist - Dizzy Gillespie
Synthesizer - Dana McCurdy
Timbales, Cabasa - Jose Madera Jr.
Trombone - Barry Morrow , Jack Jeffers , Jerry Chamberlain (tracks: B side only) , Lewis Kahn (tracks: B side only)
Trumpet, Flugelhorn - Manny Duran , Ramon Gonzalez Jr. , Raul Gonzalez (4) , Victor Paz
Tuba [Bass] - Bob Stewart (tracks: A side only)

Recorded at Generation Studios, New York, June 4 & 5, 1975.

Wednesday 21 October 2009

Bakithi Kumalo - San Bonan (1998)

02.San' Bonan' (Greetings)
03.Ul Wandle (The Sea)
04.Lalela Kahle (Listen up!)
08.My Elizabeth
09.Darkstreets of Soweto
11.Mbali (Flower)
12.African Woman.

Miroslav Vitous - Majesty Music (1976)

01.X Rated
02.See You, November
03.Majesty Music
04.New Orleans
05.Do You, Don't You, Won't You?
06.Best Friends
07.Streams And Fields
09.Mount Shasta (Part II)
10.Requiem For My Mother.

Gonzalo Rubalcaba - Antiguo (1998)

02.Circuito III
06.Coral Negro
07.Circuito IV
08.Oddi Lobbe
09.Eshun Agwe

Kazumi Watanabe - The Spice Of Life Too (1988)

02.We the Planet
03.Fu Bu Ki
05.Small Wonder
06.Concrete Cow
08.Men and Angels.

Joshua Redman - Wish (1993)

02.Soul Dance
03.Make Sure You're Sure
04.Deserving Many, The
05.We Had a Sister
06.Moose the Mooche
07.Tears in Heaven
10.Blues For Pat.

Tuesday 20 October 2009

John Patitucci Trio - Remembrance (2009)

02.Messaien's Gumbo
03.Sonny Side
06.Scenes From An Opera
07.Blues For Freddie
09.Joe Hen
10.Play Ball

Bob James / Earl Klugh - Cool (1992)

01.Movin' On
02.As It Happens
03.So Much In Common
04.Fugitive Life
05.The Night That Love Came Back
06.Secret Wishes
07.New York Samba
09.The Sponge
11.San Diego Stomp

AZTECA (1972)


01.La Piedra Del Sol (1:13) [T.Harrell, L.White]
02.Mamita Linda (3:42) [J.Vincent, T.Donlinger]
solos: Coke Escovedo, timbales; Bob Ferreira, piccolo
03.Ain't Got No Special Woman (5:59) [R.Reyes, M.Pearson, T.Harrell]
solos: Rico Reyes, vocal; Victor Pantoja, conga and vocal; Mel Martin, piccolo; Neal Schon, guitar
04.Empty Prophet (5:20) [J.Vincent, R.Canoff]
solos: Errol Knowles, vocal; Mel Martin, tenor saxophone; Jim Vincent, guitar
05.Can't Take The Funk Out Of Me (4:23) [P.Jackson]
solos: Paul Jackson, vocal; George DiQuattro, clavinet
06.Peace Everybody (4:32) [G.DiQuattro, P.Escovedo]
solos: Bob Ferreira, tenor saxophone; Neal Schon, guitar
07.Non Pacem (6:40) [F.Núnez]
solos: Tom Harrell, trumpet; Mel Martin, soprano saxophone
08.AH! AH! (3:24) [T.Puente, P.Escovedo]
09.Love Not Then (5:01) [F.Núnez]
solos: Wendy Haas, vocal; George Moribus, piano; Flip Núnez, organ
10.AZTECA (4:38) [A.Bent]
solos: George DiQuattro, piano; Lenny White, drums; Victor Pantoja, conga
11.Theme: La Piedra Del Sol (1:54) [T.Harrell, L.White].

(This Lp emigrated with my heart, from Uruguay to Europe and finally Australia ... is one of those LP's that I will never tire of listening ..!!

Caribbean Jazz Project - New Horizons (2000)

01.Descarga Canelon
02.Ivory Coast
03.Rain Forest
04.Charanga Si, Si
05.Night in Tunisia, A
06.Moon and Sand
07.Over the Horizon
08.Arthur's Dance :: Danzon Para Arturo
09.Safe and Sound :: Sano Y Salvo
10.Rompiendo el Hielo 2000.


The Caribbean Jazz Project: Dave Valentin (flute, whistle, background vocals); Dave Samuels (vibraphone, marimba); Steve Khan (guitar).
Additional personnel: John Benitez (bass, background vocals); Richie Flores (bongos, congas, percussion, background vocals); Robert Vilera (timbales, percussion); Caridad Canelon (background vocals).

Tony Williams Lifetime - The Old Bum's Rush (1972)

01.You make it easy
02.What it's about
03.What'cha gonna do today
04.Mystic knights of the sea
05.Changing man
06.The boodang
07.The old bums rush.


Tony Williams / drums
Tequila / guitar, vocals, pecussion
Herb Bushler / bass
Webster Lewis / organ, clavinet
David Horowitz / synthesizer
Tillmon Williams / Tenor Sax.

Monday 19 October 2009

Roberto Fonseca - Zamazu (2007)

01.Misa Popular
02.Tierra en Mano
04.Llego Cachaito
06.Congo Arabe
10.El Niejo
11.Mil Congojas
12.Triste Alegria
14.Dime que no.

Jorge Varona - Black & White (1987)(2002)

01.Linda Mañana de Enero
02.Vieja Lidia
03.Por Quien Merece Amor
04. Invitación

05.Àrbol de la Vida
06. Melodía Infinita

08. Toda Edad

09.Black and White
10.Despertar Feliz y Alegre

Varona, Jorge (Camagüey 1932-La Havana 1988)

Jorge Varona represent a lineage of musicians camagüeyanos whose origin dates back to the mid-nineteenth century. Jorge is part of this dynasty. He was introduced to music through his father, studied at the Music Academy, but also must quickly make a living as a mason. It is beginning to play the trumpet with local jazz Angelito MOLA.
In 1945 he joined the group "ADVANCE JUVENIL" and in 1947 refused the offer of Arsenio Rodriguez, who asked him to be part of his training. Jorge Varona joined the brothers Licea then plays with Vitico GONZÁLES which imposes extremely rigorous.

Located in Holguín in 1952, Jorge joined the "Orquesta Hermanos Avila. Varona remains several years alongside AVILÉS brothers with whom he toured in Venezuela in 1956. Jorge was hired in 1957 by Walfredo de los Reyes Sr. to play in the orchestra of the Parisian Cabaret Hotel Nacional. He remains in training when it comes to be directed by Leonardo TIMOR Jr.. Its qualities make it known by many ensembles with which he plays simultaneously. In 1959, Varona integrates a moment "CONJUNTO CASINO" at the height of his popularity. After playing in the "Sabor de Cuba" from "Bebo" Valdés, he joined the "BANDA GIGANTE" from "Benny" More with whom he remained until the death of "El Barbaro del Ritmo" in 1963. Returning soon TIMOR the orchestra, he recorded with it then passes the "Orquesta Cubana de Musica Moderna" formed and led by Armando Romeu 1967. Jorge is in training, reduced to a Noneto when it travel in Europe.

Jorge Varona highlights his skills in jazz descargas all of the capital and "Chucho" Valdés invited to join a first form when the "Quinteto CUBAN JAZZ" and then in 1973 when the constitution of the group "Irakere".
As of this date the history of Jorge Varona and that of "Irakere" blend until his disappearance. Some of his duets with the trumpet with Arturo Sandoval-its historical student remain as his solos on "Summertime," "Yesterday" ...
Alongside its performances with the orchestra "Chucho" VARONA animates his own groups, mainly groups soneros. During the seventies and early eighties, Jorge leads the group and "VARONA ITS" and "CONJUNTÓN Varona.
Excellent solo is frequently requested as such by various formations. In 1981 he went to Antilla Festival as guest artist. The same year in Venezuela, he participated in the recording "Estrellas del Areito. In 1984 Jorge plays with the group DULZAIDES Plaza Jazz Festival where he was noted in a special "Body and Soul" ...

His qualities are rewarded in 1986 with an LP "Black & White", in which he surrounds himself with the best Cuban jazz musicians including Gonzalo Rubalcaba, "Chucho" ...
Stricken by a heart attack Jorge Varona disappears at the end of 1988. The Jazz Plaza Festival pays him a tribute next year.

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Saturday 17 October 2009

Paco de Lucia at Germeringer Jazztage (1996) Video

Paco de Lucia:Guitar
Ramon de Algeciras:Guitar
Juan Manuel Canizares:Guitar
Carlos Benavent:Bass
Jorge Pardo:Saxophone
Rubem Dantas:Percussions
Joaqin Grilo:Dancer
Pepe de Lucia:Vocals.

Kiko Continentino,Leonardo Amuedo,Mauro Senise - Caixa de Música (2008)

01.Quase Tudo em Menor (Antônio Adolfo)
02.Cantos de Andersen (Roberto Araújo)
03.Depois do Amor (Kiko Continentino)
04.Valsa Brasileira (Edu Lobo - Chico Buarque)
05.Tenho Tudo o que Preciso (Gilson Peranzzetta - Roberto Neves)
06.Samba pro Wayne (Kiko Continentino)
07.Andorinha (Tom Jobim)
08.20 de Setembro de 1996 (Hermeto Pascoal)
09.Dom de Iludir (Caetano Veloso)
10.Pé Quebrado (Kiko Continentino)
11.Faz Tanto Tempo (Kiko Continentino)
12.Samba Sagrado (Yuri Popoff - Márcio Borges)
13.Esperança Perdida (Tom Jobim - Billy Blanco)
14.No Cinema (Kiko Continentino).

Friday 16 October 2009

Dayramir & Habana Entrance (2007)

02.Complaciendo peticiones
04.San Francisco.com
05.Mabel´s Cha
06.Camello tropical
07.Kimb´s blue eyes


Excellent CD ,top musicians in the footsteps of Irakere,
a Cuban Latin Jazz.... I recommend it ..!!

Dayramir González (piano y voz en 4)
Yandy Martínez (bajo en 1,4,5 y contrabajo en 2,3,7 y solos en 3)
Rafael Paseiro (bajo en 6,8,9 y solo en 9)
Ramsés Rodríguez (drums 1,3,4,5,6,7,8,9)
Anir Tamayo (timbal en 1,2,5,6,7,8,9)
Edgar Martínez (conga y percusión menor en 1,2,4,5,6,7,8,9)
Thommy García (trompeta 1 en 1,4,5,8,9 y solos en 1,8,9)
Harvis Cuní (trompeta 2 en 1,4,5,8,9)
Liván Morejón (saxo tenor en 1,4,5,8,9 y flauta en 2,6 y solo en 9)
César López (saxo alto en 4 y solo en 4)
Orlando Sánchez (clarinete 1 en 2 y solos en 2,6)
Emir Santa Cruz (clarinete 2 en 2)
Janio Abreu (clarinete bajo en 2)
Javier Zalba (flauta en 5,7 y solos en 5,7)
Alexei Rodríguez (voz en 4)
Francis del Río (voz en 7,8)
Joaquín Moré (voz en 1,7)
Diana Fuentes (voz en 1,4,7,8)
Elmer Ferrer (guitarra eléctrica en 4,9 y solo en 9)
William Roblejo (violín 1 en 7)
Edel Lazaga (violín 2 en 7)
Marvin Fenty (cello en 7)
Amadeu Dedeu (congas en 8)
Ivanovy Garzán (Trombón 1 y 2 en 9).

dayramir myspace

Wednesday 14 October 2009

Jesus "Chucho" Valdes - Lucumi (2004)

04.Mambo Influenciado
05.A Jessica

Jesus "Chucho" Valdes (piano).

Batacumbele - Afro Caribbean Jazz (1987)

01.May Day
02.Hot Blood

"One of the finest groups ever put together in Puerto Rico."

Jing Chi - Jing Chi (2002)

01.Hong Kong Incident, The
02.Stan Key
04.Crazy House
05.Going Nowhere
06.Go Figure
07.Man in the Ring
08.In My Dream
09.Train Song

Gilad Atzmon - Exile (2003)

01.Dal'ouna On The Return 04:45
02.Al-Quds 09:59
03.Jenin 05:50
04.Ouz 07:39
05.Orient House 06:00
06.Land Of Canaan 05:57
07.Exile 04:36
08.La Côte Mediterranée 03:28
09.Epilogue 03:29.


Gilad Atzmon saxes, clarinet, flute
Frank Harrison piano
Yaron Stavi double bass
Asaf Sirkis drums
Romano Viazzani accordion
Koby Israelite accordion
Peter Watson accordion
Marcel Mamaliga violin
Gabi Fortuna flute.
Dhafer Youssef vocal and oud
Reem Kelani vocal
Tali Atzmon vocal.

Yusef Lateef - Prayer to the East (1957)

01.A Night in Tunisia (Gillespie, Paparelli) 13:09
02.Endura (Lateef) 6:45
03.Prayer To The East (Jackson) 9:54
04.Love Dance (Baxter) 6:37
05.Lover Man (Davis, Ramirez, Sherman) 8:18
Recorded in New York on October 9-10, 1957
Wilbur Harden (flh, balloon)
Yusef Lateef (ts, fl, tamb)
Hugh Lawson (p, turkishfinger, cymb)
Ernie Farrow (b, rabat)
Oliver Jackson (d, Chinese gong).

Tuesday 13 October 2009

Clark Terry - Color Changes (1960)

01.Blue Waltz (La Valse Bleue)
02.Brother Terry (Lateef)
03.Flutin' and Fluglin' (Terry)
04.No Problem (Jordan)
05.La Rive Gauche (Terry)
06.Nahstye Blues (Terry)
07.Chat Qui Peche (A Cat That Fishes) (Terry).


Tommy Flanagan, Budd Johnson(6) - p
Jimmy Knepper - trb
Ed Shaughnessy - dr
Julius Watkins - frh
Seldon Powell - fl, ts
Yusef Lateef - fl, english-horn, ob, ts, voc
Joe Benjamin - b
Clark Terry - tr, flh.

Chuck Mangione – The Feeling’s Back (1998)

Chuck Mangione laid low throughout much of the '90s, perhaps the end result of a disappointing string of albums for Columbia during the '80s. He returned to the road in 1997 and evidently it was a positive experience, since he returned to the studio the following year to cut The Feeling's Back. For all intents and purposes, The Feeling's Back is a comeback album, finding Mangione returning to the smooth, melodic style of Feels So Good, but laying off the sappy pop tendencies that dogged his '80s efforts. Although the end result is a little monotonous -- many of the tracks are quiet and slowly swinging, blending together into one long track -- it's charmingly laid-back, mellow and melodic, all of the things that brought Mangione fame and fortune in the '70s. There isn't a whole lot in the way of "real" jazz here -- the solos are extensions of the themes, and they never stand apart from the lite groove -- but this has the "feeling" that Mangione fans have been waiting to feel again. And that's enough to make it a successful comeback. ~ Stephen Thomas Erlewine, All Music Guide.

Yusef Lateef - Jazz for the Thinker (1957)

02.O' Blues

Yusef Lateef - Flute, Oboe, Sax (Tenor)
Curtis Fuller - Trombone
Ernie Farrow - Bass
Hugh Lawson - Piano
Louis Hayes - Drums.

Monday 12 October 2009

Jane Bunnett - Spirituals and Dedications (2001)

Now that I've rediscovered this record, I'm off to do my homework. You don't know Jane Bunnett either? Shame on us both. Excellent credentials: she studied soprano with Steve Lacy, recorded and toured extensively with Don Pullen, and was way ahead of the curve in bringing Cuban music to North American audiences. Keeps good company, too — Cowell is magnificent on this date. She'd almost certainly be better known if she were male and not Canadian, but the good news is she has health insurance where lots of better-known US musicians don't, so maybe it all comes out in the wash..

Friday 9 October 2009

Dewey Redman - Coincide (1975)

by Scott Yanow
Dewey Redman is featured in a few different settings on this intriguing and generally successful album. The best cuts are the originals that match Redman's tenor with bassist Sirone and drummer Eddie Moore. In addition, he is heard on zither on two cuts (one of which is unaccompanied), and his trio adds trumpeter Ted Daniel and violinist Leroy Jenkins for two complex originals; Redman switches to clarinet on "Somnifacient." Although it is interesting to hear Redman on clarinet and zither, his tenor playing is clearly his strong point and the main reason to search for this LP. His ten-minute workout on "Qow" is outstanding...

Chuck Mangione - Live At The Hollywood Bowl (1978)

Recorded at the height of Chuck Mangione's fame when "Feels So Good" was still busting up the charts, this double-LP set attempts to recapture the dynamism of his earlier live albums but falls short on a few counts. For one thing, the sound gives the listener no idea of what it was like to be in the audience that evening; there are only fleeting traces of the live presence and electricity of the event in this tightly mic'ed recording. For another, the sense of fresh discovery of a new voice in the Mercury sets is replaced by a mostly self-congratulatory round of reprises from earlier albums, centered in the jazz-funk idiom of Mangione's then-current quintet (the funkified "Hill Where the Lord Hides" in particular lacks the majesty and tension of the original live version). Mangione and his sidemen (Chris Vadala, winds; Grant Geissman, guitars; Charles Meeks, bass; James Bradley, Jr., drums) are sufficiently pumped up and energetic, sometimes outdoing the studio performances of the material, and there is a 70-piece orchestra of L.A. musicians who mostly form part of the scenery. The only "new" stuff (as of July 1978) is a set of excerpts from the film score to Children of Sanchez -- a heavily truncated selection from what was heard that night -- that comes off pretty well. Of the two live Mangione A&M albums, this one is a more accurate career retrospective, but Tarantella is quirkier and thus more fun. ~ Richard S. Ginell, All Music Guide...

Carl Filipiak - Blue Entrance (1990)

01.Blue Entrance
03.Say You Were
05.Tiny Town
07.Just My Wish
08.Perry's Tune.

Carl Filipiak - Guitar,
Dennis Chambers - Drums
Greg Grainger - Percussion, Drums
Jim Charlsen - Bass
Larry Bright - Drums
Paul Hannah - Sax (Alto)
Paul Soroka - Lyricon, Keyboards.
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Frank Gambale - Natural High (2005)

01.You Are All the Things
02.We'll Remember December
03.D's Living Room
05.Long and Short of It
06.Have You Met Tom Jones?
08.Scottish Highlands
09.Another Challenger.

Frank Gambale - acoustic guitar
Otmaro Ruiz - piano
Mike Shapiro - percussion
Alain Caron - bass guitar.

Thursday 8 October 2009

Andrea Marchesini - Back To Europe (1989)

01.Son of war
02.Lifting weights
04.Back to europe
05.Bootie blue
06.Just desserts
08.Never give up.

Recorded in New York, 1988
"Back To Europe" by Andrea Marchesini, with Matt Balitsaris, Mark Gatz, Tom De Petris, Paul Adamy, Gerardo Velez, Mike Stern, Jonas Hellborg.

Born in Alassio - Italy in 1960, drummer Andrea Marchesini was exposed to instruments and bands in his early days at his father's nightclub (called Tabù, almost like the famous Paris jazz dive of the 50s), never imagining that years later music would be the central element of his life.

A school mate in the early 70s passed him records of Genesis and EL&P, and this special progressive wave gave a boost to his taste for melody and rhythms, which had started earlier with The Beatles and great italian songwriters such as Lucio Battisti.

Druming came at age 14, just a few friends who decided to try emulating the brits. And it was immediately love, and good music too, originals with highly developed structures.
Progressive brought Fusion: Brand X, Weather Report, Metheny, Steps Ahead, tons of the best electric jazz of the late 70s and 80s.
Slowly the urgency to improve drumming came in. No teachers were available in the area, and only by accident Andrea discovered tecnique books and the fab "Modern Drummer" magazine. A few months with teacher Paolo Pellegatti in Milan but mostly self taught, Andrea moved on, and due to short talks with jazz drummers at the local festival in Alassio (Andrew Cyrille and Tommy Campbell), the idea of moving to NYC slowly grew in his mind.

And so he did, in 1984 Andrea moved to the Big Apple, with little experience but lots of ambition and determination.
He studied at Drummer's Collective with Kim Plainfield, Kenwood Dennard, Robbie Gonzales, Steve Gadd, and Frankie Malabe, and joined dozens of bands in order to accumulate knowledge and musicality.
Grey Zone, Steven Antonelli, Round Trip, Robert Secret, Loose Shoes, were some of the acts he performed with, in all the hot spots of New York (including CBGBs, The Bitter End, Mikell's, The Vilage Gate, La Mama, Ryle's in Cambridge-Mass).

In 1987 Andrea developed his solo project and played great concerts with his Minu One group throughout the East Coast, and recorded his first CD: Back To Europe (Album: Teldeck-Day Eight Music 1989; CD Nowo-New Sound Planet 1990) is released worldwide, with the partecipation of Hiram Bullock, Jonas Hellborg, Mike Stern, Gerardo Velez (Spyro Gyra), and the great sounds of his long-time friends.

Record company problems and personal matters led him to a long pause, after having given a try to Germany (a rock EP with All Tigers Bite) and once again New York in 1990 (latin-fusion concerts with Matt Balitsaris's and Billy Martin's Loose Shoes; vocals sessions on a new age with Mino Cinelu; a second "solo" project).

Drumming and music resurfaced in the late 90s (after a 7 years break..), and slowly Andrea started playing cover bands again, recovering his chops, and getting deeper into jazz. Local musicians at first, then nationally renown players like Enrico Pinna, Antonio Faraò, and Alessio Menconi contributed to a fast comeback.

2003 was a late but important turning point: Jonas Hellborg called for a tour in India with Shawn Lane, and the exposure to such great musicians and music really meant a change in playing, musicality, attitude.

In 2004 Andrea formed his Dif-Fusion project, went back to India for a 3 week tour, and released his second CD, "Concert in Shillong" a live recording in Meghalaya - India, with his great friend-musician Alessio Menconi and fab bassist Pippo Matino from Neaples. A great CD with positive reviews and a new great number of followers.

Andrea has also played with Emanuele Cisi, Claudio Capurro, Stefano Guazzo, Bob Bonisolo, Luca Pasqua, Stefano Calcagno, V. Selvaganesh, Andrea Pozza, and jammed with Jaco Pastorius, Riccardo Zegna, Dado Moroni, Flavio Boltro.

Among his up and coming projects: festivals and tours in Italy, Germany, and extra european continents with Dif-Fusion; re-mixing "Back To Europe"; a new Dif-Fusion recording in late 2005; Jazz playing and touring projects with his "Jazz-Pot"; and more unpredictable developements!.

Adam Holzman - Manifesto (1995)

02.Captain Wax
03.Bully 4 U
04.Jumpin' Jupiter
05.Wake Up Call
06.The Fear
07.Come Trip With Me
10.Trench Coat
11.Airplane Window
12.The Grim Reaper
13.The Age of Fear
14.Brave New World.

Mitch Stein - Guitar
Jane Getter - Wah Wah Guitar
Michael "Dino" Campbell - Guitar
Adam Holzman - Synthesizer, Piano, Arranger, Keyboards, Producer,Fender Rhodes, Drum Programming
Freddie Cash - Bass
Aaron Heick - Saxophone, Sax (Alto), Sax (Soprano)
Ju Ju House - Percussion, Conga, Drums, Voices, Drum Loop.

Adam Holzman is a musician. He was born on February 15, 1958 in New York City. The son of Elektra Records president Jac Holzman, by the early '80s, he was working at a respected instrument store in Los Angeles where he became an expert in MIDI technology and synthesizer programming.

These skills led to regular studio gigs. Soon, he attracted the attention of Miles Davis, who was interested in MIDI for his band. Holzman joined Davis' band in 1985 and stayed until 1989, spending his final year as musical director of the band.

After playing with Davis, Holzman went on to tour and record with musicians including Chaka Khan, French pianist Michel Petrucciani, and saxophonists Wayne Shorter and Kenny Garrett, who had also been a member of Davis' bands in the late '80s.

In the spring of 1997, Holzman joined Grover Washington, Jr.'s band. By the late '90s, he was also playing with FM Tribe and Francis M'Bappe.

As a leader, Holzman led the Los Angeles-based fusion band The Fents with guitarist Ted Hall. The Fents released their first vinyl E.P. in 1979 (with original drummer Ed Marrow). Their debut vinyl LP First Offense appeared in 1982 (released the following year with different album art, and to larger distribution, and released on CD in 2001). This album features Larry Anderson on drums and Doug Hodges on bass. The Fents' second LP The Other Side was released on Passport Jazz in 1987. The Other Side featured extraordinary bassist Laurence Cottle and drummer Moyes Lucas, replacing Hodges and Anderson, respectively.

Holzman also formed the prog-influenced Mona Lisa Overdrive, who released a self-titled album in 1993. In the 1990s, he released several solo albums. In a Loud Way (1991), Overdrive (1994), Manifesto (1995) and Big Picture (1997) were released before the keyboardist formed his current New York-based band Brave New World who released their debut album Jazz Rocket Science on Nagel Heyer Records in 2005.

Adam Holzman recently collaborated with 11/8 Records and Cesare Dell'Anna, on the album "My Miles" where he features on three tracks of the album, playing keyboards and synth.

Archie Shepp - Attica Blues (1972)

01.Attica Blues
02.Invocation: Attica Blues
03.Steam (Part 1)
04.Invocation to Mr. Parker
05.Steam (Part 2)
06.Blues for Brothers George Jackson
07.INvocation: Ballad for a Child
08.Ballad for a Child
09.Good Bye Sweet Pops
10.Quite Dawn.

Archie Shepp (saxphones, piano); Roland Alexander (tenor sax); Ollie Anderson (percussion); John Blake (violin); Marion Brown (flute, percussion, alto sax, bamboo flute); Dave Burrell (piano); Roy Burrowes (trumpet); Walter Davis, Jr. (piano); Cornell Dupree (guitar); Jimmy Garrison (bass); Charles Greenlee (trombone); Beaver Harris (drums); Leroy Jenkins (violin); Charles McGhee (trumpet); Billy Robinson (saxophone);; Clifford Thornton (cornet); James Ware, Clarence White (saxophones); Kiane Zawadi (trombone).

Wednesday 7 October 2009

Randy Brecker - 34th N Lex (2007)

01.34th N Lex
04.All 4 Love
05.Let It Go
06.Foregone Conclusion
07.Hula Dula
08.Fisherman, The
09.Give It Up
10.Tokyo Freddie
11.The Castle Rocks.

34TH N LEX won the 2004 Grammy Award for Best Contemporary Jazz Album.

Personnel: Randy Brecker (trumpet, flugelhorn); Makeeba Mooncycle, J. Phoenix (vocals); Chris Taylor , Adam Rogers (guitar); David Sanborn (alto saxophone); Ada Rovatti, Michael Brecker (tenor saxophone); Ronnie Cuber (baritone saxophone); Fred Wesley, Michael Davis (trombone); George Whitty (keyboards); Chris Minh Doky, Gary Haase (bass guitar); Charence Penn (drums).

This 2003 album (re-released in 2007 with fully remastered sound) finds trumpeter Randy Brecker combining his strongest attributes: namely his talent for rigorous hard bop and groove-driven, funk-drenched fusion. With assistance from brother Michael Brecker, alto saxophonist David Sanborn, and trombonist and former JB's leader Fred Wesley, Brecker gets down to some serious, jazzified jams. There is a great sense of freewheeling fun on this set, especially on more uptempo numbers like "Let It Go," but these players are capable of the greatest restraint and elegance, as heard on the ballad "Foregone Conclusion." A bustling, energetic album that combines good times with high-minded craft, 34th N. LEX is a thoroughly successful outing.

Bob James & Earl Klugh - One On One (1979)

2.Afterglow, The
3.Love Lips
5.I'll See You Smile Again
6.Winding River.

Bob James (piano, keyboards); Earl Klugh (acoustic guitar); Eric Gale (guitar); Ron Carter (upright bass); Gary King (bass guitar); Harvey Mason (drums); Ralph MacDonald (percussion).

Recording information: Media Sound, New York, NY (1979).

ONE ON ONE marks the first team up between keyboardist Bob James and guitarist Earl Klugh. Unlike the later TWO OF A KIND or COOL, this 1979 collaboration really conveys the magical connection between these two fine jazz musicians. James and Klugh each composed three of the six tracks, and the result is an extremely well blended album.

ONE ON ONE really delivers. James' compositional prowess shines on the Latin-tinged "Mallorca," where Klugh is allowed to show off some of his own fancy finger-work. Drummer Harvey Mason, electric bassists Gary King and Neil Jason, and acoustic bassist Ron Carter provide notable support. James downplays the orchestral counterpart that feature so prominently on his other '70s releases.

Danny Gottlieb - Brooklyn Blues (1990)

3.I Believe to My Soul
5.Gloria's Step
7.Seventh Sign
9.Brooklyn Blues.

Danny Gottlieb - Drums
Chip Jackson - Bass
John Abercrombie - Guitar
Gil Goldstein - Arranger, Keyboards.

Drummer Danny Gottlieb's third CD as a leader is his most straight-ahead and rewarding with the trio. Joined by keyboardist Gil Goldstein, flutist Jeremy Steig, guitarist John Abercrombie, and bassist Chip Jackson, Gottlieb (who takes a supporting role) plays four group originals and an obscurity, plus Lee Morgan's "Melancholee," Wayne Shorter's "Diana," Scott LaFaro's "Gloria's Step," and Ray Charles' spirited "I Believe to My Soul." It is particularly nice to hear Steig in this type of setting again. ~ Scott Yanow, All Music Guide.

Monday 5 October 2009

Chivo Borraro - Blues Para un Cosmonauta (1973)

01.Lineas Torcidas
02.Blues Para Un Cosmonauta
03.Cancion De Cuna Para Un Bebe
04.La Invasion De Los Monjes
05.Mi Amigo Tarzan.

Horacio Borraro is one of the founding fathers of modern and contemporary jazz in Argentina. Friends and fans know him by the nickname of 'Chivo' ('Goat'). Everyone in Argentina's jazz circle loves this gentlemanly, funny and inventive fellow born in Buenos Aires in 1925, who is also an architect, painter, designer, occasional writer and photographer. During the sixties and seventies he sought the company of younger musicians without ever giving up his ties to his contemporaries. The musicians in the band were all born in the forties. But furthermore, they are among the best in Argentina. Fernando Gelbard, pianist and keyboardist here (he also plays flute), did other records with Borraro, but was mainly known for his consistently up-to-date solid work on piano and flute. Gelbard's command of electronic instruments was quite unique in Buenos Aires at the time - he's also known for his pioneering work in computers - and he moved to the United States in the late seventies. The bass player and the drummer, Jorge 'El Negro' González and Néstor Astarita respectively, had been Gato Barbieri's rhythm team in the late fifties and early sixties, when Barbieri was the local jazz superstar, before leaving for Europe and the States. So the listener finds here a good sampling of first-rate argentinean jazz musicians. And they have kept proving how good they are, to argentinean cognoscenti at least; because they chose to make it in their difficult and unpredictable country, they have remained largely unknown to international audiences. As for Miguel 'Chino' Rossi, his percussion lines and ideas show he belongs to this group, but he seems to have vanished from the music scene.

For this album Gelbard and Borraro chose to explore quite thoroughly the field of electronic instruments, thus moving through new jazz dimensions. We have to bear in mind that Argentina is a mixture of underdevelopment and, in a big city like Buenos Aires, overdevelopment. That should explain the fact that though electronics in music was in the early seventies quite a new phenomenon to the popular music world at large, as early as 1973 musicians in Buenos Aires were not only experimenting, but ready to put their experiments on record.

Borraro's tenor sound here conveys mainly a lyrical, peaceful and quiet mood. Beyond the technical prowess evident in the three numbers with multiple overdubbing (due to both Gelbard and Borraro), the record has a soaring, in-the-clouds quality that makes for a lot of its charm. There is of course an exception to all that: 'My Friend Tarzan', a medium-fast swinger, where Borraro shows the fiercely expressionistic side of his tenor saxophone.

A brazilian composer and 'craviolist' meets the jazz quintet

The two compositions by Stênio Mendes are the longest tracks on this record, so as to allow for the expression of two different but akin worlds : brazilian music and jazz. The musicians (Mendes, Borraro, Gelbard, González, Astarita & Rossi) sort of 'glide' from one world to the other, to and fro. 'Líneas Torcidas'-'Twisted Lines' begins with Mendes on craviola*, a 12-string acoustic guitar invented in Brazil, which is a cross between a 'cravo' (harpsichord) and a 'viola'(a small double-string guitar), hence its name. 'Twisted Lines' alternates between reflective ad libitum contributions by Mendes, quiet, subdued dialogues between Mendes and Borraro and straight ahead jazz sections by the quintet. As for 'La Invasión de los Monjes' ('The Invasion of the Monks'), the beginning and the end of the piece are given to Mendes' ad libitum lyrical but forceful craviola playing, and the inner parts to more hard-driving work: on the one side we have Mendes doing a vocalese along his craviola lines, on the other, the jazz quintet very straight-ahead.

'La Invasión de los Monjes'-Sextet (Borraro, Mendes, Gelbard, González, Astarita, Rossi): Mendes introduces the piece with his craviola and sets a lyrical north-eastern brazilian feel that is subtly subverted by Borraro's tenor; craviola reasserts the initial mood and opens to an intensely and very brazilian rhythmic phase, heightened by a short but energetic burst of wordless vocal. Brazilian mood merges into a decidedly straight-ahead final jazz section: two energetic solos follow, one by Borraro, the other by Gelbard on the Fender Rhodes piano. The rhythm section then crafts another beautiful transition into the lyrical ending by Mendes on craviola.

Three compositions by Borraro
Two of them are played by the trio: Borraro, Gelbard and Rossi. 'Blues Para un Cosmonauta' ('Blues For a Cosmonaut') is just that, the blues. But this is a multi-track, multi-instrumented trio blues, infused with an eerie air stemming from the instrumental colours employed; the Minimoog and the Fender Rhodes evoke outer space sounds, as the title suggests. One knowing the Buenos Aires jazz leanings of the seventies would swear that nobody was much interested in Sun Ra, though... 'Blues'... is a fitting showcase for Gelbard on Minimoog and Fender Rhodes.

'Canción de Cuna' ('Lullaby') is the other trio track. Borraro soloes on tenor upon and along Gelbard's Moog lines, both grounded in the basic framework set by Gelbard on Fender Rhodes piano and Rossi on percussion. This is a lullaby, but it won't lead you to sleep, rather induce a certain tranquil awareness. Let yourself be electronically caressed by Gelbard's fake guitar solo on the Minimoog, one of his favourite recorded solos.

'Mi Amigo Tarzán' ('My Friend Tarzan') is the only track by the quintet (Borraro, Gelbard, González, Astarita & Rossi). It's beginning is african-like, an assumed forgery by Borraro (remember Bill Summers' pygmy intro to Hancock's Head Hunters' version of 'Watermelon Man'?). Well, this record dates from the same year and the musicians in Buenos Aires could certainly not have known about Hancock's idea. Borraro's subsequent tenor flows along more traditional bebop-postbop lines than his other solos on this record. The medium-fast tempo gives way to a lyrical interlude, then it's back to a fiercely expressionistic passage followed by another lyrical interlude, before a Minimoog solo by Fernando Gelbard. After a percussion break, Borraro's fiery tenor returns; the end of the piece is as 'african' as the beginning.


In 1973, as far as I know the term 'world music' had not yet been coined. But jazz music by that time had given enough proof of its 'world' dimension. What latin-american musicians in Brazil and Argentina had been looking for when trying to marry jazz to their local musical traditions were the requisite sounds for what was subsequently labelled 'world music'. Brazilian bossa nova had conquered Buenos Aires in the late fifties and early sixties, and at the same time some american jazzmen were trying to understand that particular blend of modern jazz and brazilian samba. Astor Piazzolla's brand of new tango, also a blend of modern jazz and tango, was another aspect of the international expansion of jazz or, as we may see it today, another chapter in the genesis of 'world music'. 'World music' as we know it today developed as an extension of rock, pop and folk music rather than as an extension of jazz. Well, let's call it 'world jazz'. This very record is definite proof that some musicians were already trying their hands at 'cosmic jazz', for jazz was, and remains, their aim.
Norberto Gimelfarb, Yverdon, Switzerland, May 2002.

*About the craviola
According to several international sources the craviola was devised in 1969 by brazilian guitarist, singer and composer Paulinho Nogueira (born in 1929 in the state of São Paulo). He designed it for Gianini, a well-known brazilian company. Nogueira is also a prestigious teacher (Toquinho is one of his pupils) and author of methods for guitar.

Nguyên Lê - Maghreb & Friends (1998)

04.Yhadik Allah
06.Funk Raï
07.L'Arkha li jeya

Nguyên Lê - el. & ac. Guitars, fretless bass, vietnamese zither, programming
Karim Ziad - drums, gumbri, perc (karkabous, taarijet, bendir, derbuka, tablas), vocals
Michel Alibo - electric bass
Bojan Zulfikarpasic - acoustic piano
B’net Houariyat:
Zahra Bani, Kadija Haliba, Malika Rhami, Saïda Madrani, Halima Zaiter - vocals & perc (taarijet, bendir, naakkous, tar)
Wolfgang Puschnig - alto sax
Paolo Fresu - trumpet
Alain Debiossat - soprano sax
Stefano Di Battista - alto & soprano sax
Mokhtar Samba – drums
Cheb Mami - accordion-synth
Djemaï Abdenour - mandola, algerian banjo
Mejdoub Ftati– violin
Aziz Sahmaoui – vocals
Mohamed Menni - vocals, perc (taarijet, bendir, derbuka)
Mehdi Askeur – vocals
Huong Thanh - vietnamese vocals
Hao Nhien - vietnamese flute
Gaëlle Hervé – vocals
Marielle Hervé – vocals
Jean Jacques Avenel – kora
Aly Wagué - african Peul flute & vocals.

Recorded and mixed by Hervé le Guil at Studio Gimmick, Yerres assisted by Mallory Maurice, Pedja Babic & François "Do" Delean, February & March 1998
B'net Houariyat recorded by Antoine Illouz at Studio L'Usine, Arceuil assisted by Cécile, November 4, 1997
pre & additional recordings by Nguyên Lê at Studio Louxor, Paris Barbès, January to March 1998
Mastered by Radu Marinescu at Liquid Gold
Produced by Nguyên Lê and Karim Ziad.

Friday 2 October 2009

Charlie Parker - The Complete Carnegie Hall Performances (4 CD set) (2007)

All tracks recorded at Carnegie Hall, New York, between 1947 and 1954

Disc 1
01.A Night In Tunisia
02.Dizzy Atmosphere
03.Groovin' High
06.The Bird
08.Introduction by Norman Granz
09.Leap Here
10.Indiana (Back Home Again In)
11.Lover Come Back To Me.

Disc 2
01.The Opener
02.Lester Leaps In
03.Embraceable You
04.The Closer
05.Ow! / voice-over introducing of Ella Fitzgerald
06.Flyin' Home
07.How High The Moon

Disc 3

04.Bird Of Paradise
05.Now's The Time
06.What Is This Thing Called Love
07.April In Paris
09.Easy To Love
11.Just Friends
12.Easy To Love
13.Repitition into strings theme
14.Just Friends
15.Easy To Love
16.Announcement by Charlie Parker / Repitition into strings theme.

Disc 4
02.Night In Tunisia
03.Fifty-Second Street Theme
04.The Song Is You
05.My Funny Valentine
06.Cool Blues
07.No Noise
08.Mango Mangue
10.Bean And The Boys
13.Lament For The Conga
14.I Can't Get Started.

Charlie Parker, alto sax on all tracks

Disc 1
Tracks 1-5
Dizzy Gillespie Quintet
Dizzy Gillespie (tp), Charlie Parker (as), John Lewis (p), Al McKibbon (b), Joe Harris (d)
September 29, 1947

Track 6
Charlie Parker Quartet (The Jazz Scene)
Charlie Parker (as), Hank Jones (p), Ray Brown (b), Shelly Manne (d)
December, 1947

Track 7
Neal Heefti’s Orchestra
Al Porcino, Doug Mettome, Ray Wetzel (tp), Bill Harris (tb), Bart Varsalona (b-tb), Vincent Jacobs (French horn), John LaPorta (cl), Charlie Parker, Murry Williams, Sonny Salad (as), Pete Mondello, Flip Phillips (ts), Manny Albam (bar), Gene Orloff (vn, concert master), Sammy Caplan, Manny Filder, Sid Harris, Harry Katzman, Ziggy Smirnoff (vn), Nat Nathanson, Fred Ruzilla (viola), Joe Benaventi (cello), Tony Aless (p), Curly Russell (sb), Shelly Manne (dm), Diego Iborra (perc), Neal Hefti (arranger, conductor).
December, 1947

Tracks 8-11
Jazz At The Philharmonic
Fats Navarro (tp), Tommy Turk (tb), Sonny Criss, Charlie Parker (as), Flip Phillips (ts), Hank Jones (p), Ray Brown (b), Shelly Mann (d)
February 11, 1949

Disc 2
Jazz At The Philharmonic
Roy Eldridge (tp), Tommy Turk (tb), Charlie Parker (as), Flip Phillips, Lester Young (ts), Hank Jones (p), Ray Brown (b), Buddy Rich (d), Ella Fitzgerald (vocals on 6-8)
September 17-18, 1949

Disc 3
Tracks 1-5
Charlie Parker Quintet
Red Rodney (tp), Charlie Parker (as), Al Haig (p), Tommy Potter (b), Roy Haynes (d), Symphony Sid Torin (mc)
Decemeber 24, 1949

Tracks 6-10
Charlie Parker With Strings
Tommy Mace (oboe), Charlie Parker (as), Teddy Blume, Sam Kaplan, Stan Karpenia (violins), Dave Uchitel (viola), Bill Bundy (cello), Wallace McManus (harp), Al Haig (p), Tommy Potter (b), Roy Haynes (d)
September 16-17, 1950

Tracks 11-16
Charlie Parker With Strings
Charlie Parker (as), Walter Bishop (p), Walt Yost (sb), Roy Haynes (d), Candido (congas), unknown (oboe), unknown string section, Teddy Blume (violin)), Bob Garrity (mc).
November 14 & 15, 1952 (WNBC Rádio Broadcast)

Disc 4
Tracks 1-3
Dizzy Gillespie (tp), Charlie Parker (as), Walter Bishop (p), Walt Yost (b), Roy Haynes (d), Candido (conga).

Tracks 4-6
Charlie Parker Quartet
Charlie Parker (as), John Lewis (p), Percy Heath (b), Kenny Clarke (d), Bob Garrity (mc).
September 25, 1954

Tracks 7-9
Machito And His Afro-Cuban Orchestra
Mario Bauza, Frank "Paquito" Davilla, Bob Woodlen (tp), Gene Johnson, Fred Skerritt, Charlie Parker (as), Jose Madera, Sr. (ts), Leslie Johnakins (bar), Rene Hernandez (p), Bobby Rodriquez (b), Frank "Machito" Grillo (maracas), Jose Manguel (bongos), Luis Miranda (congas), Ubaldo Nieto (timbales)
February 11, 1949

Tracks 10-11
Jazz At The Philharmonic
Roy Eldridge (tp), Charlie Parker (as), Coleman Hawkins (ts), Hank Jones (p), Eddie Safranski (b), Buddy Rich (d)
Broadcast, Summer (probably June 19), 1949

Tracks 12-13 (Bonus Tracks)
Machito And His Afro-Cuban Orchestra Featuring Charlie Parker
Howard McGhee, Mario Bauza, Frank "Paquito" Davilla, Bob Woodlen (tp), Gene Johnson, Fred Skerritt, Charlie Parker (as), Jose Madera, Frank Socolow (ts), Leslie Johnakins (bar), Rene Hernandez (p), Roberto Rodriquez (b), Frank "Machito" Grillo (maracas), Jose Manguel (bongos), Luis Miranda (congas), Ubaldo Nieto (timbales)
Renaissance Ballroom, New York City, May 19, 1950

Track 14 (Bonus Track)
Charlie Parker Quartet
Charlie Parker (as), Bernie Leighton (p), Ray Brown (b), Buddy Rich (d)
Unknown club, New York City, July, 1950.

Jorge Campos - Machi (2000)

01.Horrisono (3:50)
02.Mapocho (2:06)
03.Bendición (1:42)
04.Octaton (3:26)
05.Gil-Hop (1:25)
06.Alturas (7:56)
07.Toques de lo esencial (2:31)
08.Amarillelou (3:37)
09.Smog (2:36)
10.A Marvada Carnee (2:15)
11.Amor en Stell@ar (Hot Copilot) (3:45)
12.Kachatelovni (1:53)
13.Zatrapa (6:32)
14.Machi (3:05).

Jorge Campos : electric bass 4 and 5 fretted, machi bass 4 frettless and 8 fetted, double bass, processed basses, loops and sequences, midi programming, keyboards, acoustic piano, electric guitar, cuatro, melódica, trutruca, kaskawilla, tin whistle, ocarina, palo de lluvia, sonajas, huiro, bombo, drums, vocals.
Marcelo Concha : Zampona & quenas (8)
Germán Santana : kaxixi, a go-go, balafon malines, zimbabwe mgoma drums (6 & 10)
Denny Martínez : drums (1, 2, 4, 6, 9 & 12).

Review by Cesar Inca
4 stars Re-released in late 2007, Jorge Campos' "Machi" is a very important item since it testifies how creative is the avant-garde side of jazz-rock nowadays in South American countries. The musical world of Campos is miles apart from the trends of Congreso and Fulano (the most popular bands that he's been part of), stating a challenging mixture of electro-jazz, fusion, psychedelic progressive and world music. Campos uses his wide array of bass guitars (fretted and retless, 4-, 5-, 6-stringed) to build rhythmic structures, basic riffs, solos, harmonic ornaments, complement some percussive or keyboard arrangements. all this and more. The relentless pace at which the bass guitars define their presence in the overall sound makes the lack of a profound melodic approach not a minus but a peculiar characteristic: very clearly Campos sees his musical essence as one centered on atmospheres and cadences. Stanley Clarke and Tony Levin may be mentioned as major points of reference for both his style and writing strategy. 'Horrísono' kicks off the album on a certain creepy note, but mostly, quite vivacious. 'Mapocho' displays more tenuous moods, definitely mysterious: it's a pity that it lasts only 2 minutes, since it has a catchy feel. For 'Bendición' the folk. woodwinds and percussions assume the leading role, while 'Octatón' stands on a more conventional funk-infected jazz territory. These first 11 minutes are more than enough to reveal us the wide array of sonorities that Campos is interested in exploring. 'Gil-Hop' offers a somewhat humorous mixture of hip-hop and acid-jazz, although the amazing bass phrases displayed on this number luckily spoil any potential chance of frivolity. The longest piece is 'Alturas', also being the most ethereal: the cosmic ambiences fluidly sustained on a recurring blues tempo make a highlight. The sense of monotony is actually very tricky - it isn't hard to detect the emergence of atmospheric variations all through the consistent tempo. 'Toques de lo Esencial' is less dense and includes a beautiful upright bass solo that seems to float above the programmed rhythm section. 'Amarillelou' is yet another majestic exercise on prog-oriented electro- jazz: it kind of follows the trend of 'Alturas', but with enhanced colors. 'Smog' brings back the catchiness of 'Octatón', as will do 'Kachatelovni' later on. 'A Marvada Carnee' is a cybernetic reconstruction of Brazilian festive rhythms, with yet another stellar bass solo developing in the middle; this line of electronic ethnic work is continued on 'Amor en Stell@r (Hot Copilot)'. Another highlight in the album is 'Zátrapa', which sounds like a homage to mid-70s Hancock. The album's official repertoire ends with the title track, very oriented to the scheme of musique concrete - it may sound like the hypothetical soundtrack to a Jean Cocteau movie. The Luna Negra re-release includes live renditions of 'Mapocho', 'Octatón', 'Zátrapa' and 'Horrísono': with the warmth of a live setting and the extra energy of the supporting musicians, all these tracks acquire extra doses of power and expansion: this live sequence serves as an excellent closure for this excellent album.

Christian McBride - Number Two Express (1996)

01.Whirling Dervish
02.Youthful Bliss
03.Tones for Joan's Bones
08.A Morning Story
10.Little Sunflower.

Christian McBride - Fretless Bass, Main Performer, Bass (Acoustic), Liner Notes
Steve Nelson - Vibraphone
Kenny Barron - Piano, Fender Rhodes
Mino Cinelu - Percussion
Chick Corea - Piano
Kenny Garrett - Sax (Alto)
Gary Bartz - Sax (Alto)
Jack DeJohnette - Cymbals, Drums.

Christian McBride's second recording as a leader is an all-star affair, matching the young bassist in various combinations with either Kenny Garrett or Gary Bartz on alto, Chick Corea or Kenny Barron on keyboards, vibraphonist Steve Nelson, drummer Jack DeJohnette and percussionist Mino Cinelu. The music ranges from fairly straight-ahead to funky. Both Garrett and Bartz have opportunities to blow hard (pity that they were not teamed up); Chick Corea revives his "Tones for Joan's Bones," and McBride (who contributed all but four of the ten songs) overdubs his basses on Freddie Hubbard's "Little Sunflower." Continually interesting music which contains plenty of variety. ~ Scott Yanow, All Music Guide.