Sunday 28 February 2010

Carla Bley - Big Band Theory (1993)

01.On the Stage in Cages
02.Birds of Paradise
03.Goodbye Pork Pie Hat
04.Fresh Impression.

Carla Bley (piano)
Andy Sheppard (soprano & tenor saxophones)
Roger Jannotta (soprano saxophone, flute)
Wolfgang Puschnig (alto saxophone, flute)
Pete Hurt (tenor saxophone)
Julian Arguelles (baritone saxophone)
Lew Soloff, Guy Barker, Claude Deppa, Steve Waterman (trumpet) Gary Valente, Richard Edwards, Annie Whitehead (trombone)
Ashley Slater (bass trombone)
Alex Balanescu (violin)
Karen Mantler (organ)
Steve Swallow (bass)
Dennis Mackrel (drums).
Recorded at Angel Studios, London, England on July 2 & 3, 1993.

Azymuth - Carnival (1979)

01.Jazz Carnival
02.A Quiema Roupa
03.Face Da Conta
05.Esperando Minha Vez
06.Tudo Que Voce Podia Ser
08.Tempos Atraz
10.Quem com Quem.

Two years in the making 'Carnival' is a valuable reminder of the timelessness of one of the great jazz fusion bands. Very soulful sounding with a stripped down production reitterating the beauty of Brazilian percussion meeting sweet harmonies.

Saturday 27 February 2010

Blue Mitchell - Graffiti Blues (1973)

01.Graffiti Blues (7:16) [Blue Mitchell]
02.Yeah Ya Right (5:29) [Herman Riley]
03.Express (5:06) [Blue Mitchell]
04.Asso-Kam (7:24) [Joe Sample]
05.Dorado (8:59) [Joe Sample]
06.Alone Again (Naturally)* (3:24) [O'Sullivan]
07.Where I'ts At* (3:31) [David Matthews]
08.Funky Walk* (4:33) [David Mattews]
09.Blue Funk* (4:38) [David Matthews]
*previously unreleased, available re-issued CD only.

Blue Mitchell - trumpet
Ray Pounds - drums
Don Bailey - hermonica
Herman Riley - tenor saxophone
Darrell Clayborn - Fender bass
Joe Sample - acoustic piano, electric bass
Freddie Robinson - electric guitar
Walter Bishop,Jr. - piano.
Blue Mitchell - trumpet, flugelhorn
Herman Riley - tenor saxophone, flute
Joe Sample - electric bass
Darrell Clayborn - Fender bass
Freddie Robinson - electric guitar
John Guerin - drums
Ray Pounds - drums.
TRACKS 7,8,9:
Blue Mitchell - trumpet
Jon Faddis - trumpet
Markie Markowitz (Markey Markowitz) - trumpet
Jim Bossy - trumpet
Frank Vicari - tenor saxophone
Joe Farrell - tenor saxophone, flute
Seldon Powell - tenor saxophone, baritone saxophone
Michael Moore - Fender electric bass
Wilbur Bascomb - Fender electric bass
John Tropea - acoustic guitar, electric guitar
Joe Beck - acoustic guitar, electric guitar
Sam Brown - acoustic guitar
James Madison (Jimmy Madison) - drums.
Original recording produced by Bob Shad
Tracks 7,8,9 arranged and conducted by David Matthews

Afro Blue Band - Impressions (1995)

02.Lonnie's Lament
03.Afro Blue
05.Latin Jazzdance
06.Senor Blues
07.For Pearl
08.Phantom, The.

Nicole Yarling (vocals, violin); Mel Martin (flute, alto flute, piccolo, bass clarinet, alto saxophone, tenor saxophone); Mario Rivera (flute, soprano saxophone, tenor saxophone, cornet, timbales); Arthur Barron (flute, alto saxophone, tenor saxophone); David Liebman (soprano saxophone); Melton Mustafa (trumpet); Jerry Gonzalez (flugelhorn, congas, percussion); Angel Papo Vasquez (trombone); Hilton Ruiz, Mark Levine (piano); Lionel Cole (synthesizer); Phoenix Rivera (drums); Steve Berrios (congas, claves, bells); Glenn Cronkhite (cymbals, percussion).
Recorded at RPM Studios, New York, New York in September 1994; Sterling Gold Studios, Fort Lauderdale, Florida in November & December 1994; Fantasy Studios, Berkeley, California in April 1995.

Art Farmer - Crawl Space (1977)

01.Crawl Space 8:52
02Siddhartha 7:36
03.Chanson 8:36
04.Petite Belle 9:41.

Bass - George Mraz (tracks:02) , Will Lee
Drums - Steve Gadd
Engineer - Rudy Van Gelder
Flute - Jeremy Steig
Guitar - Eric Gale
Keyboards - David Grusin*
Producer - Creed Taylor
Trumpet, Flugelhorn - Art Farmer.
Recorded at Van Gelder Studios, January 1977.

Bob Mintzer - In The Moment (2004)

01.Straight Ahead
02.Listen Here
03.Time After Time
05.Simple Song
06.What's the Word
07.Play Pretty

Bob Mintzer (bass clarinet, tenor saxophone)
Phil Markowitz (piano)
Jay Anderson (acoustic bass)
John Riley (drums).

Cannonball Adderley Quintet - In San Francisco (1959)

01.Few Words by Cannonball... And This Here, A
02.Spontaneous Combustion
04.You Got It!
05.Bohemia After Dark A.K.A. Birdland After Dark
06.Straight, No Chaser - (bonus track).

Cannonball Adderley: alto saxophone
Nat Adderley: cornet
Bobby Timmons: piano
Sam Jones: double bass
Louis Hayes: drums.
Recorded live at The Jazz Workshop, San Francisco, California on October 18 & 20, 1959.

Azymuth - Butterfly (2008)

02.Os Cara La
03.Meu Doce Amigo
05.Avenida Rio Branco
06.New Dawn
08.Hole In One
10.Next Summer In Rio.

Alex Malheiros (vocals, acoustic guitar, bass instrument); Jose Roberto Bertrami (vocals, Fender Rhodes piano, Hammond b-3 organ, keyboards, mini-Moog synthesizer, vocoder); Ivan Conti (vocals, drums, percussion).Personnel: Paulinho Guitara, Alex Pilkington, Arthur Verocai (electric guitar); Ze Carlos (flute, saxophone); Tiago Martins, Robertinho Silva (percussion).Audio Mixer: David Brinkworth.Arrangers: Arthur Verocai; Azymuth.

Azymuth - Before We Forget (2001)

01.Equipe 8 (Bertrami/Conti/Malheiros)
02.Antes Que Esqueca (Bertrami/Malheiros)
03.Folgada (Malheiros)
04.Rosalie (Betrami) - 4:11
05.Araruama (Bertrami/Conti/Malheiros)
06.Raspa Do Tacho (Conti)
07.Castelo [Castle Edition Only] (Bertrami/Conti/Malheiros)
08.Valsa For Us (Bertrami/Conti/Malheiros)
09.Tropical Rain (Malheiros)
10.Tempos Do Parana (Bertrami/Parana)
11.Antes Que Esqueca (Bertrami/Malheiros)
12.Castelo [Castle Edition Only] (Bertrami/Conti/Malheiros).

Jose Roberto Bertrami - Keyboards
Alex Malheiros - Bass
Ivan Conti - Drums.

Wednesday 24 February 2010

Jan Hammer Group - Melodies (1977)

01.Too Much To Lose
02.Peaceful Sundown
03.I Sing
04.Honey 5379
05.Window Of Love
06.What It Is
07.Don't You Know
08.Just For Fun
10.Who Are They?
11.Your Love.

Bass [Electric],Acoustic Guitar,Lead Vocals - Fernando Saunders
Drums, Lead Vocals - Tony Smith (2)
Piano, Synthesizer, Drums, Vocals, Producer - Jan Hammer
Violin, Vocals - Steve Kindler.

Carla Bley - Night-Glo (1985)

01.Pretend You're In Love (4:28)
02.Night-Glo (6:42)
03.Rut (7:31)
04.Crazy With You (5:08)
05.Wildlife (12:33)
Horns / Paw Without Claws / Sex With Birds.

Steve Swallow - bass
Carla Bley - organ, synthesizers
Larry Willis - piano, electric piano
Hiram Bullock - guitar
Victor Lewis - drums
Manolo Badrena - percussion
Paul McCandless - oboe, english horn, bass clarinet
soprano/tenor/baritone saxophone
Randy Brecker - trumpet, flugelhorn
John Clark - french horn
Tom Malone - trombone
David Taylor - bass trombone.
Recorded and mixed by Tom Mark
at Grog Kill Studio, Willow, New York, June thru August, 1985.

Tuesday 23 February 2010

Attila Zoller - Gypsy Cry (1969)

01.Wild Wild Wes
02.Another Kind of Love
04.Meet in Berlin
05.Birds and the Bees, The
06.Alicia's Lullaby
07.At Twilight
08.Gypsy Cry
09.Sweet Hustler.

Attila Zoller (guitar)
Lew Tabakin (tarogato)
Herbie Hancock (piano, electric piano)
Victor Gaskin, Reggie Workman (bass)
Sonny Brown (drums).
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Charles Mingus - Me,Myself and eye (1978)

01.Three Worlds of Drums
02.Devil Woman
03.Wednesday Night Prayer Meeting
04.Carolyn "Keki" Mingus.

Pepper Adams - Sax (Baritone)
Michael Brecker - Sax (Tenor)
Joe Chambers - Drums
George Coleman - Sax (Tenor)
Larry Coryell - Guitar
Ronnie Cuber - Sax (Baritone)
Ted Dunbar - Guitar
Ricky Ford - Sax (Tenor)
Eddie Gomez - Bass
Slide Hampton - Trombone
Jimmy Knepper - Trombone
Lee Konitz - Sax (Alto)
Charles Mingus - Bass
Dannie Richmond - Drums
Jack Walrath - Trumpet
Jack Wilkins - Guitar
Paul Jeffrey - Conductor
Ray Mantilla - Percussion
Bob Neloms - Piano
Daniel Block - Sax (Tenor)
Randy Brecker - Trumpet
Sammy Figueroa - Percus
Steve Gadd - Drums
Kenneth Hitchcock - Sax (Alto), Sax (Soprano)
Yoshiaki Malta - Sax (Alto)
George Mraz - Bass
Keith O'Quinn - Trombone
Akira Ohmori - Sax (Alto)
Craig Purpura - Sax (Baritone)
Raymond Silva - Producer
John Tank - Sax (Tenor)
Kenny Werner - Piano
Michael Davis - Trumpet.
Recording information: Atlantic Studios, New York, NY (01/18/1978-01/23/1978).

Billy Hart - Oceans of Time (1997)

01.One For Carter (6:50)
02.Téulé's Redemption (12:03)
03.Shadow (7:11)
04.Oceans Of Time (9:30)
05.Tosh (8:36)
06.Mindreader (10:50)
07.Father Demo Square (8:13)
08.Offering (8:39).

Billy Hart - drums
Chris Potter- soprano & tenor saxophone, bass clarinet
John Stubblefield - tenor & soprano saxophone
Mark Feldman - violin
David Fiuczynski - guitar
David Kikoski - piano
Santi Debriano - bass.
Recorded on August 29 and 30, 1996 at EastSide Sound/NYC

Monday 22 February 2010

Chick Corea - Friends (1978)

01.One Step, The
02.Waltse for Dave
03.Children's Song No. 5
04.Samba Song
07.Children's Song No. 15

Chick Corea (piano, electric piano, Fender Rhodes piano)
Joe Farrell (flute, reeds)
Eddie Gomez (acoustic bass)
Steve Gadd (drums, percussion).
Recorded at Kendun Recorders Inc, Burbank, California.

Barry Finnerty & Super Friends - 2B Named Later (1988)

01.UNH (5:16)
02.Tune 2B Named Later (5:22)
03.Juan For The Road (7:24)
04.Could It Be? (5:33)
05.Jackhammer (4:45)
06.Syncopation Situation (10:22)
07.Roller Skates (4:50)
08.Finnergetic (5:15)
09.Melon Balls (4:06)
10.Giulia (4:07).

Barry Finnerty - guitar
Alex Foster - alto saxophone, tenor saxophone
Hubert Laws - flute
Steve Ferrone - drums
Darryl Jones - bass
Mark Gray - keyboards, piano
Don Alias - percussion
Chuggy Carter - percussion
Lenny King - percussion
Jimmy Delgado - timbales.
Recorded March 1988 at Sorcerer Sound and Right Track, New York
Overdubs at Planet Sound and Sound On Sound, New York.

Baseline - Returns (1996)

01.Though Dreamers Die (6:54)
02.The Avenger (7:21)
03.Che Cha (3:48)
04.Northsea Night (6:37)
05.Strike Again (6:05)
06.Loudly At Night (3:46)
07.The Magic Kingdom (7:02)
08.Returns (4:56)
09.Wheeling (7:00).

Hein Van de Geyn - bass
John Abercrombie - guitar
Joe Labarbera - drums
John Ruocco - clarinet.
Recorded and mixed at Studio Le Roy, Amsterdam, Feburary 19 & 20, 1996.

Clare Fischer & Salsa Picante - Crazy Bird (1985)

01.Bernie's Tune (LP Version)
02.Where Are The Children? (LP Version)
03.Serenidade (LP Version)
04.La Mucura (LP Version)
05.Crazy Bird (LP Version)
06.Solar Patrol (Patrulla Solar) (LP Version)
07.Canto Africano (LP Version)
08.Pavillon (LP Version).

Rick Zunigar (Guitar (Electric)), Bill Watrous (Trombone), Jeff Berlin (Bass (Electric)), Luis Conte (Percussion), Luis Conte (Bongos), Luis Conte (Conga), Walfredo Reyes (Percussion), Walfredo Reyes (Drums), Danny Embrey (Guitar (Electric)), Clare Fischer (Organ), Clare Fischer (Piano (Electric)), Clare Fischer (Performer), Clare Fischer (Liner Notes), Brent Fischer (Percussion), Brent Fischer (Bass (Electric)), Brent Fischer (Marimba), Brent Fischer (Vibraphone), Arne Frager (Mixing), Brian Kilgore (Percussion), Bruce Leek (Mastering), Albert Marx (Producer), Dick Mitchell (Flute), Dick Mitchell (Sax (Soprano)), Michito Sánchez (Conga).

Sunday 21 February 2010

Airto Moreira - Promises Of The Sun (1976)

Percussion, Vocals, Songwriter - Airto*
Bass - Novelli
Drums, Percussion, Lead Vocals, Songwriter - Airto*
Electric Guitar - Toninho Horta
Keyboards - Hugo Fattoruso
03.Promises Of The Sun.5:27
Bass - Novelli
Electric Guitar - Toninho Horta
Flute, Drums, Percussion, Backing Vocals - Airto*
Keyboards - Hugo Fattoruso
Lead Vocals, Acoustic Guitar, Songwriter - Milton Nascimento
Trombone - Raul De Souza
Bass - Novelli
Drums, Percussion, Lead Vocals, Songwriter - Airto*
Electric Guitar - Toninho Horta
Keyboards - Hugo Fattoruso
05.Circo Marimbondo.4:15
Acoustic Guitar, Songwriter - Milton Nascimento
Bass, Other [Singing Snakes] - Novelli
Electric Guitar - Toninho Horta
Lead Vocals, Percussion - Airto*
Songwriter - Milton Nascimento , Ronaldo Bastos
06.La De Casa.4:04
Acoustic Guitar, Songwriter - Novelli
Guitar [12 String], Electric Guitar - Toninho Horta
Keyboards - Hugo Fattoruso
Percussion, Vocals - Airto*
07.Ruas Do Recife.3:19
Guitar [12 String], Electric Guitar, Other [The Singing Snakes] - Toninho Horta
Lead Vocals, Songwriter - Novelli
Percussion - Airto*
Songwriter - Marcos Valle , Novelli , Paulo S. Valle*
Trombone - Raul De Souza
Electric Guitar - Toninho Horta
Electric Piano - Novelli
Keyboards - Hugo Fattoruso
Lead Vocals, Drums, Percussion, Songwriter - Airto*
Trombone - Raul De Souza
Vocals - Flora Purim.
Recorded at Paramount Recording Studio, Los Angeles, 1976.

Airto Moreira - Identity (1975)

01.The Magicians (Bruxos) 5:17
02.Tales From Home (Lendas) 5:15
03.Identity 2:03
04.Encounter (Encontro No Bar) 4:53
05.Wake Up Song (Banião Do Accordar / Café)
06.Mãe Cambrina 5:31
07.Flora On My Mind 6:11.

Bass - John Heard , John Williams (8) , Louis Johnson
Drums, Percussion - Robert (4)
Drums, Percussion, Vocals, Producer - Airto Moreira
Guitar - David Amaro
Organ - Ted Lo
Piano - Egberto Gismonti
Saxophone [Soprano] - Wayne Shorter
Synthesizer, Producer - Herbie Hancock
Trombone - Raul De Souza
Vocals - Flora Purim
Originally released in 1975 on Arista Records, Inc.

Airto Moreira - Free (1972)

01.Return to Forever
02.Flora's Song
04.Lucky Southern
06.So Tender (Bonus Track)
07.Jequie (Bonus Track).

Airto Moreira, Flora Purim, Joe Farrell, Stanley Clarke, Chick Corea, Keith Jarrett, Ron Carter, Hubert Laws, George Benson.

Saturday 20 February 2010

Roberto Galletti - Master drummer from Uruguay

Roberto Galletti, legendary founder of Totem set alongside Rada, Eduardo Useta and Chichito Cabral, died last Saturday. Master drummers, some time back Galleti had edited a record about the most popular rhythms of Latin America. The work, defined as a clinic baterística entitled "Above all rhythm," arose from the experience of this artist, both abroad and in our country, and is co-produced and Fonam Sondor. After years of concerts, performances and recordings, this CD has become a guide for amateur and professional drummers, for which the lessons are transmitted to a professionalization of the percussion of Latin origin.

"Farewell Maestro"

Roberto Galletti, a Master Drummer from Uruguay

I met Roberto Galletti in 1986, IFU (Tristan Narvaja between Cerro Largo and Paysandu), I was recording my first album "The Fool" and he was there, sipping mate with the console and talking. Like then, today it remains a nice person and an exceptional musician (something I saw on the new show by Diane Denoir; first time I saw them both live). We are some times since then (I speak of '86) and now myself to interview him. Mentioned times, musicians and circumstances to reveal my ignorance about other eras, other musicians and other music of Uruguay; also mentions musicians who never saw nor heard. He also talks about jazz, and salsa guaracha (some also unknown to me). This note was for someone with greater knowledge of the facts, but mine was interviewing the drummer of "Totem" and this was what came out:

How to boot into the theme of music and more specifically on the battery?

I rip the music back in '57, in the town of Las Piedras.

"You're in Las Piedras?

No soy de Las Piedras, I'm from Montevideo, but I moved to Las Piedras in '57. My father was a butcher, butcher shop and I had worked as a cashier. It turned out that hit my house lived a drummer, Enrique Cabrera, who invited me to play.

"Enrique Cabrera played in a group known?

No, Enrique Cabrera was a great drummer who once won a contract with "Sighs of Spain", he went to Spain and never returned, is touring the world still. Never appeared here.

"You studied with him?

Yes, I studied with him and guided me, I sold my first battery.

Why that time that music listening?

Especially listening and playing, because he immediately started playing me a battery Gretch pretty simple: a drum, a drum, a ton-ton boy and a plate. And we had a little group that did many Baione dance with accordion, trumpet, drums and bass. There I began and then put together a very good cream that were beyond Crespo, the Trobo, the de Oliveira, the Carámbula and was armed with an orchestra of Dixieland sounded good officers and it was lovely. We grew in that listening to us much Dixieland, listening to Armstrong, Pee Wee Hank. Hearing what could be accomplished Dixieland and tested daily. Giving a concert in Las Piedras.

Do you also played at dances?

Sometimes we did a dance with guests, but was rather for recital, because dixieland not very danceable, very happy but not very danceable, it's listenable. And from there we came concerts, then we all came to study at the Peña del Jazz de Montevideo, which was in Rondeau and Mercedes. It was a beautiful rock, especially for us that we would have fifteen or sixteen. There was a cult of jazz music in general. There were great teachers as Pasquet, Quinta Moreno, Dardo Martinez, Alberto Alonso, Silvera Lima, many teachers did you see?, They taught us all what it was jazz, jazz culture. There was plenty of disco, a lot of reading, people were very educated and learned there and we formed. After I moved to Montevideo and started working to Jorge Lencina in jingles, with Jaime Duran in cabaret and nightclubs, I many tasks.

Let's say at that point you were a professional musician.

Certainly, by that time I had played with everyone. After what Jaime Duran, where he also played Hughie Fattoruso us. The orchestra played in "Black Orpheus" Carrasco, a night club: we were Jaime Duran, Tito Caballero, Enrique Aguilera and Roberto Galletti, that was the quartet. Then we had Hugo Fattoruso.

What music were they doing there?

Brazilian music, boleros, something of Ray Charles, some standard jazz temita. Hugo spent years there with us after he left Duran, I was me, it was Hugo Aguilera and entered it with the trio, with Osvaldo and Pelín low, there was also time. Then I went to the Hotel Lancaster with Manolo Guardia, Hector Rossi, Juan Lamas and worked there years too. Then we Sarandi 640, a nightclub very pretty, with an armed group named Juan Lamas "Alpha 4". They were Juan Lamas, Enrique Deboni, Mary Lamas (Mrs. John) and me. It was a very nice group, three voices are singing, we were subjects of Jair Rodrigues, Elis Regina, Maria Bethania, Joao Gilberto, Antonio Carlos Jobim. Also did boleros, some Guarachita another ... and there we hired George Roos (Jaime's uncle) to go to Spain and we did the contract and stayed four years working at all levels. Wonderful, alternated in the best bowling, was a group of bitches. Serrat alternated with that just started, with Raphael, with Antonio Gades alternated with cracks all over there! A beauty. And it went very well, we won very well, car, house, drum, we were good as well.

What year are we talking about?

And we stayed there from '67 to '70.

"And then he had contact with groups like El Kinto?

I played with a band called "Omega", with Matthew, before "El Kinto.

Who are "Omega"?

They were Matthew, Antonio Lagarde, Henry Deboni and me. We were never able to record and we have no record of it, had a mother of that tape but I was robbed. We did Brazilian music.

And Matthew did not got any composition itself around?

No, not yet in a matter of writing in those times, there was a composer, he played and played beautiful, played that was a beauty. Milk drank in bars, you know I took a cane and I was angry with me. Matthew took milk, was careful not imagine what it was careful!

After your tour comes the Spanish "Totem".

Yes, after Spain, I came with the intention of going there and then comes the "Totem".

And how comes?

Look, is somewhat complicated because Rada spent at home writing all day, spent at home because it was my cousin's boyfriend and was like a relative. He spent all day at home, eating, fucking, making jokes and writing. And there appeared Eduardo (USET) in Lobito (Daniel Lagarde), Little got the Fat King (Henry King), well, Lobito and me because the fat King also played with me in "Black Orpheus" and led him to try Lobito. We started rehearsing at the Hot Club, the ideas were all Rada.

But the arrangements were in the group.

It was arranged between all the Lobito brought the harmonica, Useta also more solos and riffs, King accompanied on all cylinders, Campbell and I made it very rhythmic balance. Elements all very professional.

Then there were many touching Candombe drummers in the instrument. The names that come to mind are those of Luis Sosa ( "El Kinto") and you, which is not to say they were the only ones. It was like they invented it.

Bebe invented Bassi and "Loco" Prendes, because they were older than us and the first recording with Manolo Guardia, with plaster, back in '66 already candombe rhyming like crazy on drums.

Anyway, I think what you did was Sosa and lay the groundwork for how to make battery candombe until today, I think drummers are notoriously Gustavo Echenique and your influence on what followed.

Yes, I Fernando Cabrera when he sees me playing tell me compliments. He says, "Galo You do not know what I learn when I see you play drums, silences yours are very nice" and stack things. Imagine, Fernando Cabrera, a guitarist who plays God! And I say: "how do I praise and thank you, can you're right!

But hearing the first album "Totem", there are things jazz, rock'n'roll. Does that ideas were also yours?

Look, all around aportábamos had looked very good. And when I say a good air, I mean a good state of each individual that walked the economy, everyone had work, no crying, begging desperately to pay this or that thing that you will head. No, everyone was focused, had his home, he ate well, was studied, worked, had your girlfriend, your family. Then it became easier to complement a group that understands, that is achieved, it gets out and is an interesting thing. That is nice as was the "Totem" which name it yet. And "El Kinto" was a similar thing, a beauty that not tell you. Unfortunately I was in Spain when the best sessions of "El Kinto" I heard after the recordings, a precious thing.

How about the "Totem" where they had?

More than anything we played at dances and orchestra for dancing was not you know, people stopped to look, could not dance. The countrymen are stopped, but he was so nice the show was so musical, so much movement, so much color that people accepted it.

And what bands alternated?

"Psiglo", "The Fields", "The Killers", "Watermelons," "Days of Blues," "Opus Alpha, with all of them, good dancing in Aguada, La Caldera del Diablo, in the National Club Football, Drivers Protection Center; touched everywhere "Totem", we toured around the country.

What next?

Well, at one point after a ball, I saw that I had bled a hand and I said no, it's too much for me. That I was wearing.

In what sense?

Mental music for me was very violent, much volume and I was not accustomed to very loud music, I can touch it and I do it, but stand up right there. To me I rather like working in acoustics, that you can play with brushes, putting a blow with a club, work with sound, qualifying. Or play jazz with bass, piano, winds, but those volumes rockers that you got in your head and I tore it. And they played hard, they played very hard and when I got a bloody hand, well ... went to the doctor and stopped me, told me not to play more, made me rest and sleep sixteen hours a day and he calmed down, I did well.

And was very intense work by then?

No, he practiced every day and played on the weekends not much, two or three performances. To me I was very mindful and Alfonso (Lopez Dominguez, manager) understand that the wear was very big and not many more performances scheduled. Not exaggerating.

Listening to the first disc of "Totem" and when I saw you in the room at the recital of Zitarrosa Denoir Diane, I was struck by the finesse that you have with the dishes. It is a very fine and rare Is it something that you studied or what you were developing over time?

Look, I was fortunate enough to play every day of the '57 to '70, and the act of playing every day with people who runs well and teaches you continually, like the pianists or bears, they say: "no splitting , nuance here, play this here, "besides the teachers I've had ...

Which teachers?

Roberto Sorrentino, SODRE first teacher, Enrique Cabrera, Cacho Trobo, Regoli in Spain, Pepe Nieto also from Spain, these are my teachers say how, in terms of study.

This must be said, while you were taking out your career as a professional musician, I kept studying.

I was all day studying at home, played at night and studying during the day.

How many hours studying?

Look, too, was studying all day bitter mate, Gene Krupa, Cozy Call, Goldenberg, all methods, the table (practicable) and technical and exercise. Some girlfriend from time to time, hence the side, tranquility and with respect, but the music first. Study and study is what I worked. And respect.

I go back a bit as before, what you play in Charleston is not common in the Uruguayan music.

It is rare and not easy either. That apart to study it, when you play every day gives you some flexibility in the leg and the domain that you have is almost automatic. But requires no doubt study. And not only did the "Totem", there are recordings I did with Mike Dogliotti. Dogliotti and there besides me, were Federico García Vigil on bass, Hughie Jasa. The albums are called "Chikalanga 3 + 1" and "Farewell" are commercial media if you will, but they are very pleasant to listen and are very well made. It's not just the "Totem", I recorded with Zitarrosa, Diane Denoir, with "views" I work TIMBALES facts, not just drums.

Are you also a percussionist?

No, no drummer, but if no battery ... I also recorded things that you do not you have no idea.


Gironde, the Green Belt in '58 or '59, with Hector Rossi, with Alonso, Pasquet, with some Brazilians, with string orchestras, in fonoplatea "El Espectador", if I keep remembering not tell you.

What about the current Uruguayan music, what do you like?

And the nicest thing I've heard is what is known, ie commercially, because I'm half shooting to trade me because I consider music as a profession and a job and you have to offer. I can not make music-art because I do not live it. Maybe now old hands can give some sides, but if the musical work will not generate an income, you you can not live. So for me worth the trade, like Jaime Roos, Ruben Rada, The Sabalero Braulio and Pepe, Leo Masliah, Cuarteto de Nos, people who are armed, he knows what he does and knows what it is.

You are now teaching what is it you ask most students?

What most want is rock'n'roll. I know I can teach, but I'm going wick, I give them concepts of rock'n'roll, I give them forms the foundation say, I teach them to hit, but did not hit very hard and try to appease the thing because every stroke is to make art on the table, I have nice methods. And those who do not know the divisions taught to read, the eighth notes, sixteenth notes, silences, dotted, double dotted, which means, left hand, right hand the way I carry the baterístico. I teach rhythms of all kinds, from the Baión, rumba, cha-cha to the guaracha, Paso Doble, Murga, Candombe, passes all did you see? Jazz, different styles of jazz, dixieland I teach, I teach swing, hot, as did you see?

I told (prior to this interview) that andás playing around.

Yes, in Mercado de la Abundancia sessions are every second Thursday and I'm there as a special guest, I am hired, I will for friendship, socializing with the musicians and invite me to play. People tell me Galo, tocate one! and I do not despise. Are Ameijenda and Mingo Roverano, Chiche Bella, Quique Cano, Bertolone.


I met Galletti and found a time when musicians were living with dignity from what they did, they took seriously to music, and live music was high on the club scene (and did not need thousands of people to their work was effective). Then came the disc jockeys, cassettes, CDs, radios, MP3, ending a culture of live music (and this was not only in Uruguay) that was very healthy.
used Google Language tools

Falleció Roberto Galletti, baterista de Tótem.

Roberto Galletti, fundador del legendario conjunto Tótem, junto a Rada, Eduardo Useta y Chichito Cabral, falleció el sábado pasado. Maestro de bateristas, algún tiempo atrás Galleti había editado un disco sobre los ritmos más populares de América Latina. El trabajo, definido como una clínica baterística titulada "Sobre todo Ritmos", surgió como consecuencia de la experiencia acumulada de este artista, tanto en el exterior como en nuestro país, y es una coproducción entre Sondor y el Fonam. Tras años de conciertos, presentaciones y grabaciones, este CD se ha constituido en una guía para los bateristas amateurs y profesionales, para los cuales las enseñanzas aprendidas se trasmiten para una profesionalización de la percusión de origen latino.

"Hasta siempre Maestro"

Roberto Galletti, un grande de la batería uruguaya

Yo conocí a Roberto Galletti en 1986, en IFU (Tristán Narvaja entre Cerro Largo y Paysandú); yo estaba grabando mi primer álbum con "Los Tontos" y él estaba allí, tomando mate junto a la consola y conversando. Al igual que entonces, hoy sigue siendo una linda persona y un músico excepcional (algo que vi en el nuevo espectáculo de Diane Denoir; primera vez que vi a ambos en vivo). Nos encontramos algunas veces desde entonces (hablo del ´86) y ahora me animé a entrevistarlo. Menciona épocas, músicos y circunstancias que revelan mi ignorancia acerca de otras épocas, de otros músicos y de otra música uruguaya; también menciona músicos que nunca vi ni escuché. También habla de jazz, de guaracha y de salsa (algo también desconocido para mí). Esta nota era para alguien con mayor conocimiento de causa, pero lo mío era entrevistar al baterista del "Totem" y esto fue lo que salió:

¿Cómo arrancás en el tema de la música y más específicamente con la batería?

Yo arranco con la música allá por el '57, en la ciudad de Las Piedras.

¿Vos sos de Las Piedras?

No soy de Las Piedras, soy de Montevideo pero me fui a vivir a Las Piedras en el '57. Mi padre era carnicero, tenía carnicería y yo trabajaba de cajero. Y resultó que pegado a mi casa vivía un baterista, Enrique Cabrera, que me invitó a tocar.

¿Enrique cabrera tocaba en alguna agrupación conocida?

No, Enrique Cabrera era un gran baterista que enseguida consiguió contrato con “Suspiros de España", se fue para España y nunca más volvió; está recorriendo mundo todavía. Nunca más apareció por acá.

¿Vos estudiabas con él?

Sí, yo estudiaba con él y me orientaba; me vendió mi primera batería.

¿Por aquél entonces que música escuchabas?

Sobretodo escuchaba y tocaba, porque él me puso a tocar enseguida con una batería Gretch muy elemental: un bombo, un tambor, un ton-ton chico y un plato. Y teníamos un grupito que hacíamos muchos baiones bailables con acordeón, trompeta, batería y bajo. Ahí empecé y después se juntó una crema muy buena allá que eran los Crespo, los Trobo, los de Oliveira, los Carámbula y se armó una orquesta de dixieland con buenos elementos y sonaba que era precioso. Nos cultivábamos en esa escuchando mucho dixieland, escuchando a Armstrong, a Pee Wee Hank. Escuchando lo que se podía conseguir de dixieland y ensayando diariamente. Dando algún recital en Las Piedras.

¿También tocaban en bailes?

A veces hacíamos algún baile con invitados, pero era más bien para recital, porque el dixieland no es muy bailable, es muy alegre pero no es muy bailable, es escuchable. Y de ahí nos surgieron conciertos; después todos nos vinimos a estudiar a la Peña del Jazz de Montevideo, que estaba en Rondeau y Mercedes. Era una peña maravillosa, especialmente para nosotros que tendríamos quince o dieciséis años. Allí era un culto de la música de jazz en general. Había grandes maestros como Pasquet, Quinta Moreno, Dardo Martínez, Alberto Alonso, Silvera Lima, cantidad de maestros ¿viste?, que nos enseñaban a todos nosotros lo que era el jazz, la cultura del jazz. Había mucha discoteca, mucha lectura, había gente muy culta y ahí aprendimos y nos formamos. Después me vine a vivir a Montevideo y empecé a trabajar con Jorge Lencina en jingles, con Jaime Durán en cabaret y en boites; hice muchas tareas.

Digamos que a esa altura ya eras un músico profesional.

Sin lugar a dudas, para ese entonces ya había tocado con todo el mundo. Después de lo de Jaime Durán, donde también tocaba Huguito Fattoruso con nosotros. La orquesta tocaba en "Orfeo Negro" de Carrasco, una boite: éramos Jaime Durán, Tito Caballero, Enrique Aguilera y Roberto Galletti, ese era el cuarteto. Luego se sumó Hugo Fattoruso.

¿Y qué música hacían ahí?

Música brasilera, boleros, alguna cosa de Ray Charles, algún temita de jazz estándar. Hugo estuvo años allí con nosotros, después se fue Durán, me fui yo, se fue Aguilera y entró Hugo con el trío de él, con Osvaldo y con Pelín de bajo, también estuvo tiempo ahí. Luego me fui para el Hotel Lancaster con Manolo Guardia, Héctor Rossi, Juan Lamas y ahí trabajé años también. Luego vamos a Sarandí 640, una boite muy bonita, con un grupo que armó Juan Lamas que se llamaba "Alfa 4". Estaban Juan Lamas, Enrique Deboni, Mary Lamas (la señora de Juan) y yo. Era un grupo muy bonito, se cantaba a tres voces, hacíamos temas de Jair Rodrigues, Elis Regina, de María Bethania, de Joao Gilberto, de Antonio Carlos Jobim. También hacíamos boleros, alguna guarachita que otra… y ahí nos contrató George Roos (el tío de Jaime) para ir a España y nos surgió el contrato y allí estuvimos cuatro años trabajando a todo nivel. Maravilloso, alternábamos en los mejores boliches, era un grupo de la gran puta. Alternábamos con Serrat que recién empezaba, con Raphael, con Antonio Gadés ¡Alternábamos con todos los cracks de allá! Una belleza. Y nos fue muy bien, ganábamos muy bien, coche, casa, batería, andábamos bien de bien.

¿De qué año estamos hablando?

Y allí estuvimos del ´67 al ´70.

¿Y por esa época ya tenías contacto con grupos como El Kinto?

Yo toqué con un grupo que se llamaba "Omega", con Mateo, antes de "El Kinto".

¿Quiénes integraban "Omega"?

Estaban Mateo, Antonio Lagarde, Enrique Deboni y yo. Nunca pudimos grabar y no tenemos registro de eso; tenía una cinta madre de aquello pero me la robaron. Hacíamos música brasilera.

¿Y Mateo no metía alguna composición propia por ahí?

No, todavía no estaba en cuestión de componer en esas épocas, no era compositor, él tocaba y tocaba precioso, tocaba que era una belleza. Tomaba leche en los boliches; vos sabés que yo me tomaba una caña y se enojaba conmigo. ¡Mateo tomaba leche, se cuidaba que no te imaginás lo que se cuidaba!

Después de tu periplo español llega el "Totem".

Sí, después de lo de España, me vine con la intención de volver allá y entonces surge el "Totem".

¿Y cómo surge?

Mirá, es medio complicado porque Rada se pasaba en mi casa componiendo todo el día, se pasaba en casa porque era novio de mi prima y estaba como un pariente. Se pasaba todo el día en casa, comiendo, jodiendo, haciendo chistes y componiendo. Y ahí apareció Eduardo (Useta) con Lobito (Daniel Lagarde), Lobito consiguió al Gordo Rey (Enrique Rey); bueno, Lobito y yo porque el gordo Rey también tocó conmigo en "Orfeo Negro", y el Lobito lo llevó a probar. Empezamos a ensayar en el Hot Club, las ideas eran todas de Rada.

Pero los arreglos eran del grupo.

Se arreglaba entre todos, el Lobito aportaba la parte armónica, Useta también más los solos y los punteos, Rey acompañaba a toda máquina, Cabral y yo hacíamos lo rítmico con mucho equilibrio. Elementos muy profesionales todos.

Entonces no había muchos bateristas que tocaran candombe en el instrumento. Los nombres que me vienen a la mente son los de Luis Sosa ("El Kinto") y vos, con lo cual no quiero decir que fueran los únicos. Fue como que lo inventaron.

Lo inventaron Bebe Bassi y el "Loco" Prendes, porque eran mayores que nosotros y los primeros en grabar con Manolo Guardia, con Escayola; allá por el '66 ya estaban rimando candombe como locos en la batería.

De cualquier forma, creo que lo que hicieron Sosa y vos fue sentar las bases de cómo se hace candombe en batería hasta la actualidad, pienso en bateros como Gustavo Echenique y es notoria la influencia de ustedes en lo que vino después.

Sí, a mi Fernando Cabrera cuando me ve tocar me dice piropos. Me dice: “Galo vos no sabés lo que aprendo cuando te veo tocar la batería, los silencios tuyos son muy bonitos”, y pila de cosas más. ¡Imaginate, Fernando Cabrera, un guitarrista que toca divino! Y yo le digo: “¡Cómo me alabás y cómo te agradezco, capaz que tenés razón!

Pero escuchando el primer álbum del "Totem", también hay cosas de jazz, de rock´n´roll. ¿Eso también eran ideas tuyas?

Mirá, todos aportábamos en todo, había un aire muy bueno. Y cuando digo un buen aire me refiero a un buen estado de cada individuo, que la economía andaba, cada uno tenía su trabajo, no se estaba llorando, mendigando desesperado para pagar tal o cual cosa que la cabeza se te va. No, cada uno estaba centrado, tenía su casa, se comía bien, se estudiaba, se trabajaba, tenías tu novia, tu familia. Entonces, se hacía más fácil complementar un grupo que se entienda, que se logre, que se salga y que sea una cosa interesante. Que sea agradable como ha sido el "Totem", que lo nombran todavía. Y "El Kinto" fue una cosa similar, una belleza que no te cuento. Yo lamentablemente estaba en España cuando las mejores sesiones de "El Kinto"; escuché después las grabaciones, una cosa preciosa.

¿Y con el "Totem" dónde se presentaban?

Más que nada tocábamos en bailes y no era orquesta para bailes ¿sabés?, la gente se paraba a mirar, no podían bailar. La paisanada se paraba, pero como era tan agradable el espectáculo, había tanta musicalidad, tanto movimiento, tanto color que la gente lo aceptaba.

¿Y con qué bandas alternaban?

"Psiglo", "Los Campos", "Los Killers", "Las Sandías", "Días de Blues", "Opus Alfa", con todos ellos; buenos bailes en la Aguada, en La Caldera del Diablo, en el Club Nacional de Football, Centro de Protección de Choferes; por todos lados tocó el "Totem", recorrimos todo el país.

¿Y después?

Bueno, en un momento luego de un baile, vi que me había sangrado una mano y yo dije no, ya es demasiado para mí. Aquello me estaba desgastando.

¿En qué sentido?

Mental, la música para mí era muy violenta, mucho volumen y yo no estaba acostumbrado a la música muy fuerte; puedo tocarla y sé hacerla, pero aguanto hasta ahí nomás. A mí más bien me gusta trabajar en acústica, que podés tocar con escobillas, metiendo algún golpe con el palo, trabajar con acústica, matizando. O tocar jazz con contrabajo, piano, vientos, pero no a esos volúmenes roqueros que se te metían en la cabeza y a mí me la destrozaban. Y se tocaba fuerte, se tocaba muy fuerte y cuando me sangró la mano, bueno... fui al médico y me paró, me dijo que no toque más, me hizo descansar y dormir dieciséis horas por día y me calmó, me hizo bien.

¿Y era muy intenso el trabajo por entonces?

No, se ensayaba todos los días y se tocaba los fines de semana no mucho, dos o tres actuaciones. A mí se me tenía muy en cuenta y Alfonso (López Domínguez, el manager) entendía que el desgaste era muy grande y no se agendaban muchas más actuaciones. No se exageraba.

Escuchando el primer disco de "Totem" y cuando te vi en la Sala Zitarrosa en el recital de Diane Denoir, me llamó mucho la atención la fineza que tenés con los platillos. Es un trabajo muy fino y poco frecuente ¿Es algo que lo estudiaste o que lo fuiste desarrollando a través del tiempo?

Mirá, yo tuve la suerte de tocar todos los días del ´57 al ´70, y el hecho de tocar todos los días con gente que ejecuta bien y te enseña continuamente, como los pianistas o los bajistas, que te dicen: "no rajen, matizá acá, tocá esto acá", además de los profesores que yo he tenido...

¿Qué profesores?

Roberto Sorrentino, primer maestro del SODRE; Enrique Cabrera, Cacho Trobo, Regolí en España, Pepe Nieto también de España, esos son mis maestros digamos prácticos, en cuanto a estudio.

Esto hay que decirlo, mientras vos llevabas adelante tu carrera como músico profesional, seguías estudiando.

Estaba todo el día estudiando en casa, tocaba de noche y estudiaba de día.

¿Y cuántas horas estudiabas?

Mirá, era demasiado, estudiaba todo el día; mate amargo, Gene Krupa, Cozy Call, Goldenberg, todos los métodos, la tabla (practicable) y técnica y ejercicio. Alguna noviecita de vez en cuando, ahí al costado, tranquilito y con respeto, pero la música primero. Estudiar y estudiar es lo que más me dio resultado. Y respetar.

Vuelvo un poco a lo de antes, lo que tocás en el charleston no es algo frecuente en la música uruguaya.

No es frecuente y no es fácil tampoco. Eso aparte de estudiarlo, cuando tocás todos los días te da una cierta agilidad en la pierna y el dominio que tenés es casi automático. Pero requiere estudio sin lugar a dudas. Y eso no sólo lo hice con el "Totem", hay grabaciones que hice con Mike Dogliotti. Allí además de Dogliotti y de mí, estaban Federico García Vigil en el bajo, Huguito Jasa. Los álbumes se llaman "Chikalanga 3 + 1" y "Despedida", son medio comerciales si se quiere, pero son muy agradables de escuchar y están muy bien logrados. No es sólo el "Totem", he grabado con Zitarrosa, Diane Denoir, con “Pareceres” tengo trabajos hechos de timbaletas, no sólo de batería.

¿Sos percusionista también?

No, percusionista no, pero si no hay batería... También grabé cosas que vos no tenés ni idea.

¿Por ejemplo?

Girondo, La Cinta Verde en el ´58 o ´59, con Héctor Rossi, con Alonso, con Pasquet, con unos brasileros, con orquestas de cuerdas, en la fonoplatea de "El Espectador", si sigo acordándome no te cuento.

¿Y de la música uruguaya actual, qué es lo que más te gusta?

Y lo más lindo que he escuchado es lo que se sabe, es decir, comercialmente, porque yo soy medio que me tiro al comercio porque yo considero a la música una profesión y un trabajo y te tiene que aportar. Yo no puedo hacer música-arte porque yo no vivo de ella. Quizá ahora de viejo pueda dar manos en algunos lados, pero si el trabajo musical no te genera un ingreso, vos no podés vivir. Entonces para mí vale el comercio, como Jaime Roos, Ruben Rada, El Sabalero, Braulio y Pepe, Leo Maslíah, Cuarteto de Nos, gente que está armada, sabe lo que hace y sabe de qué se trata.

Estás dando clases ahora ¿qué es lo que más te piden los alumnos?

Lo que más quieren es rock´n´roll. Yo se lo puedo enseñar, pero yo le voy mechando, yo les doy conceptos de rock´n´roll, les doy formas, las bases digamos, les enseño a golpear, pero que no golpeen muy fuerte e intentar que apacigüen la cosa porque no es todo golpe, a hacer técnica en la tabla; tengo lindos métodos. Y a los que no saben las divisiones les enseño a leer, las corcheas, las semicorcheas, los silencios, los puntillos, el doble puntillo, lo que significa, mano izquierda, mano derecha; los voy llevando por el camino baterístico. Les enseño ritmos de todo tipo, desde el baión, la rumba, hasta el cha-cha, la guaracha, pasodoble, murga, candombe, pasa por todo ¿viste? Jazz, diferentes estilos de jazz, les enseño dixieland, les enseño swing, hot, a medida ¿viste?

Me contabas (previo a esta entrevista) que andás tocando por ahí.

Sí, en el Mercado de la Abundancia cada dos jueves hay sesiones y yo estoy ahí como invitado especial, no estoy contratado, voy por amistad, sociabilizo con los músicos y me invitan a tocar. La gente me dice ¡Galo, tocate una! y yo no desprecio. Están Ameijenda y Mingo Roverano, Chiche Bella, Quique Cano, Bertolone.


Me encontré con Galletti y me encontré con una época en que los músicos vivían dignamente de lo que hacían, se tomaban en serio a la música, y la música en vivo era preponderante en la movida nocturna (y no necesitaban a miles de personas para que su trabajo fuera efectivo). Luego llegaron los disc-jockeys, los cassettes, los CDs, las radios, los MP3 y terminaron con una cultura de música en vivo (y esto no fue solo en Uruguay) que era muy saludable.
01 de abril de 2006

Billy Hart - Enchance (1977)

01.Diff Customs (5:47) [Oliver Lake]
02.Shadow Dance (7:45) [Dave Holland]
03.Layla-Joy (6:58) [Billy Hart]
04.Corner Culture (2:49) [Dewey Redman]
05.Rahsaan Is Beautiful (4:32) [Hannibal Marvin Peterson]
06.Pharoah (9:33) [Don Pullen]
07.Hymn For The Old Year (8:53) [Oliver Lake].

Billy Hart(ds,per)
Oliver Lake(as,fl)
Dewey Redman(ts)
Marvin Peterson(tp,koto)
Eddie Henderson(tp,flh)-1,3,5
Dave Holland(b)-2,4,6,7
Buster Williams(b)-1,3,5
Michael Carvin(per)-3,5.

Buster Williams and Hart swing hard (they are one of the music’s famous rhythm sections) under a free-form sprawl on Oliver Lake’s “Diff Customs.” Don Pullen in particular is outrageous! No other recorded music sounds like this.
Recorded February 24 and March 3, 1977
by Tony May, Generation Sound Studio, New York City

John Mclaughlin - After The Rain (1994)

01.Take the Coltrane
02.My Favorite Things
03.Sing Me Softly of the Blues
06.Tones for Elvin Jones
08.Afro Blue
09.After the Rain.

John McLaughlin (guitar)
Joey DeFrancesco (organ)
Elvin Jones (drums).

Bob Mintzer - Hymn (2002)

04.Modren Day Tuba
05.Children's Song
06.Little Motif
07.Weird Blues
09.The Dark Side.

Bob Mintzer (clarinet, saxophone)
John Abercrombie (guitar)
Marc Johnson (bass)
Peter Erskine (drums).

Carlos Franzetti & City of Prague Philharmonic,Film Noir (2008)

01.Body Heat
02.Girl Talk
03.Last Tango in Paris
04.Voyage of the Damned, The
05.I Want to Live
06.Still Time
07.Place in the Sun, A
08.Taxi Driver
09.Bad and the Beautiful, The
10.Tango Fatal

Friday 19 February 2010

Juraj Griglák - Bass Friends (2000)

01.Anthill (J. Tatar, J. Griglak) 5:17
02.G - Groove (J. Tatar, J. Griglak) 6:03
03.Mystery of Love (J. Griglak, J. Tatar) 6:58
04.Inspiration (J. Griglak) 4:44
05.Circle Line (J. Tatar, J. Griglak) 6:24
06.Silence (J. Griglak) 4:35
07.Second Hand (J. Griglak, M. Jakabcic) 5:22
08.Codfish (J. Tatar, J. Griglak) 5:19
Bonus Track:
9. Goralske klobasy (J. Griglak) 2:22.

Juraj Griglak - bass guitar (1-9)
Juraj Tatar - keyboards, programming (1, 2, 5, 8)
Ron Affif, USA - guitar (1, 2, 5, 8)
Matus Jakabcic - guitar (3, 6, 7)
Juraj Bartos - trumpet (1, 2, 5, 8)
Rudolf Brezina - tenor saxophone (1, 2, 5, 8)
Frantisek Karnok - trombone (1, 2, 5, 8)
Andrea Valentini, USA - drums (1, 2, 5, 8)
Oldrich Petras - drums, programming (3, 4, 6, 9)
Martin Valihora - drums (7).

Grover Washington Jr. - All the King's Horses (1972-2008) Remastered

01.No Tears, In The End
02.All The King's Horses
03.Where Is The Love
04.Body And Soul (Montage)
05.Lean On Me
06.Lover Man
07.Love Song 1700.

Arranged By, Conductor - Bob James
Bass - Ron Carter
Cello - Charles McCracken , George Ricci
Congas - Ralph MacDonald
Drums - Bernard Purdie
Electric Piano, Harpsichord - Bob James
Engineer - Rudy Van Gelder
Flute - Arthur Clarke
French Horn - Brooks Tillotson , Donald Corrado , Fred Klein , Ray Alonge
Guitar - Cornell Dupree , David Spinozza , Eric Gale , Gene Bertoncini
Harp - Margaret Ross
Organ - Richard Tee
Percussion - Airto*
Producer - Creed Taylor
Saxophone [Alto], Flute, English Horn, Oboe, Recorder - George Marge
Saxophone [Baritone] - Arthur Clarke , Pepper Adams
Saxophone [Tenor & Alto] - Grover Washington, Jr.
Trombone - Paul Faulise , Tony Studd , Wayne Andre
Trumpet, Flugelhorn - Alan Rubin , Ernie Royal , Snooky Young* , John Frosk , Marky Markowitz , Marvin Stamm
Viola - Emanuel Vardi , Richard Dickler
Violin - Alexander Cores* , Bernard Eichen , David Nadien , Emanuel Green , Gene Orloff , Harold Kohon , Harry Lookofsky , Irving Spice , Joe Malin , John Pintaualle* , Max Ellen , Paul Gershman.
Recorded at Van Gelder Studios in May & June 1972.

Ginger Baker Trio - Falling Off The Roof (1996)

01.Falling off the Roof
02.Amarillo, Barbados
03.Bemshaw Swing
04.Sunday at the Hillcrest
05.Au Privave
06.Our Spanish Love Song
07.C.B.C. Mimps
09.Vino Vecchio
10.The Day the Sun Came Out
11.Taney County.

Bill Frisell - Guitar (Acoustic), Guitar (Electric)
Béla Fleck - Banjo
Charlie Haden - Bass
Ginger Baker - Drums
Jerry Hahn - Guitar (Electric).

Ginger Baker - Middle Passage (1990)

01.Mektoub 7:05
02.Under Black Skies 6:59
03.Time Be Time 5:00
04.Alamout 5:48
05.Basil 5:21
06.South to the Dust 5:00.

Ginger Baker - Drums
Aiyb Dieng - Dumbek, Percussion, Drums, Talking Drum, Metal Objects
Maguette Fall - Drums
Mar Gueye - Drums
Jonas Hellborg - Bass, Fretless Bass, Bass (Acoustic)
Bill Laswell - Bass, Fretless Bass, 6-String Bass
Nicky Skopelitis - Banjo, Guitar, Sitar, Guitar (12 String), Baglama, Fairlight
Omar Faruk Tekbilek - Ney, Zurna
Jah Wobble - Bass
Bernie Worrell - Organ (Hammond).

Monday 15 February 2010

Ginger Baker and the DJQ2O - Coward Of The County (1999)

01.Cyril Davies (Baker) 8:50
02.Ginger Spice (Miles) 8:30
03.Dangle the Carrot (Baker) 6:05
04.Megan Showers (Miles) 7:32
05.Jesus Loves Me (Miles) 9:32
06.Coward of the County (Miles) 5:45
07.Daylight (Miles) 7:28
08.Jesus, I Just Want to Go to Sleep (Miles) 6:43.

Todd Ayers - Guitar
Ginger Baker - Stick, Drums (Snare), Zildjian
James Carter - Clarinet (Bass), Sax (Baritone)
Eric Gunnison - Piano
Fred Hess - Sax (Tenor)
Ron Miles - Trumpet
Artie Moore - Bass
Shamie Royston - Organ
Glenn Taylor - Pedal Steel.

Mark Egan - Freedom Town (2001)

01.Freedom Town
02.Heart Beat
03.Habanero Nights
04.The Morning After
05.Valley Girl
08.Jack Hall
11.The Flame
12....Has Left the Building.

Mark Egan (keyboards, acoustic bass, double bass, 5-string bass, percussion programming)
Jeff Ciampa (guitar)
Lew Soloff (trumpet)
Clifford Carter, Jon Werking (keyboards)
Danny Gottlieb (drums)
David Charles (percussion).
Recorded at Electric Fields Studio, Warwick, New York on July 16-18, 2001.

That bass player is Mark Egan.

Born in Brockton, Massachusetts, Mark began his musical studies on the trumpet at the age of 10, mainly through the influence of his father who was an avid player. He continued to play the trumpet through high school in jazz bands, R&B groups and the high school orchestra. Mark started playing the bass at 16. He enrolled in the University of Miami School of Music under the direction of Jerry Coker and studied privately with the late Jaco Pastorius. "When I heard Jaco play it made me aware of what could be done on the electric bass, particularly with regard to grooving and soloing. Jaco just made me aware of another way of thinking about the bass.

Gato Barbieri - Apasionado (1983)

01.Latin Lovers (Gato Barbieri) 6:35
02.Que pasa (Gato Barbieri) 6:59
03.Last Tango in Paris (Gato Barbieri) 6:26
04.Terre me silente (Pino Daniele) 4:34
05.Angel (Gato Barbieri) 6:41
06.Tiempo buono (Pino Daniele) 4:04
07.Habanera (Gato Barbieri) 5:12.
01-07 - Recorded NYC, January 1983
08.Finale (A. Barrosa/Gato Barbieri/Atahuelpa Yupanqui) 8:29
Recorded live in concert, June 1981

Gato Barbieri (Tenor Saxophone)
Joe Caro (Guitar) - 1-7
Minu Cinelu (Percussion) - 1-7
Frank Ferrucci (Synthesizer, Keyboards)
Gary King (Bass) - 1-7
Eddie Martinez (Keyboards, Piano)
Chris Parker (Drums) - 1-7
Bill Washer (Guitar)
Pino Daniele (Vocal and Acoustic Guitar) - 4,6
Lincoln Goines (Bass) - 8
Bernard Purdie (Drums) - 8
Guillermo Franco (Percussion) - 8
Skip (Timbales) - 8
Pancho Morales (Conga) - 8.

Christian Scott – Anthem (2007)

01.Litany Against Fear
03.Anthem (Antediluvian Adaptation)
05.Cease Fire
07.Remains Distant
08.Uprising, The
09.Katrina’s Eyes
10.9, The
11.Like That
12.Anthem (Postdiluvial Adaptation) – (with Brother J.).

Christian Scott:
cornet (1, 2, 3, 12), trumpet (1, 4-6, 8-10), piano (4), flugelhorn (5, 11,), soprano trombone (7)
Aaron Parks:
piano (1-3, 6-10), synth bass(5, 6, 8,), Fender Rhodes (5, 9), synth (6, 8)
Esperanza Spalding:
bass (1, 4)
Marcus Gilmore:
drums; Matt Stevens: guitar (1-3, 5-12)
Louis Fouche:
straight alto saxophone (5, 6, 9-11)
Luques Curtis:
bass (2, 3, 6-12)
Walter Smith III:
tenor saxophone (7-9).

Sunday 14 February 2010

Claudio Roditi - Brazilliance x4 (2009)

01.Pro Zeca 5:01
02.E Nada Mais 5:42
03.A Vontade Mesmo 4:24
04.Tune Up 4:34
05.Rapaz de Bem 5:23
06.Dinner by Five 5:12
07.Song for Nana 3:59
08.Tema para Duduka 10:52
09.Quem Diz Que Sabe 5:23
10.Gemini Man 7:21.

Helio Alves (Piano)
Leonardo Cioglia (Bass)
Duduka Da Fonseca (Drums)
Claudio Roditi (Trumpet/Flgh).

Attila Zoller Trio - Common Cause (1979)

01.Kaybee (Attila Zoller) 06:26 (a)
02.Csardanova (Attila Zoller) 03:58 (a)
03.Common Cause (Attila Zoller) 05:14 (a)
04.Tshitar (Attila Zoller) 07:48 (a)
05.Lady Love (Bobby Jones) 07:10 (a)
06.Meet (Attila Zoller) 08:20 (a)
07.Conjunction (Attila Zoller) 08:10 (b)
08.Hella (Attila Zoller) 07:50 (b)

Recorded May 6, 1979 (a) and October 11, 1979 (b)
Attila Zoller - guitar
Ron Carter - bass
Joe Chambers - drums.

Andy Summers & Victor Biglione - Splendid Brazil (2005)

01.Chovendo na Roseira (Tom Jobim)
02.Fotografia (Tom Jobim)
03.Casa Forte (Edu Lobo)
04.Retrato em Branco e Preto (Tom Jobim, Chico Buarque)
05.Vento Bravo (Edu Lobo, Paulo César Pinheiro)
06.As Rosas Não Falam (Cartola)
07.Campina Grande (Marcos Valle)
08.Inútil Paisagem (Tom Jobim, Aloysio de Oliveira)
09.Brasiliance (Laurindo de Almeida)
10.Lamento (Tom Jobim, Vinicius de Moraes)
11.O Ôvo (Hermeto Pascoal)

Andy Summers guitars
Victor Biglione guitars.

Joe Pass & Paulinho Da Costa - Tudo Bem! (1978)

02.Tears (Razao le Viver)
04.Voce (You)
05.If You Went Away
06.Que Que Ha?
07.Gentle Rain, The (Chuva Delicada)
10.I Live to Love.

Joe Pass (guitar)
Oscar Castro-Neves (guitar)
Don Grusin (keyboards)
Claudio Slon (drums)
Paulinho Da Costa (percussion).
Recorded in May 1978.

Joe Pass - Portraits Of Duke Ellington (1974)

01.Satin Doll
02.I Let a Song Go Out of My Heart
03.Sophisticated Lady
04.I Got It Bad (And That Ain't Good)
05.In a Mellow Tone
07.Don't Get Around Much Anymore
08.Do Nothin' till You Hear From Me

Joe Pass (arch top electric guitar)
Ray Brown (acoustic bass)
Bobby Durham (drums).

Pat Martino - First Light (1976)

01.Line Games
02.Pyramidal Vision
03.Mardi Gras
05.Song Bird
06.Joyous Lake
12.Starbright Epilogue
15.Blue Macaw
16.City Lights

First Light continues a long line of excellent releases by the 32 Jazz label and Pat Martino. While neither Joyous Lake or Starbright merit the designation of "classic," the combination of both recordings on one budget-priced CD make two-fer an essential fusion recording. [First Light was reissued by Savoy Jazz in 2003.]~ Robert Taylor

Live Recording
Recorded at Criteria, Miami, Florida & Media Sound Studios, New York, New York in 1976.

2 LPs on 1 CD:JOYOUS LAKE (1977) and STARBRIGHT (1976).

Personnel includes:
Pat Martino (synthesizer, guitar)
Delmar Brown (keyboards, synthesizer)
Warren Bernhardt, Michael Mainieri (synthesizer)
Mark Leonard, Will Lee (bass)
Kenwood Dennard (drums, percussion)
Michael Carvin (drums)
Alyrio Lima Cova (percussion).

Pat Martino - Fire Dance (1998)

03.Sacred River
04.Garland for a Poet
05.Summer Stars
09.Season in Solitude
10.Song for Yogam.

(feat. Habib Khan, Ilya Rayzman, Pat Martino & Zakir Hussain)

Pat Martino - The Maker (1994)

02.You're Welcome to a Prayer
03.Changing Tides, The
05.This Autumn's Ours.

Pat Martino (guitar)
James Ridl (piano)
Marc Johnson (bass)
Joe Bonadio (drums).

Pat Martino - Joyous Lake (1976)

01.Line Games
02.Pyramidal Vision
03.Mardi Gras
05.Song Bird
06.Joyous Lake.

Kenwood Dennard - Percussion, Drums
Delmar Brown - Synthesizer, Fender Rhodes
Mark Leonard - Bass (Electric)
Pat Martino - Synthesizer, Guitar, Percussion, Sound Effects.

Pat Martino - Nightwings (1994)

01.Draw Me Down
03.Villa Hermosa
04.I Sing the Blues Every Night
05.Love Within, A

Pat Martino (guitar)
Bob Kenmotsu (tenor saxophone)
James Ridl (piano)
Marc Johnson (bass)
Bill Stewart (drums).

Pat Martino - Stone Blue (1997)

Uptown Down
Stone Blue
With All the People
13 To Go
Never Say Goodbye
Mac Tough
Joyous Lake
Two Weighs Out.

Kenwood Dennard - Percussion, Drums
Eric Alexander - Saxophone, Sax (Tenor)
Delmar Brown - Keyboards, Vocals
James Genus - Bass, Bass (Electric)
Pat Martino - Guitar.

Friday 12 February 2010

Pat Martino - Live At Yoshi's (2000)

02.All Blues
03.Mac Tough
04.Welcome to a Prayer
05.Hombre, El
07.Blue in Green

Pat Martino (guitar)
Billy Hart (drums)
Joey DeFrancesco (organ).
Recorded live at Yoshi's, Oakland, California from December 15-17, 2000.

Wednesday 10 February 2010

Pat Martino - Baiyina (The Clear Evidence)(1968)

02.Where Love's A Grown-Up God
04.Distant Land.

Pat Martino (guitar)
Bobby Rose (guitar)
Gregory Herbert (flute, alto sax)
Richard Davis (bass)
Charlie Presip (drums)
Reggie Ferguson (tabala)
Balakrishna (tamboura).

Pat Martino - Footprints (1972)

01.Visit, The
02.What Are You Doing the Rest of Your Life?
03.Road Song
05.How Insensitive
06.Alone Together.

Pat Martino, Bobby Rose (guitar)
Richard Davis (bass)
Billy Higgins (drums).