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Saturday, 11 September 2010
Friday, 10 September 2010
Tito Puente and his Latin Ensemble - El Rey (1984)
02.Autumn Leaves
03.Ran Kan Kan
04.Rainfall
05.Giant Steps
06.Linda Chicana
07.Stella By Starlight / Delirio
08.Equinox
09.El Rey Del Timbal.
Tito Puente - Timbales,Vibes and Vocal
Francisco Aguabella - Congas
Jimmy Frisaura - Valve Trombone
Johnny Rodriguez - Bongos,Congas and Vocal
Ray Gonzales - Trumpet and Flugelhorn
Jorge Dalto - Acoustic and Electric Piano
Jose Madera - Congas and Timbales
Mario Rivera - Flute,Soprano and tenor Saxaphone
Bobby Rodriguez - Bass.
Recorded Live at The Great American Music Hall,San Francisco,CA,May 1984.
Tuesday, 7 September 2010
Danilo Perez - Motherland (2000)
02.Suite for the Americas, Pt. 1,Perez 2:55
03.Elegant Dance,Perez 5:49
04.Panafrica,Perez 4:47
05.Baile,Brenes, Perez 1:56
06.Song to the Land,Perez,Vlieg 5:21
07.Suite for the Americas, Pt. 2,Perez 5:01
08.Prayer,Perez 4:39
09.Overture,Perez 3:49
10.Rio to Panama,Perez 4:38
11.Panamá Libre,Perez 6:48
12.Panamá 2000,Perez 8:36
13.And Then...Perez 1:01.
Claudia Acuña - Vocals
Greg Askew - Chant
Aquiles Baez - Guitar (Acoustic), Cuatro
Louis Bauzo - Chant, Bata
Brian Blade - Drums
Richard Bona - Bass (Electric), Vocals
Gonzalo Brenes - Composer
Richard Byrd - Chant, Okonkolo
Regina Carter - Violin
Carlos Henríquez - Bass (Acoustic)
John Patitucci - Bass (Acoustic)
Danilo Perez - Piano, Arranger, Fender Rhodes
Chris Potter - Sax (Alto), Sax (Soprano)
Luisito Quintero - Perc,Chimes,Conga,Drums,Maracas,Cajon,Caja,Tamborim
Kurt Rosenwinkel - Guitar (Electric)
Antonio Sanchéz - Drums
Luciana Souza - Vocals, Chant
Diego Urcola - Trumpet.
Review by Alex Henderson
When most people hear the term Latin jazz, they think of a mixture of bop and Afro-Cuban rhythms -- bop mixed with son, mambo, cha-cha, guaguanco, danzón, and other Afro-Cuban styles that have been described as salsa. But Latin-flavored jazz doesn't have to be Afro-Cuban jazz; in fact, jazz is compatible with numerous Latin rhythms that didn't originate in Cuba. Technically, Danilo Pérez's Motherland is Latin jazz because it fuses jazz with Latin elements. But it isn't Afro-Cuban jazz, and it isn't the type of Cubop that people associate with Machito, Tito Puente, Mongo Santamaria, Cal Tjader, and Poncho Sanchez. Instead, this introspective, chance-taking CD finds Panamanian pianist Danilo Pérez combining post-bop with a variety of Latin rhythms, everything from Panamanian tamborito to the samba and baião of Brazil. Pérez also uses Afro-Cuban rhythms at times, but it's important to stress that salsa is only one of the many tools in his arsenal. There is no reason why Motherland cannot be described as Latin jazz, after all, it is jazz with a strong Latin flavor. But unlike other releases by Spanish-speaking jazz artists, this excellent CD demonstrates that Latin jazz isn't necessarily Afro-Cuban jazz.
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Jorge Dalto - Solo Piano (1983)
01.Impresiones de mi viaje a Bs. As.- Dalto
02.Like a Whisper - Dalto
03.Hotel Du Globe - Dalto
04.Adiós Nonino - Piazzola
05.Giant Steps - Coltrane
06.This Masquerade - Russell
07.A Maria Cervantes - Morales
08.Niños - Dalto
09.Todo el día Sambando - Dalto.
Jorge Dalto - Piano.
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"Biutiful Record"
Dani Perez - Buenos Aires-Barcelona Connection (2001)
02.Nata
03.Senales
04.El Regalo
05.Mal Menor
06.Estrella
07.Fonteameneiro
08.Bublicious.
Dani Perez - guitar
Daniel Perez & Itxaso - guitar
Rodrigo Dominguez - tenor saxophone
Guillermo Delgado - bass
Mariano Steimberg - drums.
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Chet Baker/Jim Hall/Hubert Laws - Studio Trieste (1982)
01.Swan Lake (P.Tchaikovsky/ad.D.Sebesky) 8:41
02.All Blues (M.Davis) 9:44
03.Malaguena (E.Lecuona) 9:44
04.Django (J.Lewis) 10:01.
Jim Hall (Guitar)
Chet Baker (Trumpet and Flugelhorn)
Hubert Laws (Flutes)
Steve Gadd (Drums)
Sammy Figueroa (Percussion)
Kenny Barron (Piano) - 1,4
Jorge Dalto (Keyboards) - 2,3
Gary King (Bass Guitar) - 2,3
George Mraz (Double Bass) - 1,4
Jack Wilkins (Guitar) - 2
Don Sebesky (Arrangement).
Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey on March, April 1982,CTI Records.
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Thursday, 2 September 2010
Tribute To Jaco Pastorius - Gospel For J.F.P. III (2005)
02.Las Olas 5:00
03.Havona 6:25
04.Continuum 4:40
05.I Can Dig It Baby 5:05
06.Dania 4:50
07.Punk Jazz 6:50
08.Teen Town 6:52
09.Microcosm 8:34
10.Good Morning Anya 8:20
11.Gospel For J.F.P. III 3:18.
Toninho Horta (vocals, guitar); Hugo Fattoruso (vocals, piano, keyboards); Ines Bergara (vocals); Romero Lubmabo, Biréli Lagrène (acoustic guitar); Hiram Bullock, Mike Stern (electric guitar); Gil Goldstein (accordion, piano, keyboards); Jorge Pardo (saxophone); Bob Mintzer (tenor saxophone); Alex Darqui, Michael Gerber (piano); Delmar Brown, Abel Pabon, Charles Blenzig (keyboards); John Patitucci, Kenny Davis (acoustic bass); Felix Pastorius, Francisco Fattoruso, Pete Sebastian, Marcus Miller, Carlos Benavent (electric bass); Alex Acuña (drums, percussion); Danny Gottlieb, Jonathan Joseph, Jorge Fattoruso, Kenwood Dennard, Rich Franks, Billy Hart (drums); Othello Molineaux (steel pan); Pablo "Piraña" Silva, Washington Pintos, Noe Nuñez, Mariano Barroso, Gustavo Oviedo, Fernando "Lobo" Nuñez, Walter "Nego" Haedo, Jorge Gomez , Armando Marçal, Robert Thomas, Jr. (percussion).
Recording information: Artisan recorders; BMG Studios; Centerfield Studios; DNP Studio; Eastside Sound; Ghetto Heaven Studio; Mastersound Astoria; New River Studio; Octopus Studio; Studio Del Cordon; Teatro Sala Brunet; The Power Station, New York, NY; The Village Vanguard.
Arranger: Eduardo "Pitufo" Lombardo.
ALLABOUTJAZZ, COM (USA) by Alain Londes
This tribute to the late Jaco Pastorius is like a musical kaleidoscope that makes the inquisitive listener wonder what color will come next. The large number of musicians featured includes some who had the chance to play with Pastorius, as well as others who were influenced by him. Most tunes were written by the great bassist, with a few exceptions. The popular Pastorius composition “Three Views Of A Secret” starts off with a wakeup call by the fourteen voices of the Contrafarsa chorus singing in unison through murga, a unique Uruguayan voicing style. Hiram Bullock and Bireli Lagrene then engage in a quiet electric and acoustic guitar conversation before Contrafarsa returns to close the piece. “Las Olas” eases the listener into an easygoing Brazilian mood featuring Michael Gerber on piano and Toninho Horta on guitar. The sound of Weather Report distinguishes the classic “Havona,” which originally made its mark on Heavy Weather. Othello Molineaux, a steel pan master, provides a weaving feel while saxophonist Bob Mintzer grounds the tune melodically. Later, drummer Kenwood Dennard enlists electric bassist Marcus Miller to recreate “Teen Town,” also from Heavy Weather, in the same fusiony vein yet at a somewhat slower tempo than the original. The recording quiets down into an evocative “Continuum” that could easily be used as a comfortable new-agey musical accompaniment for visitors at an aquarium. Within the first notes, one might assume incorrectly that “I Can Dig It Baby” is a singing interlude. In reality, the song quickly takes the shape of a groovy line with Felix Pastorius holding the structure on electric bass with the assistance of a uniquely and engaging percussive Afro-Uruguayan rhythm called candombe. An example of Pastorius' straightahead jazz side is “Dania,” named after a beach in Florida and played by the Michael Gerber trio. Long-time Pastorius friend Gil Goldstein borrows “Punk Jazz” from Weather Report’s Mr. Gone and transforms it into a fascinating sound experiment using several accordions. Two of Pastorius' oldest friends, Richard Franks on drums and Alex Darqui on acoustic piano, are joined by acoustic bassist John Patitucci on the never-recorded “Microcosm.” In its rendition of “Good Morning Anya,” the Zebra Coast Band, a quartet led by Gil Goldstein, showcases its world-fusion sound by playing over an easy reggae-sounding rhythm. Jorge Pardo leads the melody on saxophone with Goldstein providing textured clips on accordion. Jaco Pastorius imprinted his mark on funk, R&B, modern jazz, and Afro-Cuban settings. This tribute covers all the bases. Such a representative collection should satisfy fans as well as introduce the unfamiliar to a very influential musician who left us eighteen years ago.
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Tom Scott - Apple Juice (1981)
02.Gonna Do It Right
03.We Belong Together
04.So White and So Funky
05.Gettin' Up
06.In My Dreams
07.Instant Relief.
Tom Scott (saxophone, tenor saxophone)
Dr. John (vocals)
Eric Gale, Hugh McCracken (guitar)
Richard Tee (keyboards)
Marcus Miller (bass guitar)
Steve Gadd (drums)
Ralph MacDonald (percussion)
APPLE JUICE is the ecstatic and passionate release from saxophonist Tom Scott, which includes live performances with a mix of talented musical guests.
Although a bit streaky, this is one of Tom Scott's better recordings of the 1980s. A live set with guitarists Eric Gale (whose bluesy playing is a strong asset) and Hugh McCracken, keyboardist Richard Tee, electric bassist Marcus Miller, drummer Steve Gadd and percussionist Ralph MacDonald, Scott sounds fine when playing tenor, although his decision to use the anonymous-sounding lyricon on some numbers is a mistake. Also on the minus side are Dr. John's cameo appearance singing "So White and So Funky," the repertoire in general (which includes four forgettable Scott originals), and some of the less imaginative rhythms. ~ Scott Yanow.
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Thelonious Monk - 5 By Monk By 5 (1959)
01.Jackie-Ing
02.Straight, No Chaser
03.Played Twice (Take 3)
04.Played Twice (Take 1)
05.Played Twice (Take 2)
06.I Mean You
07.Ask Me Now.
Thelonious Monk - Piano
Thad Jones - Cornet
Sam Jones - bass
Charlie Rouse - Tenor Saxophone
Art Taylor - Drums.
As the '50s drew to a close, so did Thelonious Monk's illustrious tenure on Riverside Records. In fact, the three dates needed for this title would be his penultimate for the label. The concept of the album consists of five Monk originals performed in a quintet setting. Ironically, this was the first time that Monk had recorded with a lineup that so prominently featured the "standard" bop rhythm section incorporating both a trumpet (or, in this case, cornet) and sax player. The quintet featured on Five by Monk by Five includes Monk (piano), Thad Jones (cornet), Charlie Rouse (tenor sax), Sam Jones (bass), and Art Taylor (drums). Rouse would become Monk's permanent tenor saxophonist for the majority of the 1960s. In what had become somewhat of a tradition, the disc's program consists of several of Monk's more established works as well as a few new compositions. One of the new works, "Jackie-ing" (incidentally, named after one of Monk's nieces), leads off the disc. It exemplifies the loose, disjointed, and exceedingly difficult arrangements that would define Monk as a premier composer/arranger/bandleader. This is in contrast to Monk the keyboard player and band member, which he skilfully demonstrates throughout the track as well as the rest of the album. The song's opening jam features a tasty tug of war between Rouse's animated lead and Monk's interjections and piano antics. Jones' cornet is incorporated tastefully throughout Monk's tricky arrangements. The stark contrast in performance timbre between the comparatively subdued Rouse or Monk and the frenetic bleating of Jones is notably disconcerting. The CD reissue includes two alternate takes of "Played Twice," the other Monk composition to be debuted on Five by Monk by Five.~ Lindsay Planer,All Music Guide.
Wednesday, 1 September 2010
Tommy Flanagan - Something Borrowed,Something Blue (1978)
02.Good Bait
03.Peace
04.Friday the 13th
05.Something Borrowed, Something Blue
06.West Coast Blues
07.Groovin' High.
Tommy Flanagan (piano)
Keter Betts (bass)
Jimmie Smith (drums).
Recorded at Fantasy Studios, Berkeley, California on January 30, 1978.
This is a typically flawless trio set from the tasteful and swinging bop-based pianist Tommy Flanagan. With the assistance of bassist Keter Betts and drummer Jimmie Smith on this CD reissue, Flanagan plays his original title cut and jazz originals by Thad Jones ("Bird Song"), Tadd Dameron, Horace Silver, Thelonious Monk ("Friday the 13th"), Wes Montgomery and Dizzy Gillespie. If Flanagan had not recorded so many equally rewarding sets during the past 20 years, this fine CD would have received a higher rating; virtually every one of his recordings is well worth picking up. ~ Scott Yanow.
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Blue Mitchell - Big 6 (1958)
02.Big Six 6:42
03.There Will Never Be Another You 4:59
04.Brother 'Ball 7:21
05.Jamph 3:46
06.Sir John 8:05
07.Promenade 1:40.
Curtis Fuller - Trombone
Johnny Griffin - Saxophone (Tenor)
Philly Joe Jones - Drums
Wynton Kelly - Piano
Blue Mitchell - Trumpet
Wilbur Ware - Bass.
Recorded in New York, New York on July 2 & 3, 1958. Originally released on Riverside (12-273).
Trumpeter Blue Mitchell was a virtual unknown when he recorded this Riverside album, his first as a leader. Now reissued on CD in the OJC series, Mitchell is heard in excellent form in an all-star sextet with trombonist Curtis Fuller, tenor great Johnny Griffin, pianist Wynton Kelly, bassist Wilbur Ware, and drummer Philly Joe Jones. In addition to some group originals, obscurities, and the standard "There Will Never Be Another You," the group also plays the earliest recorded version of Benny Golson's "Blues March," predating Art Blakey's famous recording. ~ Scott Yanow.
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Caldera - Dreamer (1979)
01.To Capture The Moon (4:58) [Eduardo del Barrio]
02.Rain Forest (8:04) [Jorge Strunz]
03.Dreamchild (5:11) [Eduardo del Barrio]
04.Celebration (4:32) [Georeg del Barrio]
05.Refrections On Don Quixote (7:10) [Eduardo del Barrio]
06.Brujerias (Wicherríes) (6:02) [Eduardo del Barrio, Jorge Strunz]
07.Himalaya (7:04) [Jorge Strunz].
Jorge Strunz - acoustic guitar, electric guitar,also chant (on 7).
Steve Tavaglione - alto saxophone, soprano saxophone,flute, bamboo flute.
Eduardo del Barrio - acoustic piano, electric piano,oberheim polyphonic, mini moog,prophet 5 synthesizers, percussion,also chant(on 7), palmas(on 6).
Mike Baiano Azeredo - percussion.
Greg Lee - bass.
Luis Conte - congas, timbales, batá, also chant(on 7).
Alex Acuña - drums, batá.
Guest Musicians:
George del Barrio - Fender Rhodes on 4.
Dean Cortez - bass on 7.
Gino D'Anri - flamenco guitar on 6.
Antonio Sanchez - palmas on 6.
Ernesto Herrera - palmas on 6.
Kathlyn Powell - celtic harp on 7.
Recorded and Mixed at Capitol Records, Hollywood, C.A.
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