Hot Salsa Meets Swedish Jazz (1998)

01.Night In Tunisia (Dizzy Gillespie)

02.Sangre Nueva (Torbjorn Langborn - Wilfredo Stephenson)

03.TP's Special (Tito Puente)

04.I Believe In Yesterday (Wilfredo Stephenson)

05.Giant Steps (John Coltrane)

06.Con Mi Ritmo (Trad. Arr. Torbjorn Langborn, Lyrics & Coro By Chico Alvarez)

07.Bluesette (Toots Thielemans)

08.Caravan (Duke Ellington).

HECTOR BINGERT - Saxo Tenor (solo on Giant Steps)

MATS HERMANSSON, Trombon

ERIK HENRIKSEN, Bongos

TORBJONRN LANGBORN, Piano, Bata oconcolo

JAN LEVANDER, Saxo Tenor

FREDRICK NOREN, Trompeta

HUMBERTO ROSALES, Congas, Bata iya, vocalista

RAFAEL SIDA, Timbales

WILFREDO STEPHENSON, Bajo, Bata itotele, percusión, cantante.

The Peruvian Wilfredo Stephenson traveled to Sweden in 1968, after having been in New York for 5 years, initially out of curiosity and partly to study international economics at the U of Stockholm. After completing his studies he decided to become a musician since the attraction of playing Latin music was stronger than work as an economist.
After playing the piano and guitar, he concentrated on percussion, bass and voices have been an invaluable catalyst for Latin music in the perspective of Swedish music. You can not underestimate its importance as a musician, band director and programmer of the sauce.
After playing with the big Sabu Martinez (now deceased and who dedicated his second album "Cursed primitve '/ Friend 1985) and many others, Wilfredo Hot Salsa formed in 1977-78. Their repertoire is inspired by Santana in the early years (The first album Hot Salsa "/ Montezuma 1979) and gradually changed when the band became convinced of the importance of exposing the roots of salsa music. Since then Hot Salsa is considered one of the best salsa bands in northern Europe, as a result have played in festivals in Scandinavia with Machito, Tito Puente, Mongo Santamaria, project opus 13, Son 14, Ruben Blades, and so on.
The concept of "Salsa Meetz Jazz" comes from Village Gate in NY and in 1984 transplanted Wilfredo Stephenson successful merger and the Stockholm Jazz Club Fasching, to the delight of both: the public and musicians.
On this album, Hot Sauce is invited to some of the jazz soloist who played with the band at Fasching with very good results (full of energy and joy) the first note to the end.
One of the great personalities of the Swedish Jazz, Christer Boustedt begins with a new version of "A Nigtht in Tunisia" by Dizzy Gillespie, with his alto sax in one fantastic, and exhibits his typical candor in a complete melodic combination.
Track 2 "New Blood" was written by one of the best pianists Swedish Torbjorn Langborn.
"Tp's Special" is performed by Tito Puente (Latin Jazz godfather) involved as a member of the band and solo.
"I Believe In Yesterday" written and sung (voice and percussion) by Wilfredo.
He then goes on a rumba John Coltrane "Giant Steps", where it looks (on tenor sax solo) Uruguay Héctor Bingert.
Follow a traditional sauce "with my pace," arranged by Torbjorn Langborn & Toots Thielemans; eye Limeños here, especially the district of Jesus Maria, Wilfredo recalls the corner and insurance friends.
The album ends with Duke Ellington classic "Caravan" played by Orjan Fahlstron and trumpeter Ulf Adak.

Wagner Tiso & Salif Keita - Brazilian Scenes (2003)

01.Baobab 5:12

02.Madrid (Estação Madriz) 6:40

03.Western Romance (Romance Ocidental) 5:32

04.Roots 1 (Raiz 1) 0:31

05.Ketan 4:14

06.Planet Amazon 5:19

07.Brazilian Scenes 6:31

08.Roots 2 0:33

09.Totem 3:41

10.Soundtrack 4:25

11.Roots 3 1:39

12.Baobab (Short Version) 3:16

13.Madrid (Short Version) 3:29.

Vicente Amigo - Chant, Composer, Flamenco Guitar, Handclapping, Jaleos

Mingo Araújo - Percussion

Nico Assumpção - Bass

Marcos DaSilva Gatham, Tabla

Tino Di Geraldo - Handclapping, Jaleos, Percussion

Cássia Eller - Vocals

Leo Gandelman - Sax (Alto), Sax (Soprano)

Jamil Joanes - Bass

Salif Keita - Vocals

Jurim Moreira - Drums

Sidinho Moreira - Percussion

Paulo Moura - Clarinet, Sax (Alto)

Rodrigo Sack - Vocals

Suso Saiz - Composer, E-Bow, Keyboards, Producer, Programming

Ricardo Silveira - Guitar

André Sperling - Drums

Marcella Succar - Vocals

Joana Goldoni Tiso - Vocals

Wagner Tiso - Arranger, Composer, Keyboard Programming, Keyboards, Musical Direction, Piano, Producer, Vocals

Renato Basseres Zarvos - Vocals.

Yamandu Costa & Paulo Moura - Negro del Blanco (2004)

01.Negro del Blanco

02.Um Chorinho Em Aldeia, No Glória

03.Duerme Negrito

04.Paloma

05.Valsa Venezuelana

06.Simplicidade

07.Sons de Carrilhões

08.Decaríssimo

09.Pot-Pourri: Samba Triste/Lapinha/Samba da Bênção/Pra Que Chorar

10.De Camino a la Vereda

11.Gracias a la Vida

12.Taquito Militar.

Moura and Yamandu here pay homage to musical masters Astor PIazzolla, Violeta Parra, and Atahualpa Yupanqui. Features 12 tracks including "Taquito Miltar," "La Paloma," "Pot-pourri," and "Decarissimo."

Dedicated to Latin music greats from Astor Piazzolla to Violeta Parra as well as Atahualpa Yupanqui.

Tito Puente And His Orchestra – Mucho Puente (1958)

01.Mambo Beat

02.The Late, Late Scene

03.Night Ritual

04.Malibu Beat

05.Night Hawk

06.Lullaby Of The Leaves

07.Son De La Loma

08.Duerme (Time Was)

09.Tea For Two

10.Poor Butterfly

11.Tito's Guajira.

A nice RCA stormer from Tito, and one that has him hitting a nice jazzy groove on a mix of Latin tunes and standards. Tito plays drums and timbales – and titles include "Ecstasy", "Noche De Ronda", "Tito's Guajira", "Duerme", and "Un Poquito De Tu Amor".

Born in Spanish Harlem to parents from Puerto Rico, Tito Puente would eventually become a legendary musician of Latin-jazz, and dance-oriented mambo compositions. Over his 50 year career Puente released or appeared on a vast catalog of albums (notably Dance Mania in 1958), on television (The Cosby Show and The Simpsons) and in films (The Mambo Kings). His talent and skill allowed him to explore numerous musical styles within Latin-jazz including mambo, son cubano, cha-cha-cha, and bossa nova. He won numerous Grammy awards, including the Lifetime Achievement Award, which was given posthumously in 2003. Puente died in 2000, age 77, following complications from a heart attack.

Tito Puente & His Latin Ensemble - Mambo Diablo (1985)

01.Mambo Diablo 4:14

02.Take Five 6:05

03.Lush Life 5:43

04.Pick Yourself Up 5:30

05.Lullaby of Birdland 4:20

06.No Pienses Asi 3:56

07.China 4:57

08.Eastern Joy Dance 5:54.

Sonny Bravo - Piano

Jimmy Frisaura - Flugelhorn, Trombone (Valve), Trumpet

Ray Gonzalez - Flugelhorn, Trumpet

Jose Madera - Conga, Percussion

Tito Puente - Marimba, Percussion,Timbales, Timbalitos, Vibraphone

Mario Rivera - Fiddle, Flute, Sax (Soprano), Sax (Tenor)

Johnny Dandy Rodrigues - Bongos, Percussion

Bobby Rodriguez - Bass

John "Dandy" Rodriguez - Bongos, Percussion

Johnny Rodriguez - Bongos, Percussion

George Shearing - Piano.

Review
by Scott Yanow.

Although he was never inactive, the 1980s found Tito Puente in a bit of a renaissance. His exciting Afro-Cuban jazz band had found a home on the Concord Picante label, and his music was increasing in popularity again. This particular CD has a stronger than usual repertoire, including "Take Five," "Lush Life" (done as Latin jazz), "Pick Yourself Up" and "Lullaby of Birdland"; the latter song has its composer George Shearing guesting on piano. Puente wrote half of the arrangements, contributed some excellent playing on timbales and vibes, and is heard heading a spirited three-horn, three-percussion octet. Very enjoyable music.

William Cepeda - Live at Montreux Jazz Festival (2007)

01.Dolores and Next Plena 10:47

02.Pa' Mi Cuembe 10:10

03.Cumba Blues 21:26

04.Cosa Nuestra & La Vida 11:19

05.Rulé Sondå & Yubå La Marile 3:57

06.Bomba Swing 5:42

07.Campo Jazz & Comparsa Loíza 11:34.

Instrument: Trombone
William Cepeda - trombone, composer, producer

William Cepeda comes from a well known family rooted in music. The Familia Cepeda is famous for their performances of folkloric music with African roots, the ‘Bomba,’ and as keepers of traditional Puerto Rican music for many years. The legendary Cepedas’ have produced many of Puerto Rico's most respected Afro-Rican percussionists, singers, dancers, composers and instrumentalists. Now, in William Cepeda, the young multi-instrumentalist, composer and arranger who was nurtured by the twin spirits of bomba and bebop, Puerto Rico's potent rhythms and entrancing melodies radiate out to enthrall an international audience hungry for new Latin sounds.

Despite his family’s intimate association with folkloric music, as a soloist Cepeda went his own way. His interest in jazz and great talent has enabled him to develop a unique jazz style which he calls “Afrorican Jazz”. The music is a fusion of jazz with the musical themes so prevalent in the folk music he grew up with.

Born in Loiza, Puerto Rico, Cepeda was immersed in the rhythms and melodies of the native danza, bomba and plena and even the folk music of the jibaro. With this background and family history, he started playing percussion with friends by age ten. In his teens, Cepeda picked up the trombone and got an early start as a professional musician.

Cepeda’s formal musical training includes BA degrees from Berklee College of Music in Boston and from the Conservatory of Music in Puerto Rico. He also attended the Aaron Copland School of Music at Queens College in New York, on a full scholarship, where he was awarded a Master’s Degree in Jazz Performance. The training exposed Cepeda to some of the greatest jazz musicians and taught him complexities of jazz improvisation and composition. He studied and played with such notable jazz musicians as Slide Hampton, Donald Byrd, David

Murray, and others. He also played and recorded with Latin music artists such as Oscar De Leon, Paquito d’Rivera, Celia Cruz, Tito Puente and Eddie Palmieri. When he is not touring, Cepeda is busy in the recording studio. As a recording artist, he appears on over 100 recordings as well as jingles and movie soundtracks.

Cepeda also played with and learned much from Dizzy Gillespie, one of the founders of Latin Jazz. The association began in 1989 when Cepeda was hired by Gillespie during a tour by Gillespie’s United Nation Orchestra. Joining the tour with Miriam Makeba, Cepeda participated in the fusion of jazz with South African music. On his return to Puerto Rico in 1990, after the tour, and inspired by collaboration with Gillespie and Makeba, Cepeda created his Afrorican jazz style. He had made a unique contribution in fusing the distinct musical styles and traditions of Africa and Puerto Rico, in a way that only Rafael Cortijo had done before with the major difference being the addition of jazz.

A chance encounter with Gillespie had opened a great artistic vehicle for Cepeda. It turned into an invitation to tour Europe with Gillespie, a lasting relationship, and unique musical style. It has afforded Cepeda to show his talents as a composer as well as an accomplished trombonist.

In 1997, Cepeda was selected one of the most important and influential Puerto Rican composers. His talent has brought him more than just popular recognition. It has won him many awards as well as grants from such diverse groups as the American Composers Orchestra, the American Composers Forum, the Association of Hispanic Arts and the Latino Arts Advancement Program. In2002 Cepeda was honored with a Meet The Composer’ New Residencies Program award to be a composer-in-residence of the Conservatory of Music of Puerto Rico for the next three years. During this residence Cepeda began writing music for many different kind of groupings, from chamber ensembles to big bands and symphonic orchestra, and developing artistic collaboration with dance and theater ensembles. Cepeda is currently on the faculty at the Brooklyn Conservatory of Music, teaches part-time and conducts seminars and workshops.

But Cepeda has also been successful as a record producer. He produced “Bombazo” (1998) for Grupo Afro Boricua,( highly recommended) as well as his own CD’s on the Blue Jackel label. “My Roots and Beyond,” (1998) and “Branching Out,” in 2000. He has started his own record label Casabe and has released “Live at Montreux,” and “Unity,” both in 2007.

Trombonist /composer /arranger William Cepeda is part of a new generation of musicians who have not only mastered the skills a jazz artist requires, but combine them with the traditional music of their homeland, creating a new and challenging repertoire. Cepeda calls his own variation on this theme “Afrorican Jazz.”

“This is my contribution to Puerto Rican music...Nothing like this has been done before, because while there are plenty of great jazz albums inspired by Cuban rhythms and music, Cuban-jazz fusions and such, there's nothing quite of the same calibre out there for Puerto Rican music and jazz. And there should be. It's time. You know, don Rafael Cepeda said that when the Puerto Rican people understand the value of their music and folklore, they will fight with great force to defend their honor. This music is about my people and for my people.”

“Traditional Puerto Rican music isn't heard that much outside of the island and it's a shame. We have a very strong music. By using a variety of instruments and the wealth of jazz resources, I have brought this rich tradition to another level, to a wider audience but also to a new level of feeling, more in line with the experience of today. I'm putting a little fire into it, with the result, I hope, of offering a dynamic and beautiful music for many, many people to enjoy.” William Cepeda.

Willis Jackson With Pat Martino - Willis...With Pat (1978)

01.Bolita

02.Single Action

03.Blue Velvet

04.Miss Ann

05.Gator Whale

06.My One and Only Love

07.The Breeze and I

08.The Goose Is Loose.

Willis Jackson (tenor saxophone)

Pat Martino (guitar)

Mickey Tucker (acoustic & electric piano, organ)

Charlie Earland, Carl Wilson (organ)

Bob Cranshaw, Jimmy Lewis (bass)

Freddie Waits, Idris Muhammad, Yusef Ali (drums)

Ralph Dorsey, Sonny Morgan (percussion)

Richard Landrum, Buddy Caldwell (congas).

Recorded between May 16, 1974 and April 26, 1978.

When Willis Jackson and Pat Martino got together in the 1960s and the 1970s, the improvisers usually had a very strong rapport. Released in 1998, this collection gathers some of their work for Muse in the 1970s and draws on three albums: Headed and Gutted (1974), Bar Wars (1977), and Single Action (1978). Painting a well-rounded picture of Jackson's work with Martino, With Pat Martino ranges from exhilarating, high-speed bop burners like "The Goose Is Loose" and "Single Action" to the slow blues of "Bolita" and "Miss Ann," to soulful ballad statements such as "My One and Only Love" and Bobby Vinton's "Blue Velvet" (which hasn't received a lot of attention from the jazz world but works impressively well as a jazz ballad). Jackson had calmed down since his honker sessions of the late 1940s and early '50s, but he still had a very big, fat tone and a lot of energy -- no one's going to mistake With Pat Martino for cool jazz. The material on this CD isn't very ambitious, but it's certainly heartfelt and rewarding. ~ Alex Henderson.

Elvin Jones - The Main Force (1976)

01.Salty Iron 5:19

02.Sweet Mama 6:25

03.Mini Modes 10:35

04.Philomene 4:37

05.Song of Rejoicing After Returning from a Hunt 15:42.

Drums - Elvin Jones

Bass - Dave Williams

Guitar - Ryo Kawasaki

Keyboards - Albert Dailey

Percussion - Angel Allende (3-5), Dave Johnson (1-2)

Reeds - Dave Liebman (1-2) , Frank Foster (3-5) , Pat LaBarbera , Steve Grossman (2-5).

Review

by Jim Todd

This inconsistent 1976 release from the mighty Elvin Jones is most successful when it draws on the high-energy, advanced hard bop style of the drummer's post-Coltrane period. It's a different story when it comes to the date's superfluous accommodations to fusion. Ryo Kawasaki's squelchy wah-wah guitar serves as the date's chief fusion device. At times, Kawasaki functions usefully in a role somewhat based on John McLaughlin's approach with Miles Davis in the late '60s. Mostly, he comes across as an additional flavor calculated to skew the music's appeal to the rock audience. Still, the opening track, Kawasaki's "Salty Iron," is wonderful, funky, jazz fusion, but it's not a track that calls for Jones' peerless gifts. "Philomene" and "Mini Modes" are in a more hard bop vein, but their potential is undermined by Kawasaki's trendy licks and the tinny chime of Al Dailey's electric piano. The highlight is Gene Perla's "Sweet Mama." Here, guest saxophonist Dave Liebman fires up some tasty, apocalyptic mayhem over a roiling, rhythm-section tempest. There's also a magical solo spot from Jones. This track is helped considerably by Dailey more suitably playing an acoustic piano and bassist Dave Williams setting aside his electric in favor of his upright. As for the 16-plus-minute "Song of Rejoicing," this marathon of collective, percussive noodling, including extensive pad slapping from reed players Pat Labarbera and Frank Foster, is simply an ill-conceived shamble.

Chick Corea & Gary Burton - Native Sense (1997)

01.Native Sense 6:33

02.Love Castle 7:29

03.Duende 8:06

04.No Mystery 9:10

05.Armando's Rhumba 3:48

06.Bagatelle #6 1:15

07.Post Script 5:45

08.Bagatelle #2 2:49

09.Tango '92 5:01

10.Rhumbata 9:36

11.Four In One 5:10.

Chick Corea - piano

Gary Burton - vibes.

By
ROBERT SPENCER,
Pianist Chick Corea and Gary Burton (vibes and marimba) have put together a new disc of duets, Native Sense, and it can be summed up in one word: lovely. This is the fifth duet recording from these two; their interaction shows the ease and comfort of a long association, even though the last release was twelve years ago. For Native Sense, Corea tells us in his liner notes, he wrote two new melodies: "Post Script" and "Rhumbata." Three other numbers, "Love Castle," "No Mystery," and "Duende" were, says the pianist, "previously written and recorded by myself with other groups but never performed very much afterwards." "Armando's Rhumba" is a piece the two have been performing live for a few years. "Tango '92" is an unused soundtrack piece. For dessert, Corea and Burton turn in a delightful version of Thelonious Monk's "Four in One."

The centerpiece of this album is a pair of two bagatelles by the Hungarian classical composer Béla Bartók. With "Post Script" sandwiched between them, they form a mini-suite reminiscent of Keith Jarrett's tackling of another great classical modernist, Dmitri Shostakovich. On these brief pieces, where Burton shimmers with seemingly impossible delicacy, Corea makes a tentative return to territory he has scarcely visited at all in the nearly thirty years since the demise of his avant-jazz quartet with Anthony Braxton, Circle. Bartók has just the sort of harmonic sensibility that Braxton has mined so doggedly since Chick took off for the more fertile pastures of Scientology and Return to Forever; Bartók's "Bagatelle #2" sounds like the lighter side of, say, "Composition 40F." Here Corea's butterfly-wing lightness, however, demonstrates his long-standing commitment to lyricism at whatever cost.

Armando Corea's Spanish roots are very much in evidence. "Armando's Rhumba" and "Rhumbata," "Tango '92," "Duende," and "Post Script" are all light (always light) Latin rhythms; in fact, scarcely anything on the album lacks a Spanish feel, whether in rhythm or a light (again) flamenco-tinged rumble from one of the principals. Even Monk's "Four In One" sounds like something Tito Puente could sink his teeth into; maybe it's the company, or Burton's spirited attack on the vibes. Both his solo and Corea's, meanwhile, seem to nod to another Monk tune, "Trinkle Tinkle," here and there.

The placement of the Monk piece at the end of the album points up how much ground the two have actually covered in one CD's length. Yet from rhumbas to Bartók to Monk, they remain unruffled, pleasant, and assured. While never losing their light touch, on Native Sense they a clearly enjoying the fruits of a long and rewarding partnership.

Buddy Rich – Tuff Dude (1974)

01.Donna Lee

02.Chameleon

03.2nd Avenue Blue

04.Jumpin' at the Woodside

05.Sierra Lonely

06.Nica's Dream

07.Billie's Bounce.

Buddy Rich - Drums

Sonny Fortune - Alto & Soprano Saxophones & Flute

Sal Nistico - Tenor Saxophone

Kenny Barron - Piano

Jack Wilkins - Guitar

Antony Jackson - Bass

Jimmy Maeulen - Percussion

Mike Abene - Piano on Track 04.

This is a good live septet session recorded at Buddy's Place in the early 1970's. Rich's drumming is so powerful on the opener, "Donna Lee', that he virtually renders the sax soloist superfluous, as Buddy and Anthony Jackson could have carried the tune on their own. "Chameleon" finds him also pushing the band from behind, though the funky electric wah-wah on Jack Wilkins' guitar chords offers a stronger counterweight. Unfortunately, this track ends in a truncated fashion after only about 4 minutes of grooving. The recording is also a little murkier than the best technology of the day might have offered. Nevertheless, there are solos from Wilkins, Kenny Barron, Sonny Fortune, and Sal Nistico worth hearing, in addition to the leader's virtuoso performance.

His drumming technique

Rich's technique has been one of the most standardized and coveted in drumming. His dexterity, speed and smooth execution are considered "holy grails" of drum technique. While Rich typically held his sticks using traditional grip, he was also a skilled "match grip" player, and was one of few drummers to master the one-handed roll on both hands. Some of his more spectacular moves are crossover riffs, where he would criss-cross his arms from one drum to another, sometimes over the arm, and even under the arm at great speed.
He often used contrasting techniques to keep long drum solos from getting mundane. Aside from his energetic explosive displays, he would go into quieter passages. One passage he would use in most solos starts with a simple single-stroke roll on the snare picking up speed and power, then slowly moving his sticks closer to the rim as he gets quieter and then eventually playing on just the rim itself while still maintaining speed. Then he would reverse the effect and slowly move towards the center of the snare while increasing power.
Rich also demonstrated incredible skill at brush technique. On one album, Tatum Group Masterpieces No. 3 along with Lionel Hampton and Art Tatum, Rich plays brushes almost throughout with a mastery seldom achieved by any other drummer.
Another technique that few drummers have been able to perfect is the stick-trick where he does a fast roll just by slapping his two sticks together in a circular motion. When performing a single-stroke roll, Rich could be clocked at up to 20 strokes per second.

Buddy Rich & Max Roach - Rich Versus Roach (1959)

01.Sing, Sing, Sing [Louis Prima] (Previously Unissued Alternate Take) (4:22)

02.Sing, Sing, Sing [Louis Prima] (4:08)

03.The Casbah [Gigi Gryce] (4:28)

04.The Casbah [Gigi Gryce] (Previously Unissued Alternate Take) (5:01)

05.Sleep [Earl Lebieg] (3:18)

06.Figure Eights [B. Rich & M. Roach] (4:30)

07.Yesterdays [Otto Harbach & Jerome Kern] (5:41)

08.Big Foot [Charlie Parker] (5:00)

09.Big Foot [Charlie Parker] (Previously Unissued Alternate Take)(5:14)

10.Limehouse Blues [Furber & Braham] (3:56)

11.Limehouse Blues [Furber & Braham] (Previously Unissued Alternate Take) (3:47)

12.Toot, Toot, Tootsie Goodbye [Gus Kahn, Ernie Erdman, Dan Russo & Ted Riorito] (3:57).

Left Channel:

BUDDY RICH QUINTET

Buddy Rich - Drums

Willie Dennis - Trombone

Phil Woods - Sax (Alto)

John Bunch - Piano

Phil Leshin - Bass

Right Channel:

MAX ROACH QUINTET

Max Roach - Drums

Bobby Boswell - Bass

Julian Priester - Trombone

Tommy Turrentine - trympet

Stanley Turrentine - Sax (tenor).

The idea probably looked good on paper. Why not combine Buddy Rich's Quintet of 1959 (which consisted of altoist Phil Woods, trombonist Willie Dennis, pianist John Bunch and bassist Phil Leshin) with Max Roach's band of the time (consisting of trumpeter Tommy Turrentine, tenor saxophonist Stanley Turrentine, trombonist Julian Priester and bassist Bobby Boswell)? This CD reissues all of the music (including four "new" alternate takes) but the excess of drum solos and the relative brevity of space given to the horns results in a great deal of sameness from track to track. An unexpected bore. By Scott Yanow.

Alex Acuna & The Unknowns - No Accent (2005)

01.All For Nothing

02.Paseando

03.Mambo Tango

04.O Come O Come Emmanuel

05.Woodman

06.Silent Singing

07.Living Pictures

08.Rumbeando pa'l Norte

09.In Your Eyes

10.Alas de Aguila.

Alex Acuña (drums, percussion)

Ramón Stagnaro (acoustic guitar, electric guitar)

Pedro Eustache (flute, duduk, saxophone)

Otmaro Ruíz (piano, keyboards)

John Pena (bass guitar)

Richie Gajate Garcia (percussion).

Additional personnel:

Walt Fowler (trumpet)

Ricardo Arbe (keyboards)

Marvin McQuitty (drums).

This cd Alex Acuna & The Unknowns is a very pleasant experience jazz ensemble and beautiful compositions and arrangements which demonstrates the great fantasy of this excellent Peruvian drummer and percussionist who has accompanied almost all the great artists of world music firmament for over 30 years and his group of friends who love colleagues with his virtuosity and improvisation. Stresses much participation Venezuelan flutist Pedro Eustache. Very beautiful arrangement of Christmas-themed "O Come O Come Emmanuel" where we can appreciate this beautiful instrument like the Duduk East. Great album that fuses all good jazz listener should listen.

Hilton Ruiz - Manhattan Mambo Soundtrack (1992)

01.Mambo Numero Cinco 5:02

02.Sure Thing 6:34

03.Michael's Mambo 4:28

04.Home Cookin'5:17

05.Overtime Mambo 7:34

06.Giovanni Speaks 6:17

07.Impressions 10:13

08.Showtime 6:37.

Hilton Ruiz (piano)

David Sanchez (tenor saxophone)

Charlie Sepulveda (trumpet)

Angel Papo Vasquez, Papo Vazquez (trombone)

Steve Berrios (drums, cowbells, timbales, percussion)

Ignacio Berroa (drums, timbales)

Giovanni Hidalgo (congas, cowbells, bells, gong)

Joe Gonzalez (bongos)

Andy González (bass,cowbells).

Recording information: BMG, Studio C, New York, NY (04/28/1992)

Pianist Hilton Ruiz is heard with a superior group of musicians adept at playing both bebop and Latin jazz. With a front line of trumpeter Charlie Sepulveda, David Sanchez on tenor and trombonist Papo Vazquez in addition to four percussionists, Ruiz's nonet displays plenty of fire on a set of originals, Pérez Prado's "Mambo Numero Cinco" and John Coltrane's "Impressions." ~ Scott Yanow.

Hilton Ruiz - Island Eyes (1997)

01.Intrepid Fox 5:51

02.Island Eyes 4:35

03.Girls in Love 4:45

04.House Of Dreams 5:07

05.Gee Baby, Ain't I Good to You 6:01

06.Stand By Me 4:51

07.Unit seven 5:07

08.Body And Soul 4:17

09.Soul Eyes 5:11

10.Solar Orbit 2:47

11.Naturally 5:54.

Hilton Ruiz (piano, keyboards)

Bernd Shoenhart (guitar)

Dave Valentin (flute)

John Stubblefield (tenor saxophone)

Jon Faddis (trumpet)

Tito Puente (vibraphone, timbales)

John Benítez (electric bass)

Ignacio Berroa (drums)

Milton Cardona, Richie Flores (congas, percussion).

Recorded at Sound On Sound Studios, New York, New York.

What is presented on this album is a representation of the level of sophistication which Afro-Carribean music now exemplifies. Played by a combination of contemporary African-American and Latino jazz musicians, this music is sure to excite and delight. The effortless interaction and camraderie evident between the musicians on this date demonstrates the strength uniting Afro-Carribean and Afro-American traditions. "Island Eyes" is dedicated to Charlie Palmieri, my great friend and fellow musician. Charlie will always be remembered as one of the all time greatest Puerto Rican pianists, arrangers, and composers.

Hilton Ruiz - Hands On Percussion (1995)

01.Ornithology 4:53

02.Blues for "Cos" 5:49

03.Mambo for Vibes 4:34

04.'round Midnight 5:41

05.Cotton Tail 3:56

06.Jack's Tune 5:34

07.Like Sonny 5:20

08.Manenguitos Way 5:24

09.Salute To Eddie 6:06.

Hilton Ruiz (piano)

David Sanchez, Jose D'Leon (tenor saxophone)

Charlie Sepulveda (trumpet)

"Papo" Vasquez (trombone)

Dave Valentin, Peter Brainin (flute)

Tito Puente (vibraphone, timbales)

Andy Gonzalez (bass)

Ignacio Berroa (drums)

Steve Berrios (timbales)

Giovanni Hidalgo (percussion).

Recording information: Studio "440" (1994-1995); Studio 440 (1994-1995).

Pianist Hilton Ruiz has had a very successful career in both jazz and Latin music. On this Tropijazz release, he combines the two styles to form a very likable brand of Latin jazz. Ruiz utilizes such sidemen as Tito Puente (playing vibes or timbales on three songs), flutist Dave Valentin, tenor saxophonist David Sanchez, trumpeter Charlie Sepulveda, trombonist Papo Vasquez, bassist Andy Gonzalez and three notable percussionists (Giovanni Hidalgo, Ignacio Berroa and Steve Berrios) for Latinized versions of four jazz standards and five group originals (including three by Ruiz). The music is quite catchy, danceable and reasonably challenging. Recommended to fans of Latin-jazz. ~ Scott Yanow.

Daly Wilson Big Band - To Good For A One Night Stand (1978)

Star Wars

Charlies Angels

Lady Madonna

Song For Sarah

Car Wash

Gonna Fly Now (Rocky)

Doctor Sunshine

Baretta

Tribute To A Czar

Timepiece

Carnival

The Greatest Love Of All-I Always Knew I Had It In Me.

Bass – John Coca

Clarinet – David Glyde, Doug Foskett, Errol Buddle, Graeme Jesse, John Mitchell (9)

Congas, Bongos, Performer [Chocola] – Barry Sutton (2)

Drums, Timbales, Tambourine, Drums [Electric Syndrums], Bells [Bell Tree], Bells [Go-go], Performer [Match Tree] – Warren Daly

Engineer – Graham Owens

Flute – David Glyde, Doug Foskett, Errol Buddle, Graeme Jesse, John Mitchell (9)

Flute [Alto] – Doug Foskett

Guitar – Mick Reid

Harp [Blues] – Greg Foster

Lyricon – Doug Foskett

Organ [Hammond] – Col Nolan

Piano, Electric Piano, Synthesizer [Strings], Clavinet – Charles Hull

Saxophone [Alto] – Doug Foskett, Graeme Jesse

Saxophone [Baritone] – John Mitchell (9)

Saxophone [Soprano] – David Glyde, Doug Foskett, Graeme Jesse

Saxophone [Tenor] – David Glyde, Errol Buddle

Trombone [Bass] – Steve Powell (2)

Trombone [Tenor] – Ed Wilson (5), Steve Powell (2)

Trumpet, Flugelhorn – Don Raverty, Miles Harris, Norm Harris.

Recorded at Trafalgar Studios, Sydney.

The Daly/Wilson Big Band were a success story during the seventies and early eighties and although the band had gained a strong following for their electrifying live shows around the country, the overheads in keeping the band on the road became a financial burden...The band was put on hold for a while in 1971 while Ed Wilson went searching for new challenges and found his way to England where he took up the trombone chair with the band at the London Palladium. In 1972 he was coaxed back to Australia where Daly/Wilson was resurrected with the added incentive of sponsorship from Benson & Hedges. The next seven years saw the band tour constantly both nationally around Australia and abroad....they were in fact one of the first western acts in the world to perform in Russia. The line-up was complimented by three great Australian vocalists who helped broaden the appeal of the band...Marcia Hines , Kerry Biddell and the late, great Ricky May, Ricky appears on the last track on the this album.
The Daly/Wilson Big Band are an important part of Australian music history and leave behind a legacy 8 Albums and indelible memories of sensational live shows.

Had some real trouble trying to clean up the Charlie's Angels track there was a scratch right through the intro so I left it out and ended up with a shortened track which if you don't know the song you wouldn't notice so what I've done is uploaded the single track as a wave file and if anyone can fix it I would appreciate it .
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The Daly Wilson Big Band was from Australia and was sponsored by the Benson & Hedges cigarette company. Too Good For A One Night Stand was a TV promotional release containing the group’s usual mix of covers. This time, most of them are dance oriented such as Charlie’s Angels and Lady Madonna. There is a drum break in the middle of Star Wars, but otherwise, these songs aren’t really that great. Things don’t get a little funky until Car Wash with a drum and bass breakdown right at the beginning, followed by a flute solo. Unfortunately that turns to slap bass playing towards the end. The mid-tempo Doctor Sunshine with its whistling flute melody is much better. That’s followed by a nice and easy Jazz-Fusion version of Baretta. Carnival has a nice mix of big band and Latin sounds to it led by the flute again with a percussion break.

Cuarto Espacio - Reencuentro (1997)

01.Tumbania

02.Sancho

03.Reencuentro

04.Pantera

05.Tranquilidad

06.Polka and Son

07.Reencuentro (Reprise)

08.Hay Gritos

09.Momo.

Omar Hernandez - Bass,Vocals

Ernán Lopez-Nussa - Piano

Jimmy Branley - Drums.Perc

Fernando "Teo" Calveiro - Guitar.

Cuarto Espacio - Reencuentro (1997)

Cuarto Espacio desde sus inicios se perfiló como una agrupación revolucionaria en el jazz cubano. Formado a finales de los años 80's y con una formación que se originó en el Grupo Afrocuba, Su principal artífice Ernán López-Nussa, a quién ya conocemos en este blog, logra reunir bajo su talento al bajista Omar Hernández, a Jimmy Branley en la batería y percusión y a Fernando "Teo" Calveiro en la guitarra eléctrica.
Del Grupo Afrocuba Ernán traía influencias que a través de Cuarto Espacio se fueron concretando. En este cuarteto explora las sonoridades del jazz fusion sazonado con ritmos afrocubanos. La maestría y el talento de sus músicos que ya tenían una trayectoria excepcional en varias agrupaciones antes de caer en el Cuarto Espacio, hacen que cada pista de este disco sea una revelación, quizás tardía, pero definitivamente sorprendente.
Omar Hernández que provenía del Grupo Afrocuba, demuestra en esta formación habilidades hasta ese momento desconocidas de compositor y arreglista así como de vocalista en los temas "Tranquilidad" y "Hay Gritos", además es considerado también junto a Ernán el otro líder del cuarteto. En otra de sus facetas encontraremos a un Omar Hernández pletórico de creatividad y excelentísimas interpretaciones, logrando sacar del bajo sonidos que muy bien insertados dentro de la sonoridad del grupo emulan en rapidez y digitación con los sintetizadores de Ernán López Nussa, ejemplo vívido es el tema "Polka and Son". Fernando "Teo" Calveiro es otro excelente músico que además de militar en Afrocuba tuvo una trayectoria enriquecedora en la agrupación de rock afrocubano "Síntesis". Su virtuosismo que proviene de la fusión afrocubana con la sonoridad del rock se inserta en este nuevo proyecto dándole otro matiz a la obra del cuarteto. La sencillez de sus acordes y en especial su lirísmo se ve reflejada en un tema como "Reencuentro", un mano a mano entre Ernán y Calveiro que nos muestra a un guitarrista con una sensibilidad excepcional muy influenciado por el maestro Leo Brower. Por último Jimmy Branley viene a demostrar con sus instrumentos la virtud de los percusionistas cubanos. Versátil y experimentador de los ritmos afrocubanos, Branley destapa en la batería la sonoridad de la timba en el tema "Pantera". La fusión como bandera y la polirritmia como himno hacen que este baterista le de a Cuarto Espacio una dosis alta de cubanía, y no sólo a través de la batería sino tambien a través de la percusión donde Branley demuestra un don innato.

Pero Cuarto Espacio trasciende más allá del experimento. Jazz-rock-fusión es un termino que se queda corto ante la química lograda por estos cuatro músicos. No es un calificativo que abarca todo el espectro que encontraremos en este disco, en este fonograma se inmortalizaron temas que han quedado en la mente de muchos cubanos, como Momo, Reencuentro, la Polka and Son y Tranquilidad del bajista Omar Hernández. El disco fue editado primeramente por el sello Intuition de Alemania en el año 1989 con el nombre de Reencuentro. Posteriormente el sello Ashe Records lo reedita en el año 1997. De ahí las dos portadas incluídas en este post. Sin más espero que disfruten pués esta nueva entrega, que de seguro les dará una grata sorpresa.

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(Google Spanish to English translation)

Fourth Space since its inception emerged as a revolutionary group in the Cuban jazz. Formed in the late 80's and with a formation that originated in Group Afrocuba, its principal architect Ernan Lopez-Nussa, who we know in this blog, managed to gather under his talented bassist Omar Hernandez, Jimmy Branley in drums and percussion and Fernando "Teo" Calveiro on electric guitar.
Group influences brought Ernán Afrocuba through fourth space were taking shape. In this quartet explores the sonorities of the jazz fusion flavored with Afro-Cuban rhythms. The expertise and talent of the musicians who already had an exceptional track record in several groups before falling into the fourth space, make every track on this album is a revelation, perhaps late, but definitely amazing.
Omar Hernandez came Afrocuba Group, skills training shows in this hitherto unknown composer and arranger as well as a vocalist on the songs "Quiet" and "no yelling" as well is also considered along with the other leader Ernán quartet. On another side of Omar Hernandez find a creative and full of most excellent performances, managing to get the bass sounds very well inserted into emulate the sound of the group in speed and typing with synthesizers Ernan Lopez Nussa vivid example is the issue "Polka and Son." Fernando "Teo" is another excellent musician Calveiro besides Afrocuba military had a rich history in the Afro-Cuban rock band "Synthesis". His virtuosity that comes from the Afro-Cuban fusion of rock with the sound inserted into this new project giving another nuance to the work of the quartet. The simplicity of the chords and particularly its lyricism is reflected in a subject like "Reunion," a duel between Calveiro Ernán and that shows a guitarist with a unique sensibility heavily influenced by the master Leo Brower. Finally Jimmy Branley goes to show with their instruments under the Cuban percussionists. Versatile and experienced Afro-Cuban rhythms, the battery Branley uncovers the sounds of timba on "Pantera". Fusion as flag and anthem polyrhythm drummer make this room give space to a high dose of Cuban, not just through the battery but also through the drum where Branley demonstrates an innate gift.

Fourth Space But transcending the experiment. Jazz-rock-fusion is a term that falls far short of chemistry achieved by these four musicians. There is a qualifier that spans the spectrum we find in this record, this phonogram issues that have been immortalized in the minds of many Cubans, as Momo, Reunion, the Polka and Son and Quiet bassist Omar Hernandez. The album was released first by the German label Intuition in 1989 under the name of Reunion. Subsequently, the label reissued the Ashe Records in 1997. Hence the two covers included in this post. But then again I hope you enjoy this new release, sure to give them a pleasant surprise.

Champion Jack Dupree – Blues From The Gutter (1958)

01.Walking The Blues 3:01

02.T.B. Blues 3:38

03.Can't Kick The Habit 3:39

04.Evil Woman 4:17

05.Nasty Boogie 3:06

06.Junker's Blues 3:09

07.Bad Blood 3:56

08.Goin' Down Slow 4:01

09.Frankie & Johnny 3:03

10.Stack-O-Lee 3:57.

Alto Saxophone – Pete Brown

Bass – Wendell Marshall

Drums – Willie Jones

Guitar – Ennis Lowery

Piano,Vocal – Champion Jack Dupree.

The 1958 masterwork album of Champion Jack Dupree‘s long and prolific career. Cut in New York (in stereo!) with a blasting band that included saxist Pete Brown and guitarist Larry Dale, the Jerry Wexler-produced Atlantic collection provides eloquent testimony to Dupree‘s eternal place in the New Orleans blues and barrelhouse firmament. There’s some decidedly down-in-the-alley subject matter — “Can’t Kick the Habit,” “T.B. Blues,” a revival of “Junker’s Blues” — along with the stomping “Nasty Boogie” and treatments of the ancient themes “Stack-O-Lee” and “Frankie & Johnny.” AMG.

Chick Corea, Miroslav Vitous, Roy Haynes - Trio Music (1982)

- Trion Improvisations -

01.Trio Improvisation 1

02.Trio Improvisation 2

03.Trio Improvisation 3

04.Duet Improvisation 1

05.Duet Improvisation 2

06.Trio Improvisation 4

07.Trio Improvisation 5

08.Slippery when wet.

- The Music of Thelonious Monk -

09.Rhythm-A-Ning

10.'Round Midnight

11.Eronel

12.Think of One

13.Little Rootie Tootie

14.Reflections

15.Hackensack.

Chick Corea (piano)

Miroslav Vitous (bass)

Roy Haynes (drums).

Recorded November, 1981 at Mad Hatter Studios, Los Angeles.

Pianist Chick Corea had a reunion with bassist Miroslav Vitous and drummer Roy Haynes for this double LP, 13 years after they had recorded Now He Sings, Now He Sobs. The first half of this two-fer consists of duet and trio free improvisations and is sometimes a touch lightweight even with moments of interest; playing free was not as natural to Corea by this time as it had been in the '60s. However, the second album, seven Thelonious Monk compositions, comes across quite well as Corea does justice to the spirit of Monk without losing his own strong musical personality. ~ Scott Yanow.

Cesar - Cesar 830 (1975)

01.Descarga 6:20

02.See Saw Affair 3:22

03.The Devil & Montezuma 6:00

04.Navidad Latino 3:30

05.Azucar 5:30

06.Gotta Get Away 3:36

07.Bridges 5:00

08.The Lady In My Life 5:29.

Arranged By, Conductor – Teo Macero

Bass – Harold Martin, Thomas Rutley

Bongos, Bells – Willis Colon

Congas – Francisco Aquabella

Drums – Tony Smith

Engineer – Stephen Jarvis

Flute – Hadley Caliman

Guitar – Jim Vincent, Joe Jammer, Stephen Busfield

Piano – Cesar Ascarrunz, Mark Levine, Merl Saunders

Producer – Bob Thiele

Saxophone [Alto] – Martin Fierro

Saxophone [Soprano] – Steve Marcus

Saxophone [Tenor] – Hadley Caliman, Martin Fierro

Timbales – Benny Velarde

Trombone – Jules Rowell

Trumpet – Joseph Ellis, Jr.

Vocals – Benny Velarde, Francisco Aquabella,Linda Tillery,Tony Smith,Willis Colon.

An excellent lost Latin Funk album from the early 70s west coast scene featuring a group led by Latin pianist and promoter Cesar Ascarrunz and including some of the greatest Latin and jazz players from the San Francisco scene at the time! Big names on the session include Francisco Aquabella, Benny Velarde, Steve Marcus, Hadley Caliman, and even Merl Saunders all coming together in a really hard-hitting Latin funk jam session that never lets up for a minute! The music is a mix of instrumental and vocal tracks grooving with a sound that's very much in the mode of the bigger early 70s Latin groups from LA and SF but with a freer-thinking sound, and a much more jazz-funk approach.

And here's a write up from Cesar's site:
CESAR 830 is a rare recording that highlights the exceptional musical ensemble that pianist-bandleader Cesar Ascarrunz led during his years as a San Francisco nightclub entrepreneur. With his Cesar's Latin All Stars, the house band at his venues Cesar's on Green Street and Cesar's Latin Palace in the Mission District, he forged this 1975 collaborative effort with Bob Thiele of Flying Dutchman Records and legendary jazz producer Teo Macero, who did Miles Davis' "Bitches Brew" and Dave Brubeck's "Take Five." CESAR 830 came out at the tail end of the Bay Area Latin rock boom almost 30 years ago and is an exceptional blend of Latino jazz rock fusion. It featured great musicians who together made an album that was ahead of its time. In the long run this album stands as a testament to Cesar Ascarrunz, the self-taught pianist and personality who arrived here as an immigrant from Bolivia and worked his way up to running for SF Mayor numerous times. As you listen to these jams recorded almost 30 years ago you will hear a music stretching out and representing a spirit of experimentation and creativity born out of flower power. You don't have to pull out the bell bottoms, beads and grow your hair long to fully enjoy this album; just turn it up and let the music take you away!.

Bernard Pretty Purdie & the Playboys - Stand by me (1971)

Stand By Me 4:55

Modern Jive 3:18

Spanish Harlem 3:29

Artificialness 3:05

Never Can Say Goodbye 3:00

Whatcha See Is Whatcha Get 5:13

It's Too Late 4:30

Funky Mozart 3:00

You've Got A Friend 3:51.

Bongos, Congas – Norman Pride

Drums – Pretty Purdie

Electric Bass – Chuck Rainey

Guitar – Billy Nichols, Cornell Dupree

Harpsichord, Tambourine – Neal Rosengarden*

Horns [Reeds] – Billy Mitchell, Don Ashworth, Lou Delgatto, Seldon Powell, Warren Daniels

Piano, Electric Piano, Arranged By, Conductor – Harold Wheeler

Trumpet – Snooky Young*, Gerry Thomas

Vocals – Carl Hall, Hilda Harris, Norma Jenkins, Tasha Thomas

Recorded at Atlantic Recording Studios, NYC, August 12 & 13, 1971.

Bobby Hutcherson - Patterns (1968)

01.Effi (7:11)

02.Irina (7:20)

03.Nocturnal (4:13)

04.Patterns (5:57)

05.A Time To Go (5:48)

06.Ankara (6:26)

07.Patterns (Alt. take) (5:57).

Bobby Hutcherson (vibraphone)

James Spaulding (alto saxophone, flute)

Stanley Cowell (piano)

Reggie Workman (bass)

Joe Chambers (drums).

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on March 14, 1968.

All of Bobby Hutcherson's late '60s Blue Note dates are excellent examples of superior ensemble interaction coupled with fascinating compositions. 1968's PATTERNS features the vibraphonist leading a quintet capable of tremendous textural changes and near-classical sophistication. The group offers its interpretation of six spellbinding pieces (plus one extra take of the title track), most of which were composed by drummer Joe Chambers. On this must-have session Stanley Cowell (piano), Reggie Workman (bass) and saxophonist James Spaulding (who also adds beautiful colors on flute) round out the group.

Chambers' meandering title track opens the set, with Hutcherson's tasteful rolls supporting Spaulding's lilting flute melody. The harder edge of "A Time To Go" follows. The many dynamic contrasts within the various sections of this piece illustrate the group's tremendous dexterity. Chambers' two ballads, the delicate "Ankara" and the flowing "Irina," are both examples of Hutcherson's graceful touch and Spaulding's pristine flute work. Of special note, Chambers modal "Nocturnal" is a particularly engaging piece featuring an odd time-signature groove grounded by Workman's commanding bass figures. In all, this session demonstrates the epitome of modern chamber jazz before the oncoming fusion era of the '70s.

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on March 14, 1968. Originally released on Blue Note (1044). Includes liner notes by Michael Cuscuna.

Reissue producer: Michael Cuscuna.

Personnel:

Bobby Hutcherson (vibraphone)
James Spaulding (alto saxophone, flute)
Stanley Cowell (piano)
Reggie Workman (bass)
Joe Chambers (drums).

Bill Cosby & The Hilton Ruiz Ensemble - Keep Standing

01.Green Apple Quickstep (Corre Corre) Take1

02.Stand

03.Ruthie

04.Remember

05.Portrait of Alicia

06.Bright Mpments

07.What's New

08.Green Apple Quickstep (Corre Corre) Reprise.

Bill Cosby - Arranger, Conductor, Composer

Hilton Ruiz - Piano, Composer

Walter Blanding - Tenor & Soprano Sax

Ed Cherry - Electric Guitar

Jemaaladeen Tacuma - Electric Bass

Luis Quintero - Drums

Renato Thoms - Congas & Percussion.

Ximo Tebar - Eclipse (2006)

01.Inner Urge

02.Martino

03.Mensaje

04.My Evidence (about monk and trane)

05.ESP

06.Ralladura

07.Eclipse

08.Pinocchio

09.One step ahead

10.Pure de patata

11.Tricotism.

Ximo Tebar (guitar, synthesizer);

Ximo Tebar; Rob Bargad (piano, electric piano, organ);

Dario Boente (synthesizer);

Anthony Jackson (bass guitar);

Dave Samuels (vibraphone, marimba);

Donald Edwards (drums).

Millenia Studios, Valencia, Spain (11/15/2005-12/21/2005); Victoria Studios, NY (11/15/2005-12/21/2005).

(Review)Spanish guitarist Ximo Tebar is clearly so enthralled with all forms of American jazz, he attacks it--excuse the mixed ethnic metaphor--like a hungry man at a smorgasbord. Though he tilts mainly toward bop and postbop in choosing his source material--there are pieces by Joe Henderson and Wayne Shorter and an original tribute to Pat Martino--he's a dyed-in-the-wool fusion player who incorporates flamenco and Brazilian forms, adding electronics and scat vocals. There are times when his affection for pretty, synthesizer-enhanced melodies smacks of smooth jazz, but with vibraphonist Dave Samuels cutting some hard-swinging grooves and organist Rob Bargad pumping up the atmosphere, there's too much energy in the musicianship for it to linger too long in any soft spots. Tebar's guitar can take on an unusual toy-like tone, which makes his demonstrative dissection of Thelonious Monk's "Evidence" all the more interesting.-Lloyd Sachs.

(Bio)
Born: March 30, 1963 Instrument: Guitar
Ximo Tebar was born in Valencia (Spain) in 1963, and at the age of seven began playing the guitar, first studying flamenco. At seventeen he decided to turn professional, and since then has preformed in concerts and recordings in Spain, Europe and America, leading his own group “Ximo Tebar Band” or accompanying prestigious soloists, featuring amongst others: Johnny Griffinn, Benny Golson, Eddie Henderson, Tete Montoliu, Lou Donaldson, Jan Ackerman, Lou Bennett, Louie Bellson, etc.

Ximo Tebar is the spanish musician who has won the most awards in the last years, “BEST NATIONAL JAZZ SOLOIST” two years running 1989, 1990 (Spanish Culture Ministery), “THE DEXTER GORDON 1991” Award, given by Spanish Television Chanel 1, music prize in the “BIENNIAL YOUNG CREATORS OF MEDITERRANEAN EUROPE” 1992, etc.

June 1989 he travelled to Italy to represent Spain by forming part of the “Big Band Jazz Europa” (made up of twenty two musicians, one from each country).

March 1991 (following the success of his first tour of the ex-U.S.S.R.) he returned to the Soviet Union to do an extensive tour of the most important cities, (Moscow, Leningrad, Kiev, Gorky, etc.) during which he recorded his third album, entitted “Ximo Tebar Jazz Group Live in Russia”. In April of the same year he made a solo tour of Germany, giving concerts of “Solo Guitarra”, and in May he accompanied the great drum maestro Louie Bellson on his only ever Spanish tour.

In October 1992 the Maestro Lou Bennett presented Ximo Tebar as a new guitar talent in the prestigious International Guitar Festival “GUITAR MASTER” of Pau (France), the newspaper “Le Republique” wrote: “Ximo Tebar: a first class guitar”. Also in 1992, he did a live record with Lou Bennett (organ) and Idris Muhammad (drums), that was his fifth record as leader, titled “Hello Mr. Bennett”, inaugurating a collection of records in trio (guitar, organ and drums)

under the title “The Jazz Guitar Trio”

In 1995 he got a record deal with Warner Bross (wea), and their sixth titled Cd publishes is “Son Mediterraneo”. The European press highlighted the disk like one of the best of the year and the magazine it highlights him like one of the best disks in jazz of the decade. In January of 1997 he play a concert in the MIDEM of Cannes (France). The international critic highlighted its participation like a new revelation of the guitar unanimously “Ximo Tebar, une revelation” and “Guitar hero, Ximo Tebar”. Also in 1997 he toured with Lou Donaldson, Dr. Lonnie Smith, Idris Muhammad and Billy Brooks recording a new Cd entitled “So What” (The Jazz Guitar Trio Vol. 2).

In June of 1998, Warner throws its tenth titled disk “Homepage” in which artists collaborate like: Carles Benavent, Joey DeFrancesco, Idris Muhammad, Dr. Lonnie Smith, Sole Gimenez, Jorge Pardo, etc., “Once again of their innovative and creative spirit, Tebar presents in Homepage a new musical address of jazz coalition, pop and funky, seasoned with its matter style of mediterranean air that some critics have baptized as they Son Mediterraneo”. Homepage has been Nominated for PREMIOS DE LA MUSICA 1999 (wich is like Spanish Grammy Awards), it has been chosen by the magazine Todas las Novedades BETTER DISK OF THE YEAR 1.998 and it has become the first disk of Spanish jazz that he has benn in to the lists of successes.

In the year 2000 he opens the music school Aula de Musica Alameda and goes on a long tour through a number of countries, playing at important festivals such as Guitar Master de Pau (France), North Sea Jazz Festival, Festival de Jazz de Madrid, La Plata Jazz Festival (Argentina) and Jazz Plaza de La Habana (Cuba), where he was a big success. Chucho Valdes invited Ximo Tebar to sit in the closing show of the Havana Festival as part of an All Stars ensemble featuring Danilo Perez, Giovanni Hidalgo, Tata Guines, Ronnie Cuber, Dave Valentin, and Nicholas Payton.

In 2001 he founds his own record company called Omix Records and releases his ninth recording titled “Goes Blue” (The Jazz Guitar Trio, Vol. 3), featuring Dr. Lonnie Smith, Idris Muhammad and Lou Donaldson. The critics unanimously acclaim it as an outstanding work. During 2002 he works on consolidating his record company (Omix) producing and releasing various works of young talents of Spanish Jazz. All releases have been praised by the specialized media and nominated among the best of 2002. Same year in December Ximo appears at the BIRDLAND, New York City, presenting his new project “Embrujado” (Bewitched). He also is invited to play and teach master-classes at Queens College, New York.

In March 2003 he releases his tenth recording EMBRUJADO (BEWITCHED) and once again the critics praise him describing his work as “Complete and thorough. Creative jazz with brilliant features” World Music Magazine.

In December 2003 he moved to New York beginning his introduction in Manhattan jazz scene playing with Michael P. Mossman, Dave Schnitter and Arturo O'Farril in jazz clubs like; Birland, Smoke, Fat Cat, Up & Over, etc. In February 2004 he signed a contract with Sunnyside Records. In April 2003 he started working by the hand of Arturo O'Farril with the Chico O'Farril Afro Cuban Jazz Orchestra playing every Sunday at Birland Jazz Club. He also worked producing recordings with Dave Schnitter (Sketch) or Ester Andujar (Celebrating Cole Porter).

In March 2004 he releases his eleveth recording THE CHAMPS (The Jazz Guitar Trio, Vol. 4), featuring Joey DeFrancesco and Idris Muhammad. The critics unanimously acclaim it as an outstanding work describing his work as “A masterful interpretation” Aeropuerto Jazz Magazine, “A unique scheme” World Music Magazine. In July 2004 he touring playing at important festivals such as San Sebastian Jazzaldia, Pori Jazz, Galapajazz, etc.

Currently Ximo Tebar reside in New York, is the President of Promusics - The Valencian Association of Jazz Musicians. He spends his time touring, recording, producing, teaching master-classes, running his record company (Omix Records) and his music school (Aula de Musica Alameda) where he teaches guitar and coordinates the Department of Modern Music.

Johnny"Guitar"Watson – Bow Wow (1994)

01.Johnny G. Is Back

02.Bow Wow

03.Never to Late

04.My Funk

05.It Takes 2

06.Time Change

07.Doing Wrong Woman

08.What’s up With You

09.Hook Me Up

10.I Don’t Think So.

Johnny "Guitar" Watson (vocals, guitar, keyboards, programming)

Charles Green (saxophone)

Joe Campbell (trumpet)

Steve Baxter (trombone)

Oji Pierce (programming)

Maxayne Lewis, Rudy Copeland (background vocals).

House Of Music, Hollywood, CA; Paramount Recording Studios, Hollywood, CA.

Review
Bow Wow (1994)
Performing artist, guitarist, vocalist, and songwriter, early 1950s-1996; moved with family to Los Angeles, ca. 1950; played in West Coast jazz and blues bands, 1950-53; signed to Federal label, 1953; released experimental instrumental single “Space Jam,” 1953; released single “Gangster of Love,” later covered by Steve Miller, 1957; toured with Little Richard, late 1950s; toured Britain with vocalist Larry Williams, mid-1960s; signed with Fantasy label, 1972; recorded with Frank Zappa on Zappa’s One Size Fits All LP, 1975; signed with DJM label, 1976; series of successful blues-funk albums, 1976-80; signed with Bellmark label, 1994.
Two other aspects of Watson’s style seemed to point the way to the incipient rap movement: lengthy spoken interludes in such recordings as the 1978 “Gangster of Love” remake, and a group of songs that dealt frankly with poverty. Watson’s music was indeed sampled in the 1990s by such stars as Ice Cube and Snoop Doggy Dogg. But Watson’s activities were curtailed in the 1980s, although a series of summer appearances in France led to his becoming known there as the “Godfather of Funk.” “I got caught up with the wrong people doing the wrong things,” he was quoted as saying by the New York Times.
The 1990s brought a creative resurgence for Watson with the release of the album Bow Wow in 1994, which was nominated for a Grammy in 1995. In March of 1996 he was honored with a Pioneer Award from the Rhythm & Blues Foundation, and his performing career appeared fully reinvigorated. However, he was stricken with a heart attack while performing at a blues club near Tokyo. He died in Yokohama, Japan on May 17, 1996. (www.rockabillyhall.com)