This gentleman, Mongo Santamaria, is a flag of Latin Jazz ... Gozalo!
¡¡Viva The Latin Jazz!!
martes, 30 de septiembre de 2014
domingo, 28 de septiembre de 2014
sábado, 27 de septiembre de 2014
In this website, it is yours, so our writes 1st. May well: "Oloron, France, recevoir une bonne dose of Latin Jazz" with reviews, beautiful picture of the population of the Pyrenees and video Marialy Pacheco talented pianist playing "Mambo Inn" ... we have received these photos and you want to take out when the conclusions are Latin Jazz takes over the world!!
But in a nice way, without killing, without disturbing, only transmitting music of the soul. Why is the food of our soul is the Latin Jazz ... Gozalo !!
Photos are eloquence of beauty; and certainly congratulate the organizers:
|Dhafer Yousef and Zakir Hussam|
|Los Valle (Marcos and Orlando "Maraca")|
|Harold Lopez-Nussa and Flia|
viernes, 26 de septiembre de 2014
miércoles, 24 de septiembre de 2014
Artist: FRANK LOWE QUARTET
Title: OUT LOUD
Label: Triple Point Records TPR 209
Label Website: www.triplepointrecords.com
Release Date: NOVEMBER 4, 2014
1. untitled 1 11:13 [slated “Act of Freedom pt. 1”]
2. Vivid Description 8:04 [slated “Act of Freedom pt. 5”]
1. Listen 2:33
2. untitled 2 12:25 [slated “Act of Freedom pt. 4”]
3. Logical Extensions 0:41
[slated “Act of Freedom pt. 3”]
1. Whew! 23:18
1. untitled 3 23:53
2. closing announcement [1:00]
All compositions by Frank Lowe
Frank Lowe - tenor saxophone, soprano saxophone, flute, voice, percussion, congas, balafon, whistles, harmonica, miscellaneous small instruments
Joseph Bowie - trombone & congas
William Parker - bass
Steve Reid - drums
Ahmed Abdullah - trumpet side D only
LP I, Survival Studio May 1, 1974 recording engineer-Rashied Ali
LP II, Studio Rivbea exact date unknown, probably 1974 recording engineer-Scott Trusty
OUT LOUD is the 1974 snapshot of Frank Lowe that got lost in the haze, now reconstructed and finally audible…four decades later.
This hand-numbered, 2-LP set enshrines newly discovered music from the short-lived and hitherto invisible 1974 quartet of Lowe, Joseph Bowie, William Parker, and Steve Reid. The band is captured in an unpublished record session at Rashied Ali’s Survival Studios and in performance at Studio Rivbea, OUT LOUD presents every known recording from this fiery band. None of these sounds have ever been heard beyond the circle of Lowe’s closest associates.
Journalists and even the most rabid collectors will be surprised to learn of the existence of this formation.
Frank Lowe Quartet—OUT LOUD
· 2-LP, vinyl-only set containing entirely previously unissued recordings
· strictly limited to 550 hand-numbered copies, housed in an old-school tip-on jacket
· 38-page, full-color brochure stunningly laid out by award-winning designer Svenja Knödler
· essay by Ed Hazell covering Lowe’s journey, the group’s history, and musical observations
· recollections from Lowe’s colleague, saxophonist J.D. Parran
· previously unpublished photos from Omar Kharem and Val Wilmer
· an early recorded appearance by trumpeter Ahmed Abdullah, guesting on one track
· 40 minutes of sync-sound video of this group tearing it up at Rivbea
All audio has been carefully transferred and optimized by Ben Young and Joe Lizzi, the mastering team that was Grammy™-nominated for Triple Point’s celebrated New York Art Quartet—call it art collection last year, and for Albert Ayler—Holy Ghost in 2006.
Triple Point’s top-flight manufacturing standards have led us to audiophile-level
vinyl from Quality Record Pressings. OUT LOUD’s high-quality brochure was printed at Meridian—it's all packaged in an old-school, tip-on gatefold jacket form Dorado.
martes, 23 de septiembre de 2014
The Elvin Jones Project Michael Feinberg goes to the scene of Greenwich House Music, NY, October 4 next
|Michael Feinberg and Billy Hart|
Electronic boops and beeps are the first thing you hear on bassist Michael Feinberg's The Elvin Jones Project. This could either be a good sign or a bad one. Fortunately it's the former, and it acts as an effective reminder that drummer Elvin Jones was a pioneering and exploratory musician whose legacy extends well beyond his years with the legendary John Coltrane Quartet. If he had, say, quit drumming after leaving Coltrane's band, Jones would still be recognized as a towering and innovative force in jazz. Though the value of his subsequent recordings for Blue Note, Vanguard, Enja, PM, and various other small labels seems to be a matter of some controversy, a cursory survey will turn up abundant musical gold. Moreover, Jones' playing continued to evolve and change right up to his death in 2004. Sadly, it seems that many have already forgotten how fresh, distinctive and revolutionary his music really is. Feinberg, obviously, has not forgotten and this CD—easily one of the best tribute CDs of the past few years—is well-researched, soulfully executed, and comes across as thoroughly contemporary.
Feinberg is a talented young bassist who noticed early on that many of his favorite bassists—Jimmy Garrison, Gene Perla, George Mraz, and Richard Davis to name a few—had longstanding musical relationships with the great drummer. Clearly The Elvin Jones Projectis Feinberg's labor of love. The band he's assembled for this recording is nothing short of amazing, though its instrumentation is a bit unexpected. Jones, it seems, rarely worked with trumpeters, aside from his brother Thad Jones, who appears on several early recordings. Instead, Jones preferred two, or even three, saxophones in his front lines.
Yet,Tim Hagans sounds pitch perfect right down to his very Thad Jones-like velvety tone. Veteran tenor titan George Garzone is the sole reedman, and seems a natural choice given his deep knowledge of post-Coltrane saxophone artistry. Garzone has also worked with the Argentinian keyboardist Leo Genovese. Genovese—a longstanding member of Esperanza Spalding's band—like Feinberg seems to have an innate knowledge of the style and demands of this music despite his youth. Billy Hart is a perfect choice for the drum chair; he's a player who's been around long enough to soak up the essential characteristics of Jones' sound and phrasing, yet authoritative enough to play from his own point of view. Hart's profound understanding of Jones' drumming crystallizes during his lengthy solo on "The Unknighted Nations."
Michael Feinberg, bass, composer, arranger, educator and bandleader, is thrilled by the special performance that will take place next October 4 this year at the Greenwich House Music in New York, where the new arrangements would provide its Project Elvin Jones company as favorite musicians: Jean Michel Pilc, Noah Preminger and Ian Froman.The appointment is double at 8 and 10 pm
Here are Michael and his Band Live at Churchill Grounds in Atlanta, GA:
lunes, 22 de septiembre de 2014
Frank Kimbrough's "Quartet" spotlights the audacious pianist and composer and his handpicked band mates: Steve Wilson, Lewis Nash and Jay Anderson
To Be Released October 14, 2014 on Palmetto Records
CD Release Concert at The Jazz Standard on November 19th
"Freedom, virtuosity, and gorgeous lyricism." - Fred Kaplan, Stereophile.com
A genuine artist follows the strict demands of his muse rather than any set of conventional expectations. If, thirty-plus years into his celebrated career, the pianist and composer Frank Kimbrough decided to record his first album featuring the traditional jazz instrumentation of piano, horn, bass, and drums, there had to be a good reason. Quartet (Palmetto Records, PM2173), featuring alto and soprano saxophonist Steve Wilson, drummer Lewis Nash and bassist Jay Anderson, proves that for a relentlessly creative musician such as Kimbrough, following one's instincts offers up the best results. Despite the surface familiarity of its ensemble format, Quartet (Kimbrough's 12th album as a leader and 7th for Palmetto) displays the pianist and his handpicked team at their most adventurous, creating music that revels in improvisational freedom while making fruitful use of the still profitable tools of the jazz tradition. Seven characteristically personal Kimbrough originals share space with exceptional reinterpretations of Kurt Weill's "Trouble Man," Rodgers and Hart's "It Never Entered My Mind" and John Lewis's "Afternoon In Paris."
The exemplary balance of introspective lyricism and spiky, open form improvising that has marked Kimbrough's musical approach in his acclaimed work with, among many others, Maria Schneider, Ben Allison, Ted Nash and Noah Preminger, lends Quartet its distinguishing yin/yang atmosphere of ease and daring. "The Call," "Blue Smoke," "Kudzu," "Herbivore" and "Ode" slip, slide and swing, evading strict time and rigid harmonic forms, inspiring telepathic group interplay and biting solos, while the original ballads "November" and "Beginning" offer stunningly unpredictable melodic statements from Kimbrough and Wilson and sensitively prodding support from Nash and Anderson. And while "It Never Entered My Mind" and "Trouble Man" demonstrate that Kimbrough and company admire the exquisite compositional architecture of the masters, the quartet's take on "Afternoon In Paris" offers up a loose and stimulating deconstruction of John Lewis's standard. As Kimbrough devotees might note, "Ode" previously appeared on his Lullabluebye album, while "Beginning" debuted on Play, which featured the iconic drummer Paul Motian. "Herbivore" was written in the 1990s for Kimbrough's Noumena band but went unheard until this recording.
Kimbrough's exceptional playing throughout Quartet fully demonstrates the maturity of a seasoned musician who, having fully assimilated such signal influences as Paul Bley, Andrew Hill and Shirley Horn, is able to express himself organically in his own, now distinctive, instrumental voice. "As I've grown over the years, I find that I want to move listeners, not impress them," Kimbrough states. "By now the piano is who I am. I don't want technique to be a liability - I want to be able to convey what's in the moment. To be honest, to be vulnerable in my playing is what I'm most interested in."
"I chose the musicians on this recording because I trust their judgment. From the first note they play you can feel the depth, the lyricism, the respect for musical space they all have. Between us there's over two hundred years of experience - you have to trust that. I've found as a leader that the more freedom you give players to be themselves, the more of themselves they will put into the music."
The roots of Quartet extend back to the late 1970s when Kimbrough and Nash met as students at Arizona State University. Three decades passed until Kimbrough and the now-omnipresent drummer reunited as players in Ryan Truesdell's Gil Evans Project. Steve Wilson and Jay Anderson - both men A-list jazz figures - also participated as members of that ensemble, continuing associations with Kimbrough that included working together in the acclaimed Maria Schneider Orchestra. As a linchpin in the pianist's various trios, Anderson has been a close associate of Kimbrough for over twenty years.
Frank Kimbrough has recorded twelve albums as a leader and has co-led recordings with duet partner Joe Locke and with the Herbie Nichols Project. He has appeared on over sixty-five albums with other artists, including Maria Schneider's 2013 Grammy-winning Winter Morning Walks. Kimbrough has been on the faculty of the Juilliard School of Music since 2008.
Braithwaite & Katz Communications
sábado, 20 de septiembre de 2014
SF Jazz Center presents the great saxophonist Melissa Aldana and Crash Trio:
At 24, Chilean-born tenor saxophonist Melissa Aldana seemed to come out of nowhere to win the prestigious, hotly contested 2013 Thelonious Monk Competition. She may have been a dark horse, but her captivating sound and bold creative vision have been nurtured by some of jazz’s most perspicacious talent scouts. Born in Santiago, she was a teenage standout on the Chilean jazz scene when an encounter with Danilo Perez left the Panamanian pianist so impressed he recruited her for Berklee College of Music, which she ended up attending on an all-expenses Berklee Presidential Scholarship. Focusing on improvisation and composition, she studied with heavyweight saxophonists like Joe Lovano, Bill Pierce, and Greg Osby, who released her acclaimed 2010 debut album Free Fall and 2012’s follow up Second Cycle on his Inner Circle Music label. Melissa Aldana and Crash Trio is her Concord Records debut, a sensational session featuring Chilean bassist Pablo Menares and extraordinary Cuban drummer Francisco Mela. But her mentors don’t get all the credit for her rapid rise. Her grandfather was a thriving swing saxophonist in 1950s France, and her father Marcos Aldana competed in the 1991 Monk Competition that launched Joshua Redman’s career. Maybe we should have seen her coming.
Pablo Menares bass
Francisco Mela drums
We invite you to enjoy this video made at Berklee College Music:
More information on Melissa Aldana in this web o www.jazzcaribe.blogspot.com
jueves, 18 de septiembre de 2014
Jazz Vocal Series/CD Release
"A Little Bit of Moonlight"
Ellynne Rey - vocals
Bennett Paster - piano
Paul Beaudry - bass
Saul Rubin - guitar
Jerome Jennings - drums
Plus "Surprise Special Guest"!
Wed., Oct. 22nd 8pm
223 West 28th Street NYC
Between 7th & 8th
Ellynne Rey "A Little Bit Of Moonlight” (Self Produced) Street Date July 2, 2014
Ellynne Rey-Vocals, Paul Beaudry-bass, Gene Bertoncini-guitar, Tony Jefferson-drums,
Bennett Paster-piano, Daniel Sadownick-percussion
Artist: Ellynne Rey
Title: A Little Bit Of Moonlight
Label: Self Produced
UPC Code: 888295105378
Release Date: JULY 2, 2014
Track listing, track times and composer:
1. Make Someone Happy (Styne) 4:14
2. Love and Deception (Mihanovich) 3:15
3. Dindi (Jobim )5:24
4. Soul Eyes (Waldron) 4:26
5. How Deep Is The Ocean (Berlin) 4:15
6. You Taught My Heart To Sing (Tyner & Cahn) 4:52
7. Ruby My Dear (Monk & Swisher) 4:04
8. My One and Only Love (Mellin & Wood) 4:14
9. I Fall In Love Too Easily (Styne & Cahn) 3:34
10. Invitation (Kaper & Webster) 4:41
11. Suddenly It’s Spring (Burke & Van Heusen) 2:39
12. Besame Mucho (Velazquez English lyrics by S. Skylar) 4:06
13. Blue In Green (Davis, Evans & D’Ambrosio) 3:45
14. What A Little Moonlight Can Do (Woods) 4:33
15. So Many Stars (Mendes & Bergman) 5:11
Musicians: Ellynne Rey-Vocals, Paul Beaudry-bass,
Gene Bertoncini-guitar, Tony Jefferson-drums,
Bennett Paster-piano, Daniel Sadownick-percussion
Recorded at: Benny’s Wash ’n’ Dry Studio Brooklyn NY 2013
If we can judge the character of an individual by the company they keep then vocalist Ellynne Rey is in mighty fine company on her new CD “A Little Bit Of Moonlight”. Her taste is further enhanced by her excellent choice of material too, showcasing fifteen selections from the jazz canon and the Great American Songbook. As the noted jazz critic and author Will Friedwald states in his liner notes; “ I’m allowed to have favorites - the same as anyone else - and for me, the standout tracks on this album are the duets and the occasional trios. The numbers with full rhythm section are also excellent, but it’s the more minimal and intimate numbers, in which singer Ellynne Rey works with just with the master guitarist Gene Bertoncini, and / or the veteran bassist Paul Beaudry, that most caught me personally. ”
The selections on “A Little Bit Of Moonlight” explore matters of the heart, love, loss and joy and songs by legendary jazz piano players too; McCoy Tyner’s “You Taught My Heart to Sing”, Thelonious Monk’s “Ruby My Dear,” Mal Waldron’s “Soul Eyes” and “Blue in Green” by Bill Evans. Accompanied by some of the most talented musicians on the New York City jazz scene Gene Bertoncini (Benny Goodman, Buddy Rich, Tony Bennett), Paul Beaudry (Clark Terry, Grady
Tate, Jimmy Cobb), Tony Jefferson (Eddie Harris, Kenny Drew Jr., Lonnie Smith), Bennett Paster (Wallace Roney, Kurt Elling, Rufus Reid), Daniel Sadownick (Beyonce, Michael Brecker, Pat Martino). By devouring classic jazz recordings of the instrumentalists and singers from the 1930’s - 1960’s, Ellynne developed a love for the rich American musical tradition we call jazz.
Ellynne Rey, a Connecticut native, has had the chance to meet, study, and work with some of the best jazz musicians and singers worldwide. Here is what the critics have said:
“...Not only does she make it work [singing with just guitar and bass] she makes it magical.
It just goes to show if you have the voice and the material you don’t need all that lavish production.” —Jack Goodstein/Seattle PI
“The singer works the crowd with her witty lyricism, upbeat vibe, and joyous overtones .
She also uses wonderful diction to complement her silky voca lcords and
acute dynamic sense... Ellynne’s style and delivery loom as a high point...”
Ellynne is a gifted lyricist, composer, and performer. She composes with a sophisticated understanding of harmony and can rejuvenate songs written decades before
she was born. She is a true artist.