Bill Evans - Conversations with Myself

Styles: Piano Jazz
Year: 1963
File: MP3@320K/s
Time: 43:58
Size: 100,9 MB
Art: Front

(6:33)  1. 'Round Midnight
(2:50)  2. How About You?
(5:11)  3. Spartacus Love Theme
(4:34)  4. Blue Monk
(4:54)  5. Stella by Starlight
(4:30)  6. Hey, There
(5:35)  7. N.Y.C.'s No Lark
(2:37)  8. Just You, Just Me
(2:58)  9. Bemsha Swing
(4:12) 10. A Sleepin' Bee

Technology and art have always had a tumultuous relationship at best. Advancements in technology have often been greeted by the artistic community by a split response: Some embrace the new technology and experiment with it, reaching out for new forms of expression that were impossible before; others shun the advances, dismissing them and those that use them as poor synthetic substitutions for "real" artistic struggle and creativity. Today, a great deal of this controversy centers around the use of computers in both the visual and audio arts. Sampling, digital replication, and plagiarism are all issues debated regularly. However, in 1963, the topic of debate was overdubbing, a practice that we regularly take for granted today. And at the center of the debate about this "new" technology was Bill Evans.

Universally considered as one of the top jazz pianists in history today, in 1963 Bill Evans was yet to experience huge commercial success. Drugs, non-focused career management, and bad luck had all conspired to place Bill Evans on tenuous ground, career wise, in 1963. An idea, however, the an album of Bill Evans playing with Bill Evans was hatched, and Evans was game. The rest, as they say, is history....or rather the album Conversations With Myself. Conversations With Myself was a major undertaking, and perhaps, an even greater risk. 

Overdubbing was sneered at by most jazz people, looked at as "gimmicky" and "synthetic". But Evans, one of the most lyrical musicians the jazz world has ever known, was intrigued with taking the "conversational" approach his trio had been practicing to the next logical level. If three musicians could practice and play together long enough to be able to carry on musical conversations during a song, then wouldn't the musical ideas expressed and explored by multiple tracks of the same musician be even closer to an "idealized" perfection? In 1963, the answer was unclear. In 1997 though, the answer is clear, and Conversations With Myself 's inclusion in Verve Master Edition set exemplifies the positive response.Garnering a 5 star review from Downbeat in 1963, and a Grammy, Conversations With Myself was an instant classic for the jazz community. Evans work on the ten tunes included here is truly inspired and amazing to behold. In each song, it is as if three distinctive "sides" or "personalities" of Bill Evans are playing together...each keenly aware of what the others are doing, and perhaps more importantly, will do. Evans' amazing musical comprehension is given center stage while running through classic jazz sides like "'Round Midnight," "Stella By Starlight" and "Just You, Just Me." "Blue Monk" showcases a muscularity to Evans' playing that he rarely displayed, while the "Love Theme From Spartacus" showcases Evans' signature use of space, time and inference.

Overall, this album is rather unique for Evans. Known as one of jazz's "prettiest" pianists, the extensive use of overdubbing here adds so much substance to these tracks that it is somewhat difficult for the uninitiated to keep up with everything that is going on. For the fan of Evans though, this glimpse of the artist at a heightened level of expression is very rewarding indeed. However, for the casual fan, I would not suggest this disc. The musical vocabulary is complex enough that the simple beauty of the songs, and Evans playing, is at times lost. Better to start with some of Evans' Riverside albums, or any of Verve's trio albums first, allowing the listener to "build up" a sense of Evans and his ideas...then come back to this album. And prepare to be impressed. ~ AAJ Staff https://www.allaboutjazz.com/conversations-with-myself-bill-evans-verve-music-group-review-by-aaj-staff.php

Personnel: Bill Evans - Piano.

Conversations with Myself

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Shorty Rogers & His Giants - Bossa Nova

Styles: Trumpet Jazz 
Year: 1962
File: MP3@320K/s
Time: 32:36
Size: 76,1 MB
Art: Front

(2:07)  1. Samba Do Lorinho
(2:17)  2. Chega De Saudade
(2:55)  3. Samba Triste
(2:55)  4. Samba De Uma Nota Só (One Note Samba)
(5:03)  5. Pão De Açucar (Sugar Loaf)
(4:05)  6. Samba Do Empashgi (Empashgi's Samba)
(3:04)  7. O Amore E A Rosa (Love Is A Rose)
(2:31)  8. Só Você (Only You)
(3:23)  9. Chora Tua Tristeza (Cry Your Sadness)
(1:48) 10. Só Um Amor (Only One Love)
(2:24) 11. O Menino Desce Do Morro (Little Brown Boy)

A fine middle-register trumpeter whose style seemed to practically define "cool jazz," Shorty Rogers was actually more significant for his arranging, both in jazz and in the movie studios. After gaining early experience with Will Bradley and Red Norvo and serving in the military, Rogers rose to fame as a member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949), and somehow he managed to bring some swing to the Stan Kenton Innovations Orchestra (1950-1951), clearly enjoying writing for the stratospheric flights of Maynard Ferguson. After that association ran its course, Rogers settled in Los Angeles where he led his Giants (which ranged from a quintet to a nonet and a big band) on a series of rewarding West Coast jazz-styled recordings and wrote for the studios, helping greatly to bring jazz into the movies; his scores for The Wild One and The Man With the Golden Arm are particularly memorable. After 1962, Rogers stuck almost exclusively to writing for television and films, but in 1982 he began a comeback in jazz. Rogers reorganized and headed the Lighthouse All-Stars and, although his own playing was not quite as strong as previously, he remained a welcome presence both in clubs and recordings. ~ Scott Yanow http://www.allmusic.com/artist/shorty-rogers-mn0000028646/biography

Personnel: Shorty Rogers - trumpet and his Giants.

Bossa Nova

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Steve Turre - Right There

Styles: Trombone And flute Jazz
Year: 1991
File: MP3@320K/s
Time: 57:47
Size: 132,6 MB
Art: Front

(6:46)  1. Ginseng People
(8:12)  2. Woody & Bu
(6:03)  3. Unfinished Rooms
(4:19)  4. Echoes of Harlem
(8:53)  5. Right There
(7:41)  6. Duke's Mountain
(7:58)  7. Sanya's
(7:53)  8. Descarga De Turre

Right There is primarily a straight-ahead set featuring Steve Turre on trombone and shells in a sextet with violinist John Blake, cellist Akua Dixon Turre, pianist Benny Green, bassist Buster Williams, and drummer Billy Higgins. Wynton Marslis pops up on two of the seven selections, and tenor saxophonist Benny Golson is on one. Highlights include "Woody & Bu," Duke Ellington's "Echoes of Harlem," "Duke's Mountain," and "Descarga De Turre," which has the leader at the helm of a Latin band that includes flutist Dave Valentin and several percussionists. Excellent and spirited music. ~ Scott Yanow http://www.allmusic.com/album/right-there-mw0000265786

Personnel includes: Steve Turre (trombone, flute, conch shells); Herman Olivera (vocals, clave, guiro); Dave Valentin (flute); John Blake (violin); Akua Dixon Turre (cello, vocals); Benny Green, Willie Rodriguez (piano); Buster Williams, Andy Gonzalez (bass); Manny Oqendo (timbales, guiro); George Delgado (congas); Billy Higgins (drums).

Right There

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Kenny Drew - By Request

Styles: Piano Jazz

Year: 1985

File: MP3@320K/s

Time: 49:02

Size: 112,6 MB

Art: Front

(5:35)  1. Softly, as in a Morning Sunrise

(5:01)  2. Misty

(3:57)  3. On Green Dolphin Street

(4:55)  4. Smoke Gets in Your Eyes

(3:59)  5. You'd Be So Nice to Come Home To

(6:53)  6. My Funny Valentine

(5:10)  7. Lover Come Back to Me

(3:45)  8. As Time Goes By

(5:46)  9. Fly Me to the Moon (In Other Words)

(3:58) 10. 'Round Midnight

Kenny Drew was born in New York City in August of 1928. At the age of 5, he began studying classical piano with a private teacher and at 8, gave a recital. This early background is similar to that of Bud Powell, the man who later became his main inspiration as a jazz pianist. After digging Fats Waller, at 12, and then Art Tatum and Teddy Wilson, Drew attended the High School of Music and Art. He was known as a hot boogie woogie player but passed through this phase before graduation. Kenny's first professional job was as accompanist at Pearl Primus' dance school. At the same time, he was alternating with Walter Bishop Jr. in a neighborhood band that included Sonny Rollins, Jackie McLean and Art Taylor. In this period, he used to hang-out on 52nd Street to listen to Charlie Parker and Powell and began sitting in at various jam sessions around town. In January of 1950, Drew made his first appearance on record, with Blue Note. Howard McGhee was the leader and the other featured soloists were Brew Moore and J.J. Johnson. One of the six sides released was “I'll Remember April.” The label, in addition to stating “Howard McGhee's All Stars”, further read, “Introducing Kenny Drew.”

Later, in 1953, Kenny made his first album as a leader. Again it was Blue Note who recorded him, this time in a trio with Curly Russell and Art Blakey. But Kenny opted to settle in Los Angeles for the next few years. There in 1955, he formed a quartet with the late Joe Maini, Leroy Vinnegar and Lawrence Marable. The quartet first recorded together in 1955 for Pacific Jazz. In December, Jazz West, a subsidiary of Aladdin Records, brought the quartet as is into Capitol's recording studios for “Talkin' & Walkin'.” In February of '56, Kenny's band and arrangements were used for another Jazz West release, this one by vocalist Jane Fielding. A month later, Drew, Paul Chambers, John Coltrane and Philly Joe Jones made the great “Chambers' Music” for the same label, which is now reissued on Blue Note. In early 1957 Kenny made his way back to New York as accompanist for Dinah Washington. That September, he participated in John Coltrane's monumental masterpiece “Blue Train,” but his association with Blue Note did not heat up again until 1960 when he made his own “Undercurrent” as well as Jackie McLean's “Bluesnik,” and “Jackie's Bag,” Kenny Dorham's “Whistle Stop,” Dexter Godon's “Dexter Calling,” Grant Green's “Sunday Mornin'” and a couple of Tina Brooks dates all within the space of a year.

Although Kenny was active on the recording and club scenes in New York and even subbed for Freddie Redd for a while in the successful Off-Broadway run of The Connection, he eventually chose to migrate to Europe. But he again popped up on a classic Blue Note date, Dexter Godon's “One Flight Up,” done in Paris in 1964. Kenny became a major star in Europe and Japan although his music was sadly neglected at home. He settled in Copenhagen where he ran a publishing company and was the house pianist at the Café Montmartre. He was also the pianist for the Steeplechase label, where he was on countless sessions backing visiting musicians. He left an impressive legacy of recordings both as sideman and leader. Kenny Drew died on Aug. 4, 1993. https://musicians.allaboutjazz.com/kennydrewsr

By Request

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Dina Blade - Bossa Amazônica

Styles: Brazilian Jazz, Bossa Nova
Year: 2016
File: MP3@320K/s
Time: 41:56
Size: 97,2 MB
Art: Front

(2:33)  1. Só Danço Samba
(4:05)  2. Garota de Ipanema
(4:09)  3. Não Foi Amor
(3:24)  4. Ilu Ayê
(4:37)  5. Corcovado
(4:00)  6. Pra Que Discutir Com Madame
(5:28)  7. Carinhoso
(2:15)  8. O Pato
(3:28)  9. Rosa Morena
(5:13) 10. Ave Maria no Morro
(2:39) 11. Adeus Acre Querido

Here is a review from the August 2016 issue of Earshot Jazz Magazine. (Note: the adjective "ataractic" means state of serene calmness). "Summer is finally upon us, and Dina Blade has given listeners a soundtrack to which they can enjoy the warmer months. As listeners journey through the ataractic tracks, a few surprises pop up along the way - one of which is a sensational cover of "The Girl From Ipanema." The album showcases a large group of talented musicians consisting of Dario Quintana on drums, Sandoval França on soprano and tenor sax, Pedro Cruz on violin, André Dantas on a medley of instruments, Alexandre Anselmo on batería and jeff Busch on cuica. At the forefront of the listening experience are Blade's controlled and powerful vocals. Smoother subgenres of jazz can at times be difficult to capture dynamically, yet Blade pulls this off flawlessly. Blade, who is no stranger to the culture of South America, sports a palpable understanding and a creative approach to bossa nova. The captivating soundscapes created by the ensemble seem to lull listeners into entrancement. But, as soon as you find yourself drifting away, Blade's voice guides you back in. Grab yourself a smooth cocktail, set up some speakers outside, and dive into the enticing tones of Dina Blade's "Bossa Amazonica"." ~CC

My fascination with Brazilian bossa nova began the moment I heard singer/guitarist João Gilberto playing “Só Danço Samba” (“I Only Dance Samba”). I was enthralled with the combination of the alluring rhythm and marvelous melody that made me feel calm but definitely alive. I was also amazed to hear so much music coming out of just one person! By mid-song I was smitten and vowed right then to begin learning the rhythms of bossa nova guitar and Brazilian Portuguese. So began my journey. First I travelled to Salvador, the country’s original capital in the northeastern state of Bahia, where drum schools prevail and African rhythms permeate every genre of local music. Five years passed before I returned to Brazil, this time to Rio de Janeiro, and in that marvelous city at a rooftop party overlooking Ipanema beach, I discovered how much Brazilians love to sing and was thrilled to accompany them on my guitar. Everyone joined in enthusiastically and I received several delicious caipirinhas for my efforts. Soon after, on a side trip to Campinas near São Paulo, I was invited to give a concert of American jazz and bossa nova with an excellent local quartet, and performed some tap dancing, trading rhythms with the drummer! Another high point. In recent years I have visited the Amazonian city of Rio Branco, where this CD project was recorded, and have had many incredible experiences playing with musicians in that beautiful place in the Amazon forest, communicating through our common language of music: jazz, folk, bossa nova and samba. The people of Rio Branco are extremely kind, generous, and warmly accepting of me, the “cantora americana,” for which I am grateful. This project is dedicated to them, my wonderful friends in Acre state. Thank you all for the inspiration and unforgettable memories. You have made my life richer and I will keep you in my heart forever. https://www.cdbaby.com/cd/dinablade6

Bossa Amazônica

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