Sunday, November 26, 2017

Branford Marsalis - Random Abstract

Styles: Saxophone  Jazz
Year: 1988
File: MP3@320K/s
Time: 74:09
Size: 170,3 MB
Art: Front

( 6:46)  1. Yes And No
(11:05)  2. Cresent City
( 9:57)  3. Broadway Fools
( 8:13)  4. LonJellis
( 5:42)  5. I Thought About You
(16:25)  6. Lonely Woman
( 0:34)  7. Steep's Theme
(11:03)  8. Yesterday's
( 4:20)  9. Crepuscule With Nellie

Branford Marsalis (on tenor and soprano) and his 1987 quartet (which also includes pianist Kenny Kirkland, bassist Delbert Felix and drummer Lewis Nash) stretch out on a wide repertoire during this generally fascinating set. Very much a chameleon for the date, Marsalis does close impressions of Wayne Shorter on "Yes and No," John Coltrane ("Crescent City"), Ben Webster (a warm version of "I Thought About You"), Ornette Coleman ("Broadway Falls") and even Jan Garbarek (on a long rendition of Coleman's "Lonely Woman"). Random Abstract also includes a jam on Kirkland's "LonJellis," a piece without chord changes. This is one of Branford Marsalis' most interesting (and somewhat unusual) recordings. ~ Scott Yanow https://www.allmusic.com/album/random-abstract-mw0000195820

Personnel: Branford Marsalis (Saxophone); Kenny Kirkland (piano); Delbert Felix (bass); Lewis Nash (drums).           

Random Abstract

Betty Carter - Look What I Got!

Styles: Vocal Jazz
Year: 1988
File: MP3@320K/s
Time: 48:33
Size: 111,2 MB
Art: Front

(5:43)  1. Look What I Got
(4:56)  2. That Sunday, That Summer
(7:40)  3. The Man I Love
(4:41)  4. All I Got
(4:20)  5. Just Like The Movies (Time)
(4:55)  6. Imagination
(2:41)  7. Mr. Gentleman
(6:35)  8. Make It Last
(6:57)  9. The Good Life

This well-rounded set gives listeners a good look at the adventurous music of Betty Carter. For this CD, she is joined by one of two rhythm sections (with either Benny Green or Stephen Scott on piano) and, on four of the nine songs, tenor saxophonist Don Braden. Carter twists and turns some familiar songs (such as "The Man I Love," "Imagination" and "The Good Life") along with a variety of lesser-known material including two songs of her own. Consistently unpredictable (whether scatting or stretching out ballads) Betty Carter's recordings are always quite stimulating. ~ Scott Yanow https://www.allmusic.com/album/look-what-i-got-mw0000195894

Look What I Got!

Harry Connick, Jr. - Oh, My Nola

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 66:38
Size: 152,9 MB
Art: Front

(3:39)  1. Working In The Coal Mine
(3:58)  2. Won't You Come Home, Bill Bailey?
(3:26)  3. Something You Got
(5:03)  4. Let Them Talk
(3:41)  5. Jambalaya (On The Bayou)
(4:16)  6. Careless Love
(4:14)  7. All These People
(4:32)  8. Yes We Can Can
(2:41)  9. Someday
(3:59) 10. Oh, My Nola
(4:45) 11. Elijah Rock
(4:59) 12. Sheik Of Araby
(3:50) 13. Lazy Bones
(3:31) 14. We Make A Lot Of Love
(4:26) 15. Hello Dolly
(5:32) 16. Do Dat Thing

After Hurricane Katrina devastated New Orleans in the summer of 2005, musician Harry Connick, Jr. was one of the first people to lend not only his celebrity, but also his own two hands in aid to the survivors of the catastrophe. Connick brought a television crew with him as he traveled through his damaged hometown and shot footage to help draw attention to the situation. Soon after, he organized the benefit telethon A Concert for Hurricane Relief on NBC to raise money for the beleaguered residents of New Orleans. It was clear through all of this that Connick truly loved his hometown and perhaps even felt he owed the city a debt for all it had given to him. In that light, though he tastefully underplays his feelings about the tragedy, Connick's Oh, My Nola is clearly his response to Hurricane Katrina. But rather than making a one-note album filled with anger and sadness though he expresses those emotions here, too Oh, My Nola feels at once like a party-driven celebration of all that is New Orleans and a love letter to the city he almost lost. Featuring songs from, of, and about New Orleans, Oh, My Nola touches on almost every musical style that has come from the city and, in a similar sense, every style Connick has delved into over the years. For that reason it's both his most expansive and personal album to date, and finally finds the pianist/vocalist/arranger coalescing his eclectic tastes in jazz standards, stride piano, funk, Cajun, gospel, and contemporary pop under a unified vision that not surprisingly takes him back to the roots of New Orleans music.

To these ends, he turns Allen Toussaint and Lee Dorsey's classic R&B cut "Working in the Coal Mine" into a swaggeringly funky big-band workout. Similarly inventive, he does Hughie Cannon's traditional "Won't You Come Home, Bill Bailey?" as a second-line-inspired big-band swing number reminiscent of his own When Harry Met Sally soundtrack. But while these numbers showcase Connick's obvious talent for arranging and crafting large ensemble numbers, other cuts such as the traditional "Careless Love" reveal his more laid-back, country-inflected barroom piano style that recalls his early solo albums 20 and 25. Mixing this approach, Connick once again returns to Toussaint with the spiritual and motivational "Yes We Can" in a loping and funky, large-ensemble style. Always a student of American popular song, it's no surprise that Connick's original compositions stand up next to the classic tracks here; however, it's also on these originals that he moves toward expressing his anger over what happened to the city. On the half-improvised, stark, and funky "All These People" Connick sings, "I was so damn scared I held hands and wandered with the crazy man, but he wasn't crazy and I wasn't scared/We were just brothers that stood there and stared at all those people waiting there." 

It's one of the few moments of outright protest on the album and deftly conveys Connick's first-hand account of post-hurricane New Orleans. However, listening to the whole of Oh, My Nola, it becomes clear that the true protest Connick is concerned with is a protest of the soul against events that conspire to erase all that we hold dear. This is best expressed in Connick's own title track. Set to a simple midtempo traditional New Orleans jazz beat, he sings, "How proud would Louie and Mahalia be, to know that their memory was safe with me?/Oh, my Nola, old and true and strong just like a tall magnolia tree/Sit me in the shade and I'm right where I belong/Oh, my New Orleans, wait for me." ~ Matt Collar https://www.allmusic.com/album/oh-my-nola-mw0000554122                 

Oh, My Nola

Michal Urbaniak - Fusion III

Styles: Violin Jazz
Year: 1975
File: MP3@320K/s
Time: 49:54
Size: 114,6 MB
Art: Front

(5:29)  1. Chinatown (Part I)
(6:15)  2. Kuyaviak Goes Funky
(5:48)  3. Roksana
(2:41)  4. Crazy Kid
(5:21)  5. Prehistoric Bird
(4:22)  6. Bloody Kishka
(4:44)  7. Cameo
(6:22)  8. Stretch
(4:46)  9. Metroliner
(4:00) 10. Chinatown (Part II)

With song structures similar to Mahavishnu Orchestra and electric-era Return to Forever, Michal Urbaniak's Fusion III appealed to the same fusion-buying clientele. What most distinguishes this music from that of its contemporaries was the unique vocalizing of Urbaniak's wife, Ursula Dudziak. She could sound at times like a Polish Flora Purim, at other times like a synthesized presence from another world. On this recording, Urbaniak's playing is fresh and engaging, and his compositions occasionally sound like Frank Zappa's instrumental work from this same era. John Abercrombie and Larry Coryell turn in blistering guitar passages, and bassist Anthony Jackson and drummer Steve Gadd provide a funkified rhythmic foundation. ~ Jim Newson https://www.allmusic.com/album/fusion-iii-mw0000917962

Personnel: Michal Urbaniak (violin); Urszula Dudziak (vocals, synthesizer, percussion, electronic percussion); John Abercrombie (guitar); Wlodek Gulgowski (electric piano, electric organ, Moog synthesizer); Anthony Jackson (bass guitar); Steve Gadd (drums).              

Fusion III

Ahmad Jamal - Marseille

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 59:38
Size: 136,8 MB
Art: Front

(8:34)  1. Marseille (Instrumental)
(5:48)  2. Sometimes I Feel Like A Motherless Child
(8:30)  3. Pots en verre
(7:23)  4. Marseille (feat. Abd Al Malik)
(8:48)  5. Autumn Leaves
(5:55)  6. I Came To See You / You Were Not There
(6:23)  7. Baalbeck
(8:14)  8. Marseille (feat. Mina Agossi)

There are few true jazz legends left alive now let alone still recording albums of the calibre of Marseille. Ahmad Jamal is one such venerable figure and the octogenarian (born July 2, 1930) has recorded an album of consistent brilliance. Jamal prefers to refer to his playing as American classical music rather than jazz and he's been regarded as a "mainstream" pianist but to stylistically stereotype him in this fashion is to do him an injustice. The title track is afforded three different versions, the first being a mesmeric modally-inspired instrumental foray. The title is also a paean to a country that has enthusiastically supported Jamal throughout his long career culminating in the French government awarding him the prestigious Chevalier De L'Ordre Des Arts Et De Lettres in 2007. The album itself was recorded in Malakoff, a suburb on the outskirts of Paris. It's well-known that Miles Davis was a fan of Jamal's and admitted to being influenced by the pianist. Miles and Jamal became friends in the 1950s and Davis recorded Jamal's "Ahmad's Blues" on Workin' and "New Rhumba" on Miles Ahead. So on one level, it's not too surprising that on "Sometimes I Feel Like A Motherless Child" Jamal includes a funky quote from Davis's "Jean Pierre" from We Want Miles, released in 1982. But on another level the inclusion of this vamp, which bookends the track, demonstrates how versatile is Jamal's approach, and how a standard can be completely transformed so seamlessly.

The quoting continues on "Pots En Verre" with a repetition of two tantalisingly familiar chords from Lee Morgan's "The Sidewinder." The French rapper Abd Al Malik contributes tersely spoken words in French on the next beguiling version of "Marseille" on which Jamal evinces an alternative chordal interpretation. "Autumn Leaves" is given a rich makeover, with percussionist Manolo Badrena and drummer Herlin Riley adding a Latin-esque feel and all underpinned by James Cammack's resonant double bass. There's even a micro-quote from Oliver Nelson's "Stolen Moments" here too. The languid "I Came To See You / You Were Not There" and the more vibrant "Baalbeck" almost conclude this set but for the addition of a sumptuous third version of "Marseille," adorned by Mina Agossi's mellifluous vocals. It's undoubtedly Jamal's use of space and deft light and shade which characterise his playing and this proves that frenetic pyrotechnics are not necessary to make a huge impact on an audience. This extraordinarily beautiful album, simultaneously released on CD and double vinyl, demonstrates how age alone does not diminish an artist's musical ability and creativity. This superb album's appeal will be undoubtedly very wide indeed. ~ Roger Farbey https://www.allaboutjazz.com/marseille-ahmad-jamal-jazz-village-review-by-roger-farbey.php

Personnel: Ahmad Jamal: piano; James Cammack: double bass; Herlin Riley: drums; Manolo Badrena: percussion; Abd Al Malik (4), Mina Agossi (8): vocals.

Marseille