Keith Jarrett - Silence

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 66:26
Size: 153,1 MB
Art: Front

( 7:22)  1. Byablue
( 8:36)  2. Rainbow
( 9:41)  3. Trieste
( 1:13)  4. Fantasm
( 6:01)  5. Mushi Mushi
( 3:13)  6. Silence
( 6:59)  7. Bop-Be
(10:38)  8. Gotta Get Some Sleep
( 3:39)  9. Blackberry Winter
( 5:19) 10. Pocket Full of Cherry
( 3:39) 11. Byablue (solo piano version)

The Keith Jarrett American Quartet's last recording session combines most of the contents Byablue and Bop-Be, omitting "Yahllah" and "Konya" from the former and "Pyramids Moving" from the latter. The partial sampling of the sessions indicates that the quartet went out on a high note, still exciting and inventive, the old interplay very much in action, unrepentantly acoustic in an electric era. The quartet was soon to be defunct. ~ Richard S.Ginell https://www.allmusic.com/album/silence-mw0000083094

Personnel:  Keith Jarrett – piano, soprano saxophone (on #10);  Dewey Redman – tenor saxophone;  Charlie Haden – bass;  Paul Motian – drums.

Silence

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Stan Kenton - Adventures In Jazz

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 53:15
Size: 122,7 MB
Art: Front

(5:33)  1. Turtle Talk
(5:50)  2. Stairway To The Stars
(4:29)  3. Limehouse Blues
(4:25)  4. Malaguena
(3:37)  5. Misty
(6:45)  6. Waltz Of The Prophets
(5:20)  7. Body And Soul
(5:17)  8. It Might As Well Be Spring
(6:32)  9. Waltz Of The Prophets (First Version)
(5:24) 10. Body And Soul (First Version)

This is one of the finest albums ever recorded by the remarkable Stan Kenton Orchestra. It features two compositions by the composer/trombonist/drummer Dee Barton, "Turtle Talk" and "Waltz of the Prophets," that are among the best-known works from the Kenton library. Barton later went on to fame (like those other Kenton stalwarts, Pete Rugolo and Lennie Niehaus) as a composer for films such as Clint Eastwood's Play Misty for Me. The CD includes a well-known version of the song "Misty," but the arrangement is by Gene Roland, not Dee Barton. "Misty" showcases the incredible mellophonium work of Ray Starling, undoubtedly the finest soloist who ever mastered that notoriously difficult brass instrument. Another featured soloist is Sam Donahue, a deep-throated tenor player in the Vido Musso tradition, who provides a stratospherically high solo on his own arrangement of "Body and Soul." An alternative version of "Body and Soul" (along with another version of "Waltz of the Prophets") is included as a CD bonus, but it lacks the polish of the take included on the original LP. The composer/arranger Bill Holman is represented by two of his best charts: "Stairway to the Stars," a tour de force arrangement of the standard featuring the alto of Gabe Baltazar; and the big production arrangement of Lecuona's "Malaguena," an arrangement that was a staple of Kenton concerts and clinics in the 1960s and 1970s. Aficionados of Stan Kenton's band won't want to be without this CD. This is Kenton at the peak of his power, leading a dynamite collection of soloists and sidemen during the last glory days of the travelling big bands. ~ William Grim https://www.allaboutjazz.com/adventures-in-jazz-stan-kenton-capitol-records-review-by-william-grim.php

Personnel:  Stan Kenton, piano;  Jim Amlotte, trombone;  Buddy Arnold, tenor sax;  Gabe Baltazar, alto sax;  Norman Baltazar, trumpet;  Dee Barton, trombone;  Bob Behrendt, trumpet;  Allan Beutler, baritone & bass saxes;  Bud Brisbois, trumpet;  Dwight Carver, mellophonium;  Sam Donahue, tenor sax; Wayne Dunstan, bass sax;  Bob Fitzpatrick, trombone; Marvin Holladay, baritone sax;  Joel Kaye, baritone & bass saxes;  Keith LaMotte, mellophonium;  Jerry Lestock McKenzie, drums;  Red Mitchell, bass;  Bud Parker, trombone;  Paul Renzi, tenpr sax;  Bob Rolfe, trumpet;  Carl Saunders, mellophonium;  Pat Senatore, bass;  Dalton Smith, trumpet;  Jack Spurlock, trombone;  Marvin Stamm, trumpet;  Ray Starling, mellophonium;  Dave Wheeler, bass trombone, tuba

Adventures In Jazz

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Bill Frisell - Selected Recordings

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 76:37
Size: 177,1 MB
Art: Front

(5:10)  1. Mandeville
(3:02)  2. Introduction
(7:25)  3. India
(4:22)  4. Singsong
(4:35)  5. In Line
(5:47)  6. Resistor
(4:49)  7. Music I Heard
(8:04)  8. Tone
(4:40)  9. Lonesome
(6:29) 10. Alien Prints
(2:28) 11. Hangdog
(4:44) 12. Kind Of Gentle
(5:01) 13. Closer
(9:54) 14. Sub Rosa

Whatever the musical context, guitarist Bill Frisell has always been a team player. From the edgy avant-garde of Naked City to the deeply melodic music of the Ginger Baker Trio and several wide-ranging groups of his own, he's proven repeatedly that he has the versatility and perceptiveness to fit into wildly different surroundings. His ECM work has for the most part been of the quiet, melodic sort. Since he last recorded under his own name for the label in 1987, he's forged onward with a more country/blues orientation on his own recordings. Some critics have slapped the term "Americana" on this new material, but Frisell dismisses the label: "People say this has come into my playing in recent years. I think it's been there all along." Perhaps so. Regardless, this set documents a fertile period during the '80s when Frisell was finding his own voice. In his solo recordings, Frisell prizes space and texture. The solo guitar piece "Introduction" (from the Paul Motian band recording Psalm ) has as much silence as sound. "In Line" (from Frisell's record of the same name) explores extremes of timbre and pitch overlaid on a solid, pulsing acoustic foundation. Then there's his work with saxophonist Joe Lovano and drummer Paul Motian. In trio or quintet settings, these players have a very rare kind of cohesion. Surely Lovano has developed his sound substantially since the '80s this material emphasizes his sure grasp of melody, but it lacks the deftness of tone and angularity of phrasing which he acquired in the '90s. But in some sense, the '80s were golden years for these players. They deliver some of their strongest, most memorable playing on these tunes. Frisell's work with trumpeter Kenny Wheeler (documented here on three tunes from 1984's Rambler ) has a sharper edge, more extreme in tone and color than the rest of the collection. Frisell plays here and there with effects to thicken atmospheric backgrounds and sharpen his crispy improvisations. You can hear the roots of his post-ECM music in the soft blues of "Lonesome" and the stretched, gossamer meanderings of "Alien Prints." Just in case you thought you had Frisell pinned down, he tosses out "Hangdog," a punchy, dissonant fragment from the same record, 1987's Lookout for Hope.  The luminaries: Paul Motian, Joe Lovano, Jan Garbarek, Eberhard Weber, Kenny Wheeler, Joey Baron, Lee Konitz, Dave Holland, Paul Bley, John Surman. (Definitely in the big leagues.) The big surprise: Frisell on banjo on "Hangdog." He turns the instrument inside out and it works. (Note: this disc represents the fifth volume of :rarum, a series of artist-picked compilations from ECM Records. It comes with brief notes by the artists, an extensive biography, and discographical information.) ~ AAJ Staff https://www.allaboutjazz.com/rarum-selected-recordings-of-bill-frisell-bill-frisell-ecm-records-review-by-aaj-staff.php

Personnel: Bill Frisell: guitars, banjo, guitar synth; Joe Lovano: ts; Billy Drewes: as; Ed Schuller: b; Paul Motian: d; Jan Garbarek: ss; Eberhard Weber: b; Michael DiPasqua: d; Kenny Wheeler: tpt, ct; Bob Stewart: tuba; Jerome Harris: bg; Hank Roberts: cello; Kermit Driscoll: bg; Joe Baron: d; Lee Konitz: as; Dave Holland: b; Paul Bley: p; John Surman: ss; Jamie McCarthy: recorder; Roger Heaton: cl; Alexander Balanescu: v; Martin Allen: vb; John White: p; Gavin Bryars: b.

Selected Recordings

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Beth Rowley - Gota Fria

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 56:25
Size: 129,6 MB
Art: Front

(4:25)  1. Shut It Down
(4:30)  2. Howl At The Moon
(3:51)  3. Bronze
(5:15)  4. Brave Face
(2:22)  5. Brother
(4:29)  6. Forest Fire
(5:38)  7. Princess
(4:53)  8. Get It Back
(5:59)  9. Only One Cloud
(3:30) 10. Run To The Light
(3:39) 11. Hide From Your Love
(7:48) 12. Gota Fria

Beth Rowley is a singer who employs a healthy crossover feel of vintage rhythm & blues and gospel music welded onto contemporary pop and jazz elements. She was born in Lima, Peru in October of 1981 to British missionary parents who moved when she was two years old. Raised in Bristol, England, her initial influences included Mahalia Jackson, Emmylou Harris, Neil Young, Roy Orbison, and (through her guitar-playing father) Woody Guthrie. Rowley attended St. Mary Redcliffe and Temple schools before being noticed at an open-mike night in London, and she subsequently formed a funk-soul-acid jazz band, the Apogee, when she was 16. After high school, she studied casually at Weston-Super-Mare College, and formally for a year at the Brighton Institute of Modern Music. Meeting and conferring with vocalist Carleen Anderson, Rowley was inspired to develop her own sound, but gained initial professional experience as a backup singer with Enrique Iglesias and Ronan Keating. Working more on the underground scene, she teamed up with saxophonist Ben Castle of Jamie Cullum's band in 2000 and began writing her own material, influenced as much by country and bluegrass as soul music. Her EP Violets was followed by the full-length Blue Thumb album Little Dreamer, which included songs co-written with Castle and covers of tunes by Led Zeppelin, Bob Dylan, and Willie Nelson. With backup from Duke Special, the album was also shaped by Blur producer Steve Power with help from Kevin Bacon and Jonathan Quarmby. Upon release, the album graced the U.K. Top Ten and saw Rowley nominated for Best Female Vocalist at the 2009 Brit Awards. The same year, she appeared onscreen in Lone Scherfig's An Education, while also contributing to the soundtrack of The Edge of Love. In 2010, she parted ways with Universal and continued on her own path, playing live shows across the U.K. and performing with Jools Holland & his R&B Band. 2013 saw the release of the Wretched Body EP, and after a move from London back to Bristol, Rowley took time some time off but still performed when she could. After an eight-year semi-hiatus, she returned to the studio to record new material. The resulting album, Gota Fría (Cold Drop), was released in mid-2018 on the independent label Stoopnik and was preceded by the single "Forest Fire." ~ Michael G. Nastos https://itunes.apple.com/us/album/gota-fr%C3%ADa/1369923472

Gota Fria

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