Wednesday, November 23, 2022

Pablo Milanés - Standards De Jazz

Styles: Latin Jazz
Year: 2019
File: MP3@320K/s
Time: 36:32
Size: 84,4 MB
Art: Front

(4:44) 1. In Other Words (Fly Me To The Moon)
(4:27) 2. For Sentimental Reasons
(3:38) 3. All The Things You Are
(4:04) 4. As Time Goes By
(4:52) 5. Wild Is The Wind
(1:44) 6. Lullaby Of Birdland
(2:38) 7. Autumn Leaves
(3:06) 8. I’ve Got You Under My Skin
(3:15) 9. Stardust
(4:00) 10. Stella By Starlight

Pablo Milanés Arias (24 February 1943 – 22 November 2022) was a Cuban singer-songwriter and guitar player. He was one of the founders of the Cuban nueva trova, along with Silvio Rodríguez and Noel Nicola. His music, originating in the Trova, Son and other traditional styles of early 20th Century Cuban music, set him apart from the style of Silvio Rodríguez.

Pablo Milanés, widely known as Pablito, moved with his family from Bayamo to Havana in 1950. He studied in the Conservatorio Municipal de La Habana, at the time the most prestigious musical school in the country. His first public performance was in 1956. By age 15, he was active in "bohemian" musical circles in Havana, associated with the so-called "filin" musicians.

Although he supported the Cuban Revolution, in 1965 he was sent to the UMAP agricultural forced-labor camp in Camagüey. In 1967, he escaped and fled to Havana to denounce the injustice of the labor camp. This resulted in his imprisonment, first for two months in La Cabaña, an 18th-century fortress in Havana, and then for a time in a prison camp. He was released when the prison camp was closed due to international pressure.

In 1969, he became part of the Grupo de Experimentación Sonora, a seminal group of young musicians, many of whom became founding members of the nueva trova, which started as a movement with a concert given by Pablo, Silvio Rodriguez, and Noel Nicola on 18 February 1968. Until the late 1980s, nueva trova was the unofficial musical style of the Cuban Revolution.

Since his first recording ("Versos sencillos de José Martí" in 1973), he issued more than 40 solo records, and many more in collaboration with other artists from Cuba, elsewhere in Latin America, and Spain. His first record with original songs (the eponymous "Pablo Milanés") was not issued until 1976. The heyday of his creativity occurred probably in the early 1980s, with his records "El guerrero", "Yo me quedo", and "Comienzo y final de una verde mañana".

Within the context of the nueva trova, Pablo is widely considered one of the closest to the traditional roots of Cuban music, while being open to diverse musical influences from other contemporary traditions, such as Brazilian music and Blues. The range of his compositions extends from starkly political anthems to inspired love songs. He set the poems of Cuban writers such as José Martí and Nicolás Guillén to music. Some of his most important musical influences were María Teresa Vera, Lorenzo Hierrezuelo, Barbarito Diez, Benny Moré, Lucho Gatica, and Johann Sebastian Bach.

He lived in Vigo, Spain, with his Spanish wife and two sons since 2004. In 2014, he received a kidney transplant, receiving an organ donated by his wife.

Since relocating to Spain, Milanés was publicly critical of some aspects of the Cuban government, though he remained dedicated to the Cuban Revolution. His willingness to speak openly about the failures of the revolution strained his relations with Silvio Rodriguez. Lately, he did not participate in pro-government campaigns. https://en.wikipedia.org/wiki/Pablo_Milan%C3%A9s

R.I.P

Born: 24 February 1943

Died: 22 November 2022

Standards De Jazz

Alvin 'Red' Tyler - Heritage

Bitrate: MP3@320K/s
Time: 41:07
Size: 94.2 MB
Styles: R&B, New Orleans jazz
Year: 1986/2004
Art: Front

[4:22] 1. Confusement
[4:03] 2. Under The Rainbow
[6:23] 3. I'll Only Miss Her When I Think Of Her
[7:10] 4. New Day
[4:10] 5. New Orleans Cakewalk
[5:12] 6. Heritage
[6:07] 7. Lush Life
[3:37] 8. No Relation

Saxophonist Alvin 'Red' Tyler is known to R&B historians as a member of the legendary New Orleans rhythm section that played on hit records by Little Richard and countless others. It was a surprise to the jazz world, then, to hear another side of Red on this album of exquisite modern jazz compositions (almost all written by Red for this recording), supported by a band of many of the best players in New Orleans. Johnny Adams' vocal on 'I'll Only Miss Her When I Think of Her' is a perennial radio favorite.

Heritage

Glenn Close & Ted Nash - Transformation

Styles: Vocal And Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 77:23
Size: 178,8 MB
Art: Front

( 8:07) 1. Creation, Pt. I
( 5:13) 2. Creation, Pt. II
( 7:03) 3. Dear Dad/Letter
( 3:32) 4. Dear Dad/Response
( 5:37) 5. Preludes for Memnon
(11:18) 6. One Among Many
( 8:39) 7. Rising Out of Hatred
( 8:05) 8. A Piece by the Angriest Black Man in America
( 8:37) 9. Forgiveness
( 3:13) 10. Wisdom of the Humanities
( 7:54) 11. Reaching the Tropopause

Transformation is a multi-disciplinary work from saxophonist/composer Ted Nash, and iconic actress Glenn Close, exploring the multi-faceted and abstract theme of transformation. The works included examine the theme from both universal and individual conceptions. Music and literature at its best is clearly transformative for anyone experiencing it. Transformation is by essence, the highest and most illuminating expression of change. Nash embraced the project by creating a colorful and illustrative collection of pieces, embracing Close's curated literary selections recited by the fiercely talented cast of Wayne Brady, Amy Irving, Mathew Stevenson and Nash's son, Eli Nash. In doing so, he has brilliantly utilized the full range of sounds and full spectrum of colors of his collection of voices from the Jazz at Lincoln Center Orchestra.

Close's attraction and motivation to delve into the idea of transformation grew from her observation of the collective human psyche of current times. She explains, "I am acutely aware of the amount of violence, cynicism, stress and anxiety being pumped into our collective nervous systems. We are so fractured and in need of healing. I want to create an experience from which people are comforted, but also inspired, to discover their shared humanity."

The opening two connected pieces, "Creation Parts 1 and 2," take on transformation at the very beginning of the creation of matter and our world. Close chose "Tales From Ovid," by Ted Hughes to illuminate the conception, recited by both Close and Brady. Nash's musical framework for the piece is accented beautifully by alto saxophonist Sherman Irby, and trumpeter Wynton Marsalis. "One Among Many" shifts the focus from the primordial, to the individual, telling the story of Judith Clark's transformation from prison life to freedom in New York City. Amy Irving's recitation brings this stirring tale to an emotive clarity. Wayne Brady recites his own text on "A Piece By the Angriest Black Man in America (or How I Learned to Forgive Myself for Being a Black Man in America." Beginning with a finger snapping rhythm, Brady tells his very personal experience as a black man in modern America, with his well known humorous and whimsical wit and intelligence.

"Dear Dad/Letter," and "Dear Dad/Response" is a narration of the coming out letter for Nash's transgender son, Eli, and a father's loving response of love and support. Recited with poise and humor by Eli himself, the two pieces are beautifully honest and demonstrative of the very best of the human spirit. Nash delivers a father's loving response with his composition, but more importantly, with playing a response instrumentally on soprano saxophone that is as graphic and understandable a narrative as any spoken word performance could ever be. His son's personal transformation in a very powerful way illuminates the stated inspiration for all of the works skillfully created and performed in this collection. Nash's very colorful and visual compositions are reason enough to take on Transformation as a listener. His well crafted orchestral jazz is highlighted by the fine individual work of JALC members Tatum Greenblatt, Obed Calvaire, Victor Goines, Carlos Henriquez and the aforementioned Nimmer, Irby and Marsalis. Like so many recordings arising out of this period of history surrounding the worldwide Covid-19 pandemic, the recording is offered as an expression of transforming forms of hardship and despair into hope and light.By Paul Rauch
https://www.allaboutjazz.com/transformation-ted-nash-tiger-turn

Personnel: Ted Nash: saxophone; Glenn Close: voice / vocals; Wayne Brady: voice / vocals; Amy Irving: voice / vocals; Matthew Stevenson: voice / vocals; Wynton Marsalis: trumpet; Obed Calvaire: drums; Sherman Irby: saxophone; Marc Phaneuf: saxophone, baritone; Victor Goines: woodwinds; Mark Lopeman: saxophone, tenor; Paul Nedzela: saxophone; Ryan Kisor: trumpet; Tatum Greenblatt: trumpet; Marcus Printup: trumpet; Vincent Gardner: trombone; Elliot Mason: trombone; Christopher Crenshaw: trombone; Dan Nimmer: piano; Carlos Henriquez: bass.

Additional Instrumentation: Eli Nash - spoken word

Transformation

Judy Whitmore - Isn't It Romantic

Styles: Vocal
File: MP3@320K/s
Time: 53:33
Size: 148,7 MB
Art: Front

(3:32) 1. It Could Happen To You
(4:05) 2. I Remember You
(3:39) 3. Sunday In New York
(5:20) 4. You Go To My Head
(5:33) 5. The Nearness Of You
(4:15) 6. The Birth Of The Blues
(5:41) 7. Speak Low
(4:57) 8. Isn't It Romantic
(3:53) 9. In The Wee Small Hours Of The Morning
(4:20) 10. But Beautiful
(4:15) 11. Just a Little Loving'
(3:55) 12. Hallelujah I Love Him So

Sometimes it is a pleasure to listen to an album simply because the quality of the music is so consistently gratifying. And if the music is sung as well as Judy Whitmore sings it on Isn't It Romantic, well, that is icing on the cake, as are the superb performances by her supporting cast, especially pianist Tamir Hendelman and saxophonist Rickey Woodard.

The music is taken for the most part from the Great American Songbook, and much of it is performed at a medium to slow tempo, which suits Whitmore's sultry delivery to a T. Her grasp of emotional substance is superior, her timing impeccable, her warm mid-range voice steady and clear as a bell. To affirm that Whitmore brings out the best in every one of these songs would be a completely accurate summation. As to the songs, they include such enduring gems as "It Could Happen to You," "I Remember You," "You Go to My Head," "The Nearness of You," "Speak Low," "In the Wee Small Hours of the Morning," "But Beautiful" and of course, "Isn't It Romantic" (including the seldom-heard verse and an ardent solo by Woodard on alto).

Whitmore also sings Peter Nero's "Sunday in New York," Barry Mann/Cynthia Weill's "Just a Little Lovin,'" Ray Charles' "Hallelujah I Love Him So" and (with guest vocalist Peisha McPhee) Buddy DeSylva/Lew Brown/Ray Henderson's "The Birth of the Blues." For comparison's sake, Whitmore edges close to Frank Sinatra's definitive reading of "The Wee Small Hours," which is the highest praise a listener can bestow. Elsewhere, she holds her own against better-known versions of every tune, mostly by being unpretentious and letting the music speak for itself.

While Hendelman and Woodard are the most prominent soloists, there are engaging statements along the way by flutist Lori Bell, trumpeter Mike Rocha, bassist Alex Frank, and guitarists Mitchell Long and Larry Koonse. The rhythm section (Hendelman, Frank, drummer Dean Koba) is bright and attentive. And even though it is Whitmore's voice that carries the day, there is far more to her than mere vocal chords. Aside from a solid career as a jazz and cabaret performer and recording artist, Whitmore who is named for Judy Garland, a friend of her grandfather's at MGM Studios is a best-selling novelist, a theatre producer, a therapist with a master's degree in clinical psychology, and a licensed commercial jet pilot who also rides horses and cans peaches.

Where does she find the time? That must remain Whitmore's secret. Listeners should be grateful that she found time to record Isn't It Romantic, as it is easily endorsed as one of the year's most impressive vocal albums.By Jack Bowers
https://www.allaboutjazz.com/isnt-it-romantic-judy-whitmore-arden-house-music__24624

Personnel: Judy Whitmore: voice / vocals; Tamir Hendelman: piano; Lori Bell: flute; Ricky Woodard: saxophone; Mike Rocha: trumpet; Mitchell Long: guitar; Larry Koonse: guitar, electric; Alex Frank: bass; Dean Koba: drums; Brian Kilgore : percussion.

Isn't It Romantic