Maria Kim - Fotografia

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 60:13
Size: 139,1 MB
Art: Front

(2:49) 1. Samba de Uma Nota Só
(3:40) 2. Call Me
(4:34) 3. Fotografia
(3:30) 4. Desafinado
(5:09) 5. Ela é Carioca
(5:43) 6. Pra Machucar Meu Coração
(3:31) 7. So Danço Samba
(3:51) 8. Chega de Saudade
(4:54) 9. Garota de Ipanema
(2:34) 10. Doralice
(6:29) 11. Corcovado
(4:31) 12. Baubles, Bangles and Beads
(5:13) 13. Triste
(3:39) 14. O Pato

Piano player and vocalist. Maria Kim, a musician who perfectly plays these two roles and who constantly conceives of various projects, has returned with [Fotografia], an album containing Brazilian masterpieces. She started jazz and chose two instruments, piano and vocal, while listening to the music of multi-instrumentalist musicians such as Antonio Carlos Jobim, Eliane Elias, Joao Gilberto, and Gilberto Gil to learn about the organic harmony of melody, harmony, and rhythm.

It was from thinking about it. Like other albums she has conducted so far, Bossa Nova songs using simple but symbolic and lyrical motifs to capture the aesthetics of minimalism that Maria Kim pursues serve as a perfect canvas. As symbolized by Fotografia, the title song of this project and a song that depicts a couple at the beach at sunset as if looking at a picture, Maria Kim expresses a way that her music can convey more words to listeners with fewer words, sometimes silently.

I thought about making it something special that would give comfort even when I was sitting back, and I tried to melt this warm message into the music. This album [Fotografia], which captures the sensibility of existing Brazilian music as it is, adds more splendid performance techniques, delicate recording techniques, and modern arrangements. It is an album that shows the essence of MPB (Musica Popular Brasileira) grafted with. Translate By Google
https://www.musickorea.com/product/MARIA-KIM-FOTOGRAFIA/75004/cid/383.

Fotografia

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Hank Mobley, Donald Byrd - The Birth Of Hard Bop Disc 1, Disc 2

Album: The Birth Of Hard Bop  Disc 1

Styles: Trumpet And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 63:18
Size: 146,6 MB
Art: Front

(7:30)  1. Budo
(6:58)  2. I Married An Angel
(8:02)  3. The Jazz Message
(5:49)  4. There Will Never Be Another You
(3:06)  5. Cattin' - Alternate Take
(4:37)  6. Cattin'
(4:41)  7. Madeline
(3:45)  8. When I Fall In Love
(4:20)  9. Space Flight - Previously Unissued
(4:12) 10. Space Flight
(5:18) 11. Blues Number Two - Previously Unissued
(4:56) 12. Blues Number Two

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Album: The Birth Of Hard Bop  Disc 2

Time: 64:36

Size: 149,2 MB

(6:30)  1. B. For B.B. - Previously Unissued

(6:28)  2. B. For B.B.

(7:01)  3. Hank's Shout

(7:53)  4. Bet

(8:53)  5. Nostalagia

(9:49)  6. Thad's Blues

(5:31)  7. A-1

(5:48)  8. A-1 - Alternate Take

(6:37)  9. Doug's Minor Bouk

This 2-CD set, introducing the Savoy Jazz Rare Sessions series, contains the reissue of four 1956 Savoy albums: The Jazz Message Of Hank Mobley, Hard Bop, The Jazz Message Of Hank Mobley, Volume 2 and A-1: The Savoy Sessions. It includes alternate takes and previously unissued tracks that serve an important purpose. Here, "Cattin’," for example, is played at different tempos: Bird-like on the alternate take with different featured soloists. The version originally issued is looser and more representative of hard bop. "Space Flight," on the other hand, is virtually the same on both takes. Minor flaws in the recorded sound were most likely caused when performers turned away from the microphone. The unissued track of "Blues Number Two" contains serious sound problems as well as artist miscues. But there’s more. The alternate track was performed at a faster bebop tempo without as much soulful expression as that evident in the issued take.

By including the alternate track, Savoy is giving the listener an opportunity to hear what was considered desirable in the recording studio: better sound and a genuine, gospel-influenced, blues-based expression.While the previously unissued take of "B. for B.B." is obviously inferior, both in its poor sound balance and in the faster, uninspired mood; "A-1" appears as two different arrangements, both of great value but independent of each other. Each session leader is well represented. Sweet ballads and driving jams feature the Byrd/Mobley quintet as well as the Morgan/Mobley quintet. Lee Morgan and Hank Mobley appear on the last 7 tracks. Over two hours in length, Savoy’s reissue offers early glimpses of several pioneers, four very different pianists, and an introduction to what folks began calling hard bop. ~ Jim Santella https://www.allaboutjazz.com/the-birth-of-hard-bop-lee-morgan-savoy-jazz-review-by-jim-santella.php

Personnel: Donald Byrd, Lee Morgan- trumpet; Hank Mobley- tenor saxophone; John LaPorta- alto saxophone; Horace Silver, Ronnie Ball, Barry Harris, Hank Jones- piano; Wendell Marshall, Doug Watkins- bass; Kenny Clarke, Arthur Taylor- drums. 

The Birth Of Hard Bop Disc 1, Disc 2

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Scott Robinson - Tenormore

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 67:25
Size: 157,8 MB
Art: Front

( 2:52)  1. And I Love Her
( 5:49)  2. Tenor Eleven
( 7:38)  3. Put On A Happy Face
( 6:08)  4. Morning Star
( 6:34)  5. The Good Life
( 7:46)  6. Tenor Twelve
( 5:21)  7. Rainy River
( 7:01)  8. The Weaver
( 6:53)  9. The Nearness Of You
(11:19) 10. Tenormore

When attempting to lend form to the term "rara avis" in jazz, Scott Robinson instantly appears in the mind's eye. He's most easily recognized these days as a horn heavy on the most standard of heavy horns, adding ballast and low-end individuality to the sound of Maria Schneider's orchestra with his baritone saxophone, but Robinson is also beyond proficient a virtuoso, in fact on numerous instruments that most people don't even know exist. His arsenal includes theremin, ophicleide, sarrusophone, alto clarinet, echo cornet, bass marimba, contrabass banjo, and a few hundred other rarities. Long before Robinson acquired his treasure trove of instrumental curiosities, his heart belonged to the second instrument he ever owned (behind a 1927 Conn alto saxophone from his grandfather) and the first instrument he actually purchased: a silver 1924 Conn tenor saxophone procured from a Maryland antique store in 1975. That tenor has been a constant for Robinson since it came into his life, so it's only fitting that the horn receives its due on what is, surprisingly, the multi-instrumentalist's first all-tenor date. In some respects, such a project seems limiting for a man who thrives on diversification. But the album itself makes an important point which counters that line of thinking: the man, not the vessel, is the music. The range of expression that Robinson is capable of eliciting from a single horn this single horn, for this affair is astounding. Opening on a stratospheric four-note motif that introduces a solo take of "And I Love Her," Robinson's vision proves rangy from the start. There is romance in the music for sure, but also a hint of feral snark. As the program plays on, Robinson works his tenor for all it's capable of while also thriving in the atmospheres he creates with his A-list bandmates pianist/organist Helen Sung, bassist Martin Wind, and drummer Dennis Mackrel. This quartet bumps and grinds its way through an eleven-bar blues aptly named "Tenor Eleven," turns "Put On A Happy Face" into a ballad that balances the scales of emotions with rueful revisionism, sets a cool-headed take on "The Good Life" into motion with some free improvisation, and visits church on Wind's soulful, organ-enhanced "Rainy River." Scott Robinson may typically take instrumental variegation to a level unsurpassed in this music, but that shouldn't diminish his position as a tenor saxophonist of note. In that most crowded of fields, he still stands out.  ~ Dan Bilawsky https://www.allaboutjazz.com/tenormore-scott-robinson-arbors-records-review-by-dan-bilawsky.php

Personnel: Scott Robinson: tenor saxophone; Helen Sung: piano, Hammond B3 organ (7, 9); Dennis Mackrel: drums; Martin Wind: bass, acoustic bass guitar (9, 10); Sharon Robinson: flute (8).

Tenormore

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Robin Mckelle - Alterations

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 49:05
Size: 113,7 MB
Art: Front

(5:14)  1. Back to Black
(4:30)  2. Rolling in the Deep
(3:39)  3. Head High
(5:43)  4. Don't Explain
(5:32)  5. Born to Die
(4:59)  6. Jolene
(5:30)  7. River
(5:25)  8. No Ordinary Love
(3:22)  9. Mercedes Benz
(5:07) 10. You've Got a Friend - Bonus Track

For her ninth album, ‘Alterations’, US soul and jazz chanteuse Robin Mckelle has chosen to do something very different to her previous recordings; she’s chosen to record a set of covers though not just any covers. The song selection on ‘Alterations’ (with one exception) is drawn from the repertoires of celebrated female artists… people like Joni Mitchell, Adele, Nina Simone and Janis Joplin. Robin explains that after recording a few albums of her own original music she wanted to focus once again on her first passion just singing and, by extension, interpreting the music and lyrics of others. So she set about choosing a set of songs which spoke directly to her emotions allowing her interpretative instincts to take flight… and how! ‘Alterations’ is no “karaoke covers” album; rather it’s a personal journey in music with each song given a totally different reading to the original version. That’s most apparent on Robin’s reading of Dolly Parton’s ‘Jolene’. Where the original was sprightly, jaunty even, this new take is almost a southern soul meander on which the lyrics seem to have more desperation and meaning. Janis Joplin’s wish-list ‘Mercedes Benz’ is another southern country/soul steamer. The vocal’s smoother than Joplin’s but no less raunchy.

Much more sombre is the visit to Nina Simone’s ‘Don’t Explain’ which is offered with a pleading reassurance, as is the cover of Lana Del Ray’s ‘Don’t Explain’ where amongst the highlight is Marquis Hill’s trumpet solo… and that’s another of this collection’s attractions. The players, marshalled by keyboardist Shedrick Mitchell (Maxwell’s MD by the way), seem to understand the concept and play with love and empathy. Their CVs tell us that they are all rooted in jazz /soul and rock  and it shows. As an example try ‘Alterations’ version of Sade’s ‘No Ordinary Love’ where the band (notably guitarist, Nir Felder and bassist Richie Goods) work nimbly with Ms McKelle to gear up from a subtle understatement to an electric climax. The only original song on the album is McKelle’s own ‘Head High’ a song that tells a story about the strength and the power the female singer so, lyrically and, importantly, musically it chimes with the album’s theme. The other cover songs are Joni Mitchell’s ‘The River’, Adele’s ‘Rolling In The Deep’, Amy Winehouse’s ‘Back To Black’ and Carole King’s ‘You’ve Got A Friend’ which, with just simple, tasteful piano accompaniment from Shedrick Mitchell, brings the collection to a most satisfying of ends. Find out more about this album by accessing our recent Robin McKelle interview. https://lydialiebman.com/index.php/2020/02/14/review-robin-mckelle-alterations-soul-and-jazz-and-funk/

Alterations

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