Monday, December 4, 2023

Kenny Burrell - Sanremo 1987

Styles: Guitar Jazz
Year: 1987
File: MP3@320K/s
Time: 43:08
Size: 98,7 MB
Art: Front

(6:39) 1. Blues No.1
(7:32) 2. Summertime
(7:33) 3. Blues No.2
(6:25) 4. Ballad
(8:18) 5. Blue Bossa
(6:38) 6. Body & Soul

One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-’50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir and his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others.

In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson’s trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing on gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, as well as recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others. Burrell made his recorded debut as a leader on the 1956 Blue Note session Introducing Kenny Burrell technically his second session for the label, but the first to see release. From the late ’50s onward, Burrell continued to record by himself and with others, and has appeared on countless albums over the years including such notable albums as 1957’s The Cats featuring Coltrane, 1963’s Midnight Blue featuring saxophonist Stanley Turrentine, 1965’s Guitar Forms with arrangements by Gil Evans, and 1968’s Blues The Common Ground.

Beginning in 1971, Burrell started leading various college seminars including the first regular course to be held in the United States on the music of composer, pianist, and bandleader Duke Ellington. He continued performing, recording, and teaching throughout the ’80s and ’90s, releasing several albums including 1989’s Guiding Spirit, 1991’s Sunup to Sundown, 1994’s Collaboration with pianist LaMont Johnson, 1995’s Primal Blue, and 1998’s church music-inspired Love Is the Answer. In 2001, Burrell released the relaxed quartet date A Lucky So and So on Concord and followed it up in 2003 with Blue Muse. He celebrated turning 75 years old in 2006 by recording a live date, released a year later as 75th Birthday Bash Live! In 2010, Burrell released another live album, Be Yourself: Live at Dizzy’s Club Coca-Cola, recorded at Lincoln Center’s smaller club-like venue. Besides continuing to perform, Burrell is the founder and director of the Jazz Studies Program at UCLA as well as President Emeritus of the Jazz Heritage Foundation. ~ Matt Collar https://www.bluenote.com/artist/kenny-burrell/

Personnel: Kenny Burrell - guitar; Dave Jackson - bass; Kenny Washington - drums

Sanremo 1987

Rock4 - Back to Basic

Styles: Vocal
Year: 2022
Time: 53:05
File: MP3 @ 320K/s
Size: 122,4 MB
Art: Front

(3:59) 1. Human
(4:41) 2. Whole Lotta Love
(3:35) 3. Life on Mars?
(3:44) 4. Teardrop
(2:21) 5. Goodbye Blue Sky
(5:03) 6. Wish You Were Here
(4:00) 7. Unfinished Sympathy
(3:04) 8. Bad Guy
(3:42) 9. Feeling Good
(5:54) 10. Black Hole Sun
(4:44) 11. Land of Confusion
(5:34) 12. Moon over Bourbon Street
(2:39) 13. Blackbird

Back To Basic by the Dutch vocal band Rock4 presents a wide array of reinterpretations of mostly rock tracks, sprinkled in with an occasional non-rock selection to show off the group's impressive vocal skillset. While there's no shortage of talent in terms of the group's vocal capability, I find myself latching on to the more hard-hitting tracks, along with a few other standouts.

Rock4 has a knack for rock music. There's no getting around it, and it's easy to believe from listening to Luc Devens's showstopping range, Phillip Schröter's killer percussion, and the skills of Miklós Németh and Lucas Blommers's backing contributions. The four combine to deliver a rocking good time with both flair and style.

Some of my favorite moments on Back To Basic come when Rock4 throws caution to the wind and hits the ground running, like on Whole Lotta Love. The track has edge, due in large part to the animated and quick percussion which gives the song so much life and really takes over in the track's breakdown section. As for Luc Devens's lead, it just captivates from start to finish, knowing exactly when to offer subtlety and when to just go for it. It's all hard rock at its finest.

More of their flair, albeit in a different way, also comes through on Goodbye Blue Sky. While not hard-hitting, the vocals are more methodical in their delivery of rhythmic parts that are simply pure and graceful. The progressive rock track offers a unique balance of light and dark tones, felt beautifully in the chord execution. And the band's versatility continues with their selection of Teardrop, a somewhat trance-inducing track that pushes the creative envelope, demonstrating how well Rock4 can fill so much space with only four voices.

As Back To Basic progresses, there are a few head-scratching moments that leave me wondering about some of the group's creative decisions. For starters, while some vocal groups have been known to include instruments on their tracks, having two tracks with piano accompaniment is a bit more than my liking. Wish You Were Here and Black Hole Sun both showcase adept piano playing, but at the sacrifice of overshadowing the featured vocals. I'm not sure either track adds much to the overall tone of the album.

The inclusion of Bad Guy initially felt intriguing as it's a pulsing song with many creative avenues to explore. Ultimately, the arrangement seems thin and leaves me desiring more. Other tracks such as Life On Mars? and Human also struggle at times to maintain creative momentum or an additional gear to take the song to the next level.

There is very little vocally that is out of place on Back To Basic. I feel that greater focus on those hard-hitting and energizing rock selections, the album's strengths, is what's needed to take this project from good to stellar.By Brian Alexander https://www.rarb.org/reviews/albums/1863-back-to-basic/

Back to Basic

Lisa Hilton - Coincidental Moment

Styles: Piano Jazz
Year: 2023
Time: 55:59
File: MP3 @ 320K/s
Size: 128,9 MB
Art: Front

(5:14) 1. Anxiety Society
(5:19) 2. Jagged Lil' Blues
(5:22) 3. Happily Go Luckily
(5:47) 4. Blue Tropics
(4:50) 5. Blue in Green
(5:57) 6. Enigmatic Adventure
(4:59) 7. Multiple Perspectives
(3:11) 8. West Coast
(5:09) 9. Coincidental Moment
(5:31) 10. Everyday Anthem
(4:34) 11. Uncommon Poetry

As good as Coincidental Moment is, there is an uncharacteristic sense of sameness infused in many of these bossa blues.

As she notes in the liners, lauded and long-trusted pianist Lisa Hilton intended the music to illuminate the cool energies and history of jazz while relating to these hair-shirt times in which we find ourselves privileged to listen to her music . But perhaps it crossed some invisible line where what has been accepted as gospel from Hilton her buoyancy and vivacious musical spirit are kind of pushed to the background.

Yet it is only human for these coincidental times to pare away at all our truths and Hilton, gifted as she is, still is one of us. So Coincidental Moment, as good as it is, does not partake in such celebrations of endurance and dance as her many previous triumphs, notably 2020's Chalkboard Destiny, 2019's Oasis, 2016's Nocturnal, and 2011's assertive Underground, (all on Hilton's own Ruby Slippers label), but inhabits a darker rumbling left of middle C.

Hilton's innate sense of blues and structure is undeniable and most certainly welcome in a world of dissonance and fracture, but it sounds just the same. From the jumpy eye-opener "Anxiety Society" to the jaunty "Jagged Lil' Blues" to the cool '60s spy movie themed "Happily Go Lucky" Hilton holds close her piano's darker tones. Even with her beautiful, never predictable pentatonic runs, "Blue Tropics" gets its momentum from a darker rhythm. A somber, yet beautiful take on "Blue In Green" adds to the encroaching shade. Like speed scrolling, "Multiple Perspectives" leaves one somewhat unsettled.

Lana Del Ray's "West Coast," a melancholy mix of psychedelica and the blues, fits well into the frame of Coincidental Moment, as Hilton, trumpeter Igmar Thomas, and long time compatriots, drummer Rudy Royston and bassist Luques Curtis make the tune one of their very own. Oddly enough, the title track, one of those Hilton ballads one looks forward to hearing with a fervent eagerness, dispels the fog, as does "Everyday Anthem." The closing "Uncommon Poetry" balances the light and dark in a way only these four can. Coincidental Moment is very good. Just in a different way from what is usual from Hilton.
By Mike Jurkovic https://www.allaboutjazz.com/coincidental-moment-lisa-hilton-ruby-slippers-productions

Coincidental Moment