Thursday, July 3, 2025
Tuesday, July 1, 2025
Lee Morgan - Here's Lee Morgan (Disc 1) And (Disc 2)
Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 37:17 (Disc 1)
Size: 86,1 MB (Disc 1)
Time: 65:35 (Disc 2)
Size: 151,4 MB (Disc 2)
Art: Front
Disc 1
(5:17) 1. Terrible ''T''
(7:42) 2. Mogie
(5:36) 3. I'm A Fool To Want You
(6:03) 4. Running Brook
(6:13) 5. Off Spring
(6:23) 6. Bess
Disc 2
(5:42) 1. Terrible ''T'' (take 7)
(6:53) 2. Terrible ''T'' (take 6)
(7:25) 3. Mogie (take 2)
(7:31) 4. Mogie (take 1 mono)
(5:54) 5. I'm A Fool To Want You (take 1)
(5:43) 6. I'm A Fool To Want You (take 2)
(6:16) 7. Running Brook (take 9)
(6:50) 8. Running Brook (take 4)
(6:39) 9. Off Spring (take 7)
(6:38) 10. Bess (take 3)
Year: 1960
File: MP3@320K/s
Time: 37:17 (Disc 1)
Size: 86,1 MB (Disc 1)
Time: 65:35 (Disc 2)
Size: 151,4 MB (Disc 2)
Art: Front
Disc 1
(5:17) 1. Terrible ''T''
(7:42) 2. Mogie
(5:36) 3. I'm A Fool To Want You
(6:03) 4. Running Brook
(6:13) 5. Off Spring
(6:23) 6. Bess
This CD reissue has its original six songs expanded to 11 with the inclusion of five alternate takes. The music is good solid hard bop that finds Lee Morgan (already a veteran at age 21) coming out of the Clifford Brown tradition to display his own rapidly developing style. Matched with Clifford Jordan on tenor, pianist Wynton Kelly, bassist Paul Chambers and drummer Art Blakey, Morgan's album could pass for a Jazz Messengers set. ~ Scott Yanow http://www.allmusic.com/album/heres-lee-morgan-mw0000188579
Personnel: Lee Morgan (trumpet, flugelhorn); Clifford Jordan (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Art Blakey (drums).
Personnel: Lee Morgan (trumpet, flugelhorn); Clifford Jordan (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Art Blakey (drums).
Disc 2
(5:42) 1. Terrible ''T'' (take 7)
(6:53) 2. Terrible ''T'' (take 6)
(7:25) 3. Mogie (take 2)
(7:31) 4. Mogie (take 1 mono)
(5:54) 5. I'm A Fool To Want You (take 1)
(5:43) 6. I'm A Fool To Want You (take 2)
(6:16) 7. Running Brook (take 9)
(6:50) 8. Running Brook (take 4)
(6:39) 9. Off Spring (take 7)
(6:38) 10. Bess (take 3)
Clark Terry - Daylight Express
Time: 63:52
Size: 146.2 MB
Styles: Bop, Trumpet jazz
Year: 1998
Art: Front
[2:00] 1. Caravan
[2:20] 2. Candy
[2:28] 3. Clark's Expedition
[4:04] 4. Trumpet Mouthpiece Blues
[3:01] 5. Phalanges
[4:31] 6. Blues For Daddy-O's Jazz Patio Blues
[2:43] 7. Basin Street Blues
[2:15] 8. Daylight Express
[2:18] 9. Taking A Chance On Love
[6:52] 10. Festival
[3:36] 11. Clark's Bars
[2:14] 12. Daddy-O's Patrio
[4:58] 13. Blues
[4:18] 14. Impeccable
[2:46] 15. Paul's Idea
[3:16] 16. Phat Bach
[2:31] 17. Milli Terry
[4:00] 18. Funky
[3:31] 19. The Girl I Call Baby
Bass – Jimmy Woode; Drums – Sam Woodyard; Flute, Saxophone – Mike Simpson (5) (tracks: 1 to 9); Guitar – Remo Biondi (tracks: 1 to 9); Piano – Willie Jones (7); Tenor Saxophone – Paul Gonsalves (tracks: 10 to 19); Trumpet – Clark Terry.
Two obscure but very enjoyable and complementary former Lps are reissued in full on this generous CD. The first half of the disc is primarily a showcase for trumpeter Clark Terry who is joined by Mike Simpson (on tenor and flute) in a sextet. C.T. sounds a bit more influenced by Dizzy Gillespie at this time than he would but he was already quite distinctive on such numbers as "Candy," "Blues For Daddy O's Jazz Patio Blues" and "Basin Street Blues." "Phalanges" is a hot bop line (by Louie Bellson) that deserves to be revived while "Trumpet Mouthpiece Blues" sounds like an ancestor of "Mumbles." The second half of the album matches Terry with tenor-saxophonist Paul Gonsalves (who is actually the leader) and a rhythm section that features some surprisingly advanced piano from Willie Jones that sometimes hints strongly at both Cecil Taylor and Sun Ra! Terry and Gonsalves (who were both with Duke Ellington at the time) always made for a good team. The tenor revisits the 1956 Newport Jazz Festival with his long solo on "Festival" and other tunes (all originals by one of the horn players) are basic and swinging; a previously unissued ballad, "The Girl I Call Baby" closes the rewarding and memorable set. Highly recommended. ~Scott Yanow
Two obscure but very enjoyable and complementary former Lps are reissued in full on this generous CD. The first half of the disc is primarily a showcase for trumpeter Clark Terry who is joined by Mike Simpson (on tenor and flute) in a sextet. C.T. sounds a bit more influenced by Dizzy Gillespie at this time than he would but he was already quite distinctive on such numbers as "Candy," "Blues For Daddy O's Jazz Patio Blues" and "Basin Street Blues." "Phalanges" is a hot bop line (by Louie Bellson) that deserves to be revived while "Trumpet Mouthpiece Blues" sounds like an ancestor of "Mumbles." The second half of the album matches Terry with tenor-saxophonist Paul Gonsalves (who is actually the leader) and a rhythm section that features some surprisingly advanced piano from Willie Jones that sometimes hints strongly at both Cecil Taylor and Sun Ra! Terry and Gonsalves (who were both with Duke Ellington at the time) always made for a good team. The tenor revisits the 1956 Newport Jazz Festival with his long solo on "Festival" and other tunes (all originals by one of the horn players) are basic and swinging; a previously unissued ballad, "The Girl I Call Baby" closes the rewarding and memorable set. Highly recommended. ~Scott Yanow
Daylight Express
Antonio Zambrini & Rita Marcotulli - La Conversazione
Year: 2013
File: MP3@320K/s
Time: 42:17
Size: 98,6 MB
Art: Front
(3:40) 1. Beatriz
(3:15) 2. Natale a Riminni
(2:26) 3. Garrincha
(5:49) 4. Small Ballad
(6:11) 5. La Strada
(5:39) 6. Melamp
(2:25) 7. Passato di Vedura
(3:35) 8. Giant Steps
(3:18) 9. Antonia
(2:35) 10. Canto Triste
(3:19) 11. Here's That Rainy Day
Born 1959, Rome, Italy. Playing piano from early childhood, Marcotulli studied classical music at the Santa Cecilia Conservatory before being drawn to Brazilian music. She also began moving onto the fringes of jazz and established a local reputation at first, before becoming well known among contemporary jazz audiences both at home and abroad. This was largely due to playing with musicians such as Chet Baker, Richard Galliano, Jon Christensen, Palle Danielsson, Peter Erskine, Steve Grossman, Joe Henderson, Hélène La Barrière, Joe Lovano, Tony Oxley, Michel Portal, Enrico Rava, Michel Bénita, Aldo Romano and Kenny Wheeler. In 1987 she was nominated for the Best Young Talent award in the Music Jazz Poll and the following year she was a member of Billy Cobham’s band, touring Europe and the USA and appearing on 1989’s Incoming. She spent some time in Sweden, before returning to Italy in the early 90s. In the late 90s, she played the San Remo festival in duo with Pat Metheny and also appeared as a member of a piano trio, with Paul Bley and John Taylor, at the Olympic Theatre of Vicenza.
Among other musicians with whom Marcotulli has worked and sometimes recorded are Sal Nistico, Pino Daniele, Andy Sheppard, Charlie Mariano, Marilyn Mazur, Roberto Gatto, Bob Moses, and she has had a long-term musical relationship with Dewey Redman. Marcotulli has claimed the influence of musicians such as Thelonious Monk, Bill Evans and John Coltrane. A highly skilled performer, she chooses to play in a style that derives as much from pop and folk as jazz. In addition to playing in jazz circles, Marcotulli has also composed music for the dance theatre and for films. By AllMusic
https://www.allmusic.com/artist/rita-marcotulli-mn0000808191/biography
Among other musicians with whom Marcotulli has worked and sometimes recorded are Sal Nistico, Pino Daniele, Andy Sheppard, Charlie Mariano, Marilyn Mazur, Roberto Gatto, Bob Moses, and she has had a long-term musical relationship with Dewey Redman. Marcotulli has claimed the influence of musicians such as Thelonious Monk, Bill Evans and John Coltrane. A highly skilled performer, she chooses to play in a style that derives as much from pop and folk as jazz. In addition to playing in jazz circles, Marcotulli has also composed music for the dance theatre and for films. By AllMusic
https://www.allmusic.com/artist/rita-marcotulli-mn0000808191/biography
La Conversazione
Sunday, June 29, 2025
Riccardo Arrighini, Paolo Benedetti, Michela Lombardi - La Donna Cannone
Year: 2006
File: MP3@320K/s
Time: 79:21
Size: 186,3 MB
Art: Front
( 8:20) 1. E Lucean le Stelle
( 9:31) 2. La Donna Cannone
( 7:23) 3. Anatolia
(11:31) 4. Sous le Ciel de Paris
(10:00) 5. E Dimmi Che Non Vuoi Morire
( 7:27) 6. Giu' la Testa
( 5:51) 7. Nel Respiro
( 6:00) 8. Last Tango in Paris
( 8:30) 9. On the Trail
( 4:43) 10. Dream Youfr Fears Away
Riccardo Arrighini is the pianist who fused Classical music with Jazz. With its arrangements, it aims to bring a breath of fresh air to the works of the great composers, passing through the culture and thirty years of experience of studied, played and taught music. Two enormous heritages such as classical and jazz, two basic cultures such as European and American blend in him in a pianism that is finally free from schemes and barriers. He was born in Viareggio on August 28, 1967. He began studying classical piano at the age of seven and after a few months he won the national competition for young pianists in Osimo. After graduating from the 5th year of studies, he obtained admission as an intern at the Conservatory â € œL.Boccheriniâ € in Lucca, where he graduated with full marks in 1986, under the guidance of Prof. Clara Cesa Luporini.
After a few years in which he toured all over Italy with pop or dance music orchestras, and as an accompanist for opera singers, he began studying jazz in 1990 at the â € œSiena jazzâ € seminars held by maestro Enrico Pieranunzi and at the summer courses â € œUmbria jazz Clinicsâ € in Perugia, where he won a scholarship to travel to the USA.
In 1991 he enrolled at the Berklee College of Music in Boston, MA - USA, where he attended a semester and where he had the opportunity to take his first professional steps in the world of jazz. After two years of stopover, during which he plays in the best Tuscan clubs, he returns to Boston and studies privately with masters Jerry Bergonzi and Hal Crook for another semester (1993). Between 1995 and â € ™ 97 he attended the Siena Jazz â € œHigh Professional Qualificationâ € courses, held by Mo Stefano Battaglia and where he graduated in 1997.
In 1996 he participated in the television program â € œMedicine a comparisonâ € by Daniela Rosati, broadcast on Retequattro and â € œBaciami Versiliaâ € by Gianni MinÃ, broadcast on Raidue. In the same period he won the â € œBarga jazz 1996â € competition with his trio for the section dedicated to new talents. He then begins to propose himself, as well as an improviser, also as a composer performing a repertoire of only original pieces that will lead to the first recordings of him in his name. In 1999 and 2000 he was called by maestro Bruno Tommaso to be part of the Barga Jazz orchestra, where he had the opportunity to meet and play with some of the most important names in the Italian jazz scene.
In 2003 the meeting with the 14 year old Sicilian, and extraordinary sax talent, Francesco Cafiso, personally invited by Maurizio Costanzo to the Canale 5 studios, for the transmission â € œfriendsâ € by Maria de Filippi and â € œBuona Domenicaâ €. An excellent human and musical partnership was born immediately between the two. In 2004 he plays with Cafiso at the summer edition of Umbria Jazz and the official quartet of the saxophonist is formed with Arrighini on the piano, Aldo Zunino on the bass and Stefano Bagnoli on the drums. The quartet, from 2004 to 2007, will play in the most important Italian and world jazz festivals. The collaboration with Cafiso ends in early 2008. Since 2006 he has had a trio in his name, with Riccardo Fioravanti on bass and Stefano Bagnoli on drums, with whom he recorded the cd â € œCambio di Marciaâ € presented at â € œUmbria jazz â € ˜07â €.
In 2007 he elaborates a double project on the figure of Giacomo Puccini, solo piano and orchestra, which obtains the support of Umbria Jazz and the Pucciniano Festival Foundation with which in 2008 he participates in important international concerts in the IICs of Tokyo, Kyoto, London, Amsterdam, Stockholm Ankara and Izmir and recorded two discs, "Puccini jazz. Recondite harmonie" (piano solo) and "Puccini jazz: E lucevan le stelle" (trio plus Orchestra dei Solisti di Perugia). With the aforementioned orchestra he participates in events of great media importance such as the "International Music Festival" (21.6.'08) in Perugia, where for the occasion the church of San Francesco al Prato is reopened - formerly the temple of UJ for concerts historians such as Sting & Gil Evans of '87 - and Umbria jazz '08 at the Morlacchi theater.
In August '08 he took part in the important "Ischia Piano Jazz" festival, sponsored by UJ, a solo piano festival alongside Danilo Rea, Enrico Pieranunzi and Stefano Bollani. In 2008 he comes out with a new reworking of great classics, â € œVivaldi Jazz: Le 4 Stagioniâ €, in piano solo and trio, whose tour starts in June â € ™ 09 and will touch all of Italy. For many years he has been successfully dedicated to teaching classical and jazz with students who come from all over Italy. He has reworked all the techniques of jazz harmony and improvisation, learned in the seminars and schools mentioned above, merging and reworking them in his own very personal method. For about 3 years he has been holding workshops and seminars in the Conservatories and in the Italian and foreign Music Study Centers based on the fusion between Jazz and Classical. Of note is the one held in 2006 in San Paolo (Brazil) at the Antonio Carlos Jobim Study Center. https://www-amicidellamusicamilano-it.translate.goog/artisti/a/RiccardoArrighini.html
In 1991 he enrolled at the Berklee College of Music in Boston, MA - USA, where he attended a semester and where he had the opportunity to take his first professional steps in the world of jazz. After two years of stopover, during which he plays in the best Tuscan clubs, he returns to Boston and studies privately with masters Jerry Bergonzi and Hal Crook for another semester (1993). Between 1995 and â € ™ 97 he attended the Siena Jazz â € œHigh Professional Qualificationâ € courses, held by Mo Stefano Battaglia and where he graduated in 1997.
In 1996 he participated in the television program â € œMedicine a comparisonâ € by Daniela Rosati, broadcast on Retequattro and â € œBaciami Versiliaâ € by Gianni MinÃ, broadcast on Raidue. In the same period he won the â € œBarga jazz 1996â € competition with his trio for the section dedicated to new talents. He then begins to propose himself, as well as an improviser, also as a composer performing a repertoire of only original pieces that will lead to the first recordings of him in his name. In 1999 and 2000 he was called by maestro Bruno Tommaso to be part of the Barga Jazz orchestra, where he had the opportunity to meet and play with some of the most important names in the Italian jazz scene.
In 2003 the meeting with the 14 year old Sicilian, and extraordinary sax talent, Francesco Cafiso, personally invited by Maurizio Costanzo to the Canale 5 studios, for the transmission â € œfriendsâ € by Maria de Filippi and â € œBuona Domenicaâ €. An excellent human and musical partnership was born immediately between the two. In 2004 he plays with Cafiso at the summer edition of Umbria Jazz and the official quartet of the saxophonist is formed with Arrighini on the piano, Aldo Zunino on the bass and Stefano Bagnoli on the drums. The quartet, from 2004 to 2007, will play in the most important Italian and world jazz festivals. The collaboration with Cafiso ends in early 2008. Since 2006 he has had a trio in his name, with Riccardo Fioravanti on bass and Stefano Bagnoli on drums, with whom he recorded the cd â € œCambio di Marciaâ € presented at â € œUmbria jazz â € ˜07â €.
In 2007 he elaborates a double project on the figure of Giacomo Puccini, solo piano and orchestra, which obtains the support of Umbria Jazz and the Pucciniano Festival Foundation with which in 2008 he participates in important international concerts in the IICs of Tokyo, Kyoto, London, Amsterdam, Stockholm Ankara and Izmir and recorded two discs, "Puccini jazz. Recondite harmonie" (piano solo) and "Puccini jazz: E lucevan le stelle" (trio plus Orchestra dei Solisti di Perugia). With the aforementioned orchestra he participates in events of great media importance such as the "International Music Festival" (21.6.'08) in Perugia, where for the occasion the church of San Francesco al Prato is reopened - formerly the temple of UJ for concerts historians such as Sting & Gil Evans of '87 - and Umbria jazz '08 at the Morlacchi theater.
In August '08 he took part in the important "Ischia Piano Jazz" festival, sponsored by UJ, a solo piano festival alongside Danilo Rea, Enrico Pieranunzi and Stefano Bollani. In 2008 he comes out with a new reworking of great classics, â € œVivaldi Jazz: Le 4 Stagioniâ €, in piano solo and trio, whose tour starts in June â € ™ 09 and will touch all of Italy. For many years he has been successfully dedicated to teaching classical and jazz with students who come from all over Italy. He has reworked all the techniques of jazz harmony and improvisation, learned in the seminars and schools mentioned above, merging and reworking them in his own very personal method. For about 3 years he has been holding workshops and seminars in the Conservatories and in the Italian and foreign Music Study Centers based on the fusion between Jazz and Classical. Of note is the one held in 2006 in San Paolo (Brazil) at the Antonio Carlos Jobim Study Center. https://www-amicidellamusicamilano-it.translate.goog/artisti/a/RiccardoArrighini.html
La Donna Cannone
Saturday, June 28, 2025
Anita O'Day - Hot & Cool Heat - Anita O'Day Sings Buddy Bregman & Jimmy Giuffre Arrangements
Year: 2011
Time: 60:32
File: MP3 @ 320K/s
Size: 141,9 MB
Art: Front
(2:26) 1. You're The Top
(3:15) 2. Honeysuckle Rose
(2:30) 3. No Moon At All
(2:51) 4. I'll See You In My Dreams
(4:24) 5. I Never Had A Chance
(3:20) 6. Stompin' At The Savoy
(4:14) 7. Sweet Georgia Brown
(3:27) 8. I Won't Dance
(2:22) 9. Let's Begin
(2:16) 10. Come Rain Or Come Shine
(2:33) 11. You're A Clown
(3:13) 12. Easy Come Easy Go
(3:03) 13. A Lover Is Blue
(3:09) 14. Mack The Knife
(2:26) 15. Gone With The Wind
(2:08) 16. Hershey Bar
(2:54) 17. My Heart Belongs To Daddy
(2:03) 18. Orphan Annie
(2:12) 19. The Way You Look Tonight
(3:14) 20. It Had To Be You
(2:22) 21. Hooray For Hollywood
Anita O'Day shows in this set why her over-all feeling and delivery mark her as one of the few women in the field who could ever accurately be called a jazz singer. She was a more imaginative singer than her imitators, not merely because she was original, but also because she was much more inventive. Two talented and utterly dissimilar arrangers contributed the imaginatively varied scores for these sessions, the first two by Buddy Bregman, the last three by Jimmy Giuffre.
Reveling in the settings the difference between hot and cool Anita O'Day has a great time, not only on the swinging tunes, to which she contributes some trademark, zestful, inventive scatting, but also in singing ballads with a sure touch. Backing her, Bregman and Giuffre used some of the finest Hollywood jazzmen, with Stan Getz particularly warm and lyrical on I Never Had a Chance.
These are probably the best jazz sides recorded by Anita O'Day in the Fifties, and if you enjoy vocal records in the slightest bit, do yourself a favor and get this one.
https://www.amazon.com/Anita-Sings-Bregman-Giuffre-Arrangements/dp/B003JZEVIK
Personnel:
Anita O'Day (vcl), Pete Candoli, Conte Candoli, Jack Sheldon, Tom Reeves (tp), Milt Bernhart, Frank Rosolino, Lloyd Ulyate, Joe Howard, Si Zentner (tb), Bud Shank, Art Pepper, Alan Harding, Les Robinson (as), Stan Getz, Richie Kamuca (ts), Jimmy Giuffre (bs), Paul Smith, André Previn (p), Barney Kessel, Jim Hall (g), Joe Mondragon, George Morrow (b), Alvin Stoller, Mel Lewis (d)
Tracks #1-4, from the album "Anita" (Verve MGV-2000)
Tracks #5-9, from the album "Pick Yourself Up" (Verve MGV-2043)
Tracks #10-21, from the album "Cool Heat" (Verve MGV-8312)
Miles Davis - Sketches of Spain 50th Anniversary Legacy Edition
Styles: Modal
Year: 2009
Time: 44:41
File: MP3 @ 320K/s
Size: 102,7 MB
Art: Front
(16:20) 1. Concierto De Aranjuez (Adagio)
( 3:48) 2. Will o' the Wisp
( 3:54) 3. The Pan Piper
( 4:58) 4. Saeta
(12:15) 5. Solea
( 3:22) 6. Song of Our Country
Sketches of Spain 50th Anniversary Legacy Edition CD 2
Year: 2009
Time: 44:41
File: MP3 @ 320K/s
Size: 102,7 MB
Art: Front
(16:20) 1. Concierto De Aranjuez (Adagio)
( 3:48) 2. Will o' the Wisp
( 3:54) 3. The Pan Piper
( 4:58) 4. Saeta
(12:15) 5. Solea
( 3:22) 6. Song of Our Country
Sketches of Spain 50th Anniversary Legacy Edition CD 2
Styles: Modal
Year: 2009
Time: 69:54
File: MP3 @ 320K/s
Size: 160,7 MB
Art: Front
( 3:46) 1. The Maids of Cadiz
( 7:21) 2. Concierto De Aranjuez (Adagio) (Rehearsal Take)
(12:05) 3. Concierto De Aranjuez (Adagio) (Alternate Take, Part One)
( 3:33) 4. Concierto De Aranjuez (Adagio) (Alternate Take, Part Two)
( 1:02) 5. Concierto De Aranjuez (Adagio) (Alternate Ending)
( 3:11) 6. The Pan Piper (Take 1)
( 2:59) 7. Song of Our Country (Take 9)
( 3:10) 8. Song of Our Country (Take 14)
( 6:02) 9. Saeta (Full Version Master)
(17:06) 10. Concierto De Aranjuez (Adagio) (Live)
( 9:33) 11. Teo
Sketches of Spain 50th Anniversary Legacy Edition CD 1 & 2
Year: 2009
Time: 69:54
File: MP3 @ 320K/s
Size: 160,7 MB
Art: Front
( 3:46) 1. The Maids of Cadiz
( 7:21) 2. Concierto De Aranjuez (Adagio) (Rehearsal Take)
(12:05) 3. Concierto De Aranjuez (Adagio) (Alternate Take, Part One)
( 3:33) 4. Concierto De Aranjuez (Adagio) (Alternate Take, Part Two)
( 1:02) 5. Concierto De Aranjuez (Adagio) (Alternate Ending)
( 3:11) 6. The Pan Piper (Take 1)
( 2:59) 7. Song of Our Country (Take 9)
( 3:10) 8. Song of Our Country (Take 14)
( 6:02) 9. Saeta (Full Version Master)
(17:06) 10. Concierto De Aranjuez (Adagio) (Live)
( 9:33) 11. Teo
SKETCHES OF SPAIN by Miles Davis: Each of Miles' four orchestral album collaborations with arranger-composer Gil Evans - Miles Ahead (1957), Porgy And Bess (1958), Sketches Of Spain (1959), and Quiet Nights (1962) - was a masterwork in its own right. Sketches was Miles' first post-Kind Of Blue project, and retains that LP's modal feel on the 16-minute version of Rodrigo's "Concierto de Aranjuez,' the inspiration for Davis and Evans. Liner notes for the 2009 edition of SKETCHES are written by composer academician Gunther Schuller, whose hundreds of accomplishments in jazz include playing French horn for Miles on the 1949-50 Birth Of The Cool sessions. SKETCHES was recorded in 1959 and released in 1960.
This historic edition presents the original album augmented by alternate and extra tracks, illustrating how this synergy developed. "The Maids of Cádiz" (from the 1957 album Miles Ahead) is the first example of Gil Evans adapting a composition of Spanish origin for an orchestral collaboration with Miles. The live performance of "Concierto de Aranjuez," the only such ever given, took place in Carnegie Hall in 1961, offering a rare, heightened performance of this centerpiece. "Teo," (from the 1961 album Someday My Prince Will Come) a small group piece dedicated to Producer Teo Macero, is simpatico with "Solea"--the other jewel from the original album, with its orchestral palette that is, in a word, sublime.
René Urtreger & Agnès Desarthe - Premier rendez-vous
Year: 2017
Time: 55:57
File: MP3 @ 320K/s
Size: 129,4 MB
Art: Front
(6:52) 1. The Man I love
(6:05) 2. Le premier rendez-vous
(3:36) 3. Thème pour un ami
(2:28) 4. La géante
(6:16) 5. Lady Amanda
(5:24) 6. Everything Happens to Me
(2:32) 7. La douche en plein air
(4:43) 8. Just One of Those Things
(6:08) 9. Body and Soul
(3:56) 10. Valsajane
(2:51) 11. Le foin
(3:55) 12. You Go to My Head
(1:05) 13. Bouncing with Bud
René Urtreger invites Agnès Desarthe in front of the microphone. Jazz musicians join them. The result is an album full of freshness, “Premier Rendez-Vous”. To be savored with relish.
In 2016 Agnès Desarthe collected and reproduced in words the words of René Urtreger throughout the pages of the book Mise en page 1 “Le Roi René”. In 2017, a good exchange, the notes of René Urtreger accompany the voice of Agnès Desarthe on “Premier-Rendez-Vous” which transports the writer into the world of professional singing.
For the occasion, René Urtreger invites several very talented musicians to join them. This is how alto saxophonist Géraldine Laurent, double bassist Pierre Boussaguet, drummer Simon Goubert and violinist Alexis Lograda appear on the album.
Recorded in May and June 2017 by Vincent Mahey at Studio Sextan-La Fonderie de Malakoff, the album “Premier Rendez-Vous” (Naïve-Believe/Musicast) is announced for October 27, 2017.
Between René Urtreger and Agnès Desarthe the story is written in several chapters. First their first meeting followed by regular interviews which allowed the writer to gather the pianist’s confidences. From these elements she wrote a superb biography entitled “Le Roi René”.
During the numerous meetings which preceded the writing of the book, the pianist discovered Agnès Desarthe's interest in the music she learned and practiced in her youth. From there, events continue. During a literary festival (in Nevers) and presentations of the work (in Paris to the Duke of Lombards) the two accomplices have the opportunity to come together in music around the piano and microphone.
There is only one step to take to go from the stage to the studio for the recording of an album and today it is done. René Urtreger invites Agnès Desarthe to join him for a studio recording. “Premier Rendez-vous” is therefore the last chapter (…to date) of the collaboration between René Urtreger and Agnès Desarthe.
On “Premier Rendez-Vous” Agnès Desarthe says three texts. Perfect diction of texts of his own which move or make you smile. La Géante accompanied by the violin, Le Foin in duet with the drums and La Douche En Plein Air with the piano. Having moved from the world of letters to the world of notes, Agnès Desarthe reconnects with the vocabulary and syntax of music even if her participation as a jazz singer is modest.
She sings in English, The Man I Love accompanied by the piano-saxophone-drums trio and Body and Soul and You Go To My Head in duet with the piano. In French, she covers with all the musicians Premier-Rendez-Vous, the title immortalized by the late Danielle Darieux. With intelligence, she does not allow herself to be trapped in the role of the jazz singer “who thinks she is…”.
Agnès Desarthe simply takes the risk of being herself. Careful and sensitive interpretation. Fair and well placed, the voice is more spoken than sung. She delicately positions herself on the time with which she plays to better outwit it.
The pianist performs on the thirteen tracks of the album. His return to the record news has everything to delight those who recently listened to René Urtreger in concert in the provinces or in the capital. We find him solo on two magnificent ballads, Valsajane and Everything Happens To Me, which he also enjoys playing in concert. He also honors bop with Bouncing with Bud and a disheveled version of Just One Of Those Things by Cole Porter where Géraldine Laurent gives it her all.
René Urtreger has lost none of his splendor and although he has completely mastered the art of simplicity, the fact remains that he still takes great pleasure in phrasing bop and does not let himself be fooled.
From the meeting between the jazz pianist René Urtreger and the woman of letters Agnès Desarthe, two magnificent artistic objects were born. In 2016, the book “Le Roi René” published by Éditions Jacob. In October 2017 the album “Premier Rendez-Vous” (Naïve-Believe/Musicast). Time will tell whether other chapters should be added to their story.
https://www.latins-de-jazz.com/premier-rendez-vous-rene-urtreger-agnes-desarthe/
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