Friday, September 6, 2019

Matt Lavelle Quartet - Handing The Moment

Styles: Trumpet, Clarinet Jazz
Year: 2002
File: MP3@320K/s
Time: 62:04
Size: 243,7 MB
Art: Front

(11:10)  1. Amadou's Passage
(10:09)  2. The Kitchen
( 7:36)  3. Creator School
( 7:31)  4. Chant 1
( 4:39)  5. Chant 2
( 7:59)  6. Roy Campbell
( 7:24)  7. Mars and Aries
( 5:34)  8. The 5 Faces

Thirty-two year old trumpeter Matt Lavelle hails from the Rockland County area of New York State. With this release, he reaps the benefits of a seasoned rhythm section, featuring seminal CIMP session drummer and solo artist Lou Grassi. In addition, Lavelle matches wits with tenor saxophonist Ras Moshe for an abundance of group-based highlights. At times the band spurs remembrances of the late Art Blakey’s fabled Jazz Messengers, as they commingle open-ended improvisational flurries with compact exchanges amid breezy choruses. Grassi serves as the catalyst via his sweeping fills, snappy rim-shots and peppery beats. On “The Kitchen,” Moshe churns out angst-ridden lines atop bassist Francois Grillot’s blustery patterns. Here, the band conveys gobs of movement as Lavelle and Moshe separate into pairs with the rhythm section by way of various mini motifs. Lavelle’s phraseology consists of rapid 16th notes mixed with poignant statements to counterbalance his penchant for detail and nuance. The musicians integrate some of Ornette Coleman's ideas into their arsenal while venturing off into various mood-evoking passages on “Chant 1” and “Chant 2.” Handling the Moment stays strong throughout, as the quartet intelligently covers a wide spectrum, spanning free-bop, mainstream and the avant-garde. Lavelle has seemingly embarked upon the fast track with this superfine exposition. (Passionately recommended) ~ Glenn Astarita https://www.allaboutjazz.com/handling-the-moment-matt-lavelle-cimp-records-review-by-glenn-astarita.php

Personnel: Matt Lavelle: trumpet, flugelhorn, pocket trumpet, bass clarinet

Handing The Moment

Ligia Piro - Las Flores Buenas

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 54:30
Size: 126,4 MB
Art: Front

(3:04)  1. El Surco
(2:42)  2. Drume Negrita
(2:39)  3. Odiame
(4:29)  4. La Llorona
(3:54)  5. La Jardinera
(2:34)  6. El Monigote
(3:15)  7. Las Flores Buenas de Javier
(4:43)  8. Zamba para Olvidarte
(3:37)  9. Lluvia y Rio
(4:03) 10. Cinco Siglos Igual
(4:22) 11. Coronita de Flores
(3:23) 12. Pétalo de Sal
(4:00) 13. Construcción
(3:55) 14. Una Palabra
(3:43) 15. Nada

This new album overwhelmingly reverts beautiful melodies of the most important Latin American authors and composers of recent decades, which have influenced the Argentine singer for a large part of her life. Among them, Chabuca Granda, Chico Buarque, Violeta Parra, Julio Jaramillo, Carlos Varela and León Gieco, to name just a few, are part of a brand new and fresh proposal that has the collaboration of the excellent musical director Gustavo ¨Popi¨ Spatocco. "Las Flores Buenas" are the songs that are part of this album. To interpret the works of these authors is to reproduce the sensations that different aspects of life cause me. And sharing it with you fills me with happiness and it is my greatest wish that we agree on the feeling. Translate By Google http://www.partedelshow.com.ar/noticia/las-buenas-flores-lo-nuevo-de-ligia-piro

Las Flores Buenas

Bill Evans Trio - Plays For Lovers

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 52:51
Size: 121,8 MB
Art: Front

(4:55)  1. When I Fall In Love
(3:25)  2. Haunted Heart
(5:07)  3. Spring Is Here
(5:23)  4. Blue In Green - Album Version - (take 3)
(3:51)  5. Easy Living
(4:59)  6. Polka Dots And Moonbeams
(4:39)  7. Easy To Love
(4:39)  8. I Wish I Knew
(5:53)  9. Young And Foolish
(5:04) 10. Lover Man (Oh, Where Can You Be?) - Live
(4:51) 11. My Foolish Heart - Live

Concord counters 2005's Bill Evans for Lovers on Verve with this ballad collection, Bill Evans Plays for Lovers, from the pianist's late 1950s and early 1960s Riverside catalog. While there isn't anything here especially for devoted fans, who more than likely have all of this material a couple of times over, it's a great introduction to Evans for the novice. These nine cuts offer a fine retrospective of the pianist's trademark ballad style. Six tracks feature Evans in his classic trio with Scott LaFaro and Paul Motian, and the rest showcase him in the company of bassists like Chuck Israels, Sam Jones, and Teddy Kotick, while Philly Joe Jones makes an appearance on the closer, "Young and Foolish." It's in the music made with LaFaro, though, that Evans reveals himself deeply. His then-controversial classicism which brought the shades and chord voicings of everyone from Debussy and Ravel to Erik Satie and Darius Milhaud to the jazz idiom are still revelatory in what they bring to the gentle, swinging introspection of tunes like "Haunted Heart," "Spring Is Here," "Blue in Green," and "I Wish I Knew." For the price, this set can't really be beat. And for those seasoned listeners who are looking for a prime ballad compilation, this one fits the bill nicely. ~ Thom Jurek https://www.allmusic.com/album/bill-evans-plays-for-lovers-mw0000479641

Plays For Lovers

Buddy Rich - Keep The Customer Satisfied

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 71:36
Size: 165,3 MB
Art: Front

( 6:40)  1. Keep The Customer Satisfied
( 4:42)  2. Long Day's Journey
(11:12)  3. Midnight Cowboy Medley
( 3:35)  4. Celebration
( 5:25)  5. Groovin' Hard
( 4:32)  6. The Juicer Is Wild
( 7:30)  7. Winning The West
( 4:54)  8. Body And Soul
( 3:57)  9. Happy Time
( 4:07) 10. The Nitty Gritty
( 4:17) 11. Straight And Narrow
( 5:54) 12. Groovin' Hard
( 4:45) 13. Cornerstone

In the late sixties drum virtuoso Buddy Rich recorded a series of albums for Liberty/Pacific Jazz that most critics agree were the best of his career. Keep The Customer Satisfied captures Rich, an admitted showoff, performing live before an enthusiastic audience at the Tropicana Hotel in Las Vegas. Of the original seven tracks, only one (the epic, eleven-minute Midnight Cowboy Medley ) was recorded in a Los Angeles studio. At the time of this recording, Toronto resident Pat LaBarbara was a prominent member of the band and his frequent tenor solos are most impressive. In addition, the album features solid contributions from Rick Stepton (trombone), Richie Cole (alto) and George Zonce (trumpet). The arrangements, particularly those of Don Piestrup and Bill Holman, are custom tailored to showcase Rich’s relentless drive and his band’s brassy exuberance. Keep The Customer Satisfied includes six previously unissued bonus tracks that, while of interest to Rich completists, don’t really measure up to the original seven chosen. Hot and very satisfying! #### ~ John Sharpe https://www.allaboutjazz.com/keep-the-customer-satisfied-buddy-rich-blue-note-records-review-by-john-sharpe.php

Personnel: Joe Giorgiani, John Madrid, Mike Price, George Zonce, trumpet; Rick Stepton, Tony Lada, trombone; Larry Fisher, bass trombone; Jimmy Mosher, Richie Cole, flute, alto sax; Pat LaBarbara, tenor sax, soprano sax, flute; Don Englert, tenor sax, soprano sax, flute; Bob Suchoski, baritone sax; Mickey McClain, piano, organ; Rick Laird, electric bass; Buddy Rich, drums

Keep The Customer Satisfied

Grant Stewart - Namely You

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 56:53
Size: 132,0 MB
Art: Front

(7:44)  1. Namely You
(6:57)  2. Straight Street
(5:59)  3. Laura
(6:24)  4. Amsterdam After Dark
(9:07)  5. I Believe in You
(6:13)  6. Somewhere in the Night
(7:16)  7. The Shadow of Your Smile
(7:10)  8. All by Myself

Grant Stewart and Fabio Miano lead a swinging quartet that includes Austrian drummer Bernd Reiter and the young French double bassist Clement Daldosso. The group moves easily through the tunes on this recording. Stewart , a brilliant tenor saxophonist with a powerful, incisive swing is an esteemed figure on the international scene. He has been praised by many great musicians, such as Lou Donaldson, George Coleman, Clark Terry and Jimmy Cobb, with whom he has played and recorded. Fabio Miano, acclaimed pianist and jazz teacher, is a fine accompanist and skillful improviser. Italian Miano, who lives in Spain, has performed on both sides of the Atlantic and displays a knowledge of contemporary jazz as well as a solid grounding in jazz tradition. His tasteful, narrative playing is filled with nuances. The empathy between the two leaders helps to create a relaxed recording in which creativity is not restricted and jazz flows with joyful ease. https://www.jazzmessengers.com/en/79905/grant-stewart/namely-you-w-fabio-miano

Personnel: Grant Steward, tenor sax; Fabio Miano, piano; Clement Daldosso, bass; Bernd Reiter, drums

Namely You

Thursday, September 5, 2019

The Manhattan Transfer - Jukin'

Styles: Vocal
Year: 1971
File: MP3@320K/s
Time: 28:56
Size: 67,5 MB
Art: Front

(3:21)  1. Chicken Bone Bone
(3:11)  2. I Need A Man
(2:00)  3. You're A Viper
(2:39)  4. Fair And Tender Ladies
(3:12)  5. Rosianna
(1:42)  6. Sunny Disposish
(2:35)  7. Java Jive
(4:20)  8. One More Time Around Rosie
(3:26)  9. Guided Missiles
(2:25) 10. Roll Daddy, Roll

This was the Manhattan Transfer before they become The Manhattan Transfer, an altogether different vocal group from which founder Tim Hauser was the sole holdover. Released by Capitol in the 1970s, Jukin' is an accumulation of scraps recorded over a period of two years in New York and Nashville. Back in those days, the Transfer seemed to be one of several hippie groups (like Spanky and Our Gang and Dan Hicks and His Hot Licks) that looked at the past ironically with arched eyebrows, not like the later Transfer which affectionately celebrated old music at its face value. Hence the pure country treatment of "Fair and Tender Ladies," which has a strong whiff of condescension in the group's nasal accents; even the doo wop tribute "Guided Missiles" reeks of barely concealed contempt. Then as now, the Transfer were unpredictably eclectic in their tastes, while also very much aware of the then-current rock marketplace. 

Hauser's version of Fats Waller's "You're a Viper" bears some resemblance to the later Transfer manner, and one number, "Java Jive," appears in the same arrangement as the one the 1975 Transfer used, if rougher in vocal texture. For all of the careful production, there is a casual looseness about these tracks that is typical of its time, the heyday of the hippie and as such, today's Transfer fans are in for a surprise if they want to check out the group's beginnings. ~ Richard S.Ginell https://www.allmusic.com/album/jukin-mw0000312968

Jukin'

Victor Provost - Her Favorite Shade of Yellow

Styles: Contemporary Jazz
Year: 2011
File: MP3@320K/s
Time: 52:58
Size: 122,6 MB
Art: Front

(4:26)  1. Her Favorite Shade of Yellow
(4:41)  2. Beautiful Love
(7:31)  3. Dolphin Dance
(6:29)  4. Mother Theresa
(4:51)  5. Moments Notice
(5:54)  6. Rainorama
(5:07)  7. Blue in Green
(4:44)  8. All the Things You Are
(3:23)  9. Just Friends
(5:49) 10. Redemption Song

In February 2011, I went into the Bennett Studios with a hard-hitting rhythm section Dion Parson (dr), Reuben Rogers (bs), and Carlton Holmes (p) and endeavored to make not just a great record, but a one-of-a-kind recording. With the assistance of sax giant Ron Blake, who channels ‘Trane on my tribute to my “Mother Theresa”, engineer extraordinaire Rob Harari, and mastering master Steve Vavagiakis, the record found its voice and vibe and and took the form of a commercial product. I’m very proud of the result and grateful for the incredible musicians and technicians that made the process possible. https://www.victorprovost.com/85/

Personnel:  Victor Provost (steel-ds); Carlton Holmes (p); Ruben Rogers (b); Dion Parson (ds); guest:Ron Blake (ts)

Her Favorite Shade of Yellow

Tete Montoliu - Piano-Bolero

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 45:16
Size: 104,4 MB
Art: Front

(7:13)  1. Popurrí: Frenesi, Contigo en la Distancia, María Elena
(7:55)  2. Popurri: Quizas Quizas Quizas, Tu Mi Delirio, Adios
(7:44)  3. Popurri: Tres Palabras, Amor Mío, Siempre en Mi Corazon
(6:12)  4. Popurri: Noche de Ronda, Solamente una Vez, Vereda Tropical
(8:20)  5. Popurri: Perfidia, No Me Platiques, Besame Mucho
(7:49)  6. Popurri: Amor Amor Amor, La Puerta, María de la O

An outstanding veteran pianist from Spain, Tete Montoliu was born blind. He learned to read music in Braille when he was seven and developed impressive technique on piano. He recorded with Lionel Hampton in 1956, had his first session as a leader in 1958, and played with the touring Roland Kirk in 1963. Through the years, he also worked with such visiting Americans as Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and even Anthony Braxton. Tete Montoliu's visits to the U.S. were very infrequent, but his SteepleChase albums (starting in 1971) are generally available; he also cut one date for Contemporary (1979) and recorded for Enja and Soul Note. ~ Scott Yanow https://www.allmusic.com/artist/tete-montoliu-mn0000024907/biography

Personnel: Piano – Tete Montoliu; Bass – Albert Moraleda; Drums – Miguel Angel Lizandra; Percussion [Tumbas] – Pedro Díaz

Piano-Bolero

Scott Hamilton - Danish Ballads... & More

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 60:50
Size: 140,0 MB
Art: Front

(5:27)  1. Forelsket i København
(7:23)  2. Dansevise
(6:56)  3. Havnen
(7:19)  4. Alley Cat
(5:25)  5. Det var en lørdag aften
(5:48)  6. Take it Easy
(7:29)  7. Montmartre Blues
(4:01)  8. My Little Anna
(5:58)  9. I skovens Dybe stille ro
(4:59) 10. Svenninge Blues

A selection of Danish folk tunes, movie themes, cabaret songs and jazz numbers, played by a truly great tenor saxophonist. Scott Hamilton has been based in Europe (first London, now Florence) for around 20 years. He has his regular venues and can call on his favourite musicians wherever he goes. In this case it’s Hans Backenroth on bass, Kristian Leth, drums, and the phenomenal pianist Jan Lundgren. The same team made a splendid album of Swedish tunes a few years ago. I’ve just played them both and think this is perhaps slightly better. They’ve come up with some really interesting and attractive pieces – not the obvious ones either. There’s Dansevise, Denmark’s entry in the 1963 Eurovision song contest, which comes out as a swinging jazz waltz, and the folk song whose title translates as In the Still of the Woods, reputed to have words by Hans Christian Andersen. It makes a beautiful slow ballad. I’ve rarely heard Hamilton play better. His style is often described as “timeless”, being full of echoes and memories of past masters, yet it is always fresh, alert and unmistakably his own. https://www.theguardian.com/music/2019/jul/28/scott-hamilton-quartet-danish-ballads-and-more-review-tenor-sax

Personnel:  Scott Hamilton (tenor sax); Jan Lundgren (piano); Hans Backenroth (bass); Kristian Leth (drums).

Danish Ballads... & More

Wednesday, September 4, 2019

Randy Brecker - Toe to Toe

Styles: Trumpet Jazz
Year: 1990
File: MP3@320K/s
Time: 43:42
Size: 101,3 MB
Art: Front

(5:40)  1. Mr. Skinny
(5:13)  2. Trading Secrets
(4:55)  3. It Creeps Up on You
(6:07)  4. The Glider
(4:55)  5. Toe To Toe
(5:52)  6. It's Up to You
(4:42)  7. What Is The Answer
(6:14)  8. Lost 4 Words

Jazz trumpeter and composer Randy Brecker has helped shape the sound of jazz, R&B and rock for more than four decades. His trumpet and flugelhorn performances have graced hundreds of albums by a wide range of artists from James Taylor, Bruce Springsteen and Parliament/Funkadelic to Frank Sinatra, Steely Dan, Jaco Pastorius and Frank Zappa. Born in 1945 in Philadelphia to a musical family, Randy’s musical talent was nurtured from an early age. He attended Indiana University from 1963-66 studying with Bill Adam, David Baker and Jerry Coker and later moved to New York where he landed gigs with such prominent bands as Clark Terry’s Big Bad Band, the Duke Pearson Big Band and the Thad Jones Mel Lewis Jazz Orchestra. In 1967, Randy ventured into jazz-rock with the band Blood, Sweat and Tears, but left to join the Horace Silver Quintet. He recorded his first solo album, ‘Score’, in 1968, featuring a young, then unknown 19 year-old tenor saxophonist named Michael Brecker. After Horace Silver, Randy joined Art Blakey’s Jazz Messengers before teaming up with brother Michael, Barry Rogers, Billy Cobham, and John Abercrombie to form the seminal fusion group ‘Dreams’. The group recorded two adventurous and wildly acclaimed albums: ‘Dreams’ and ‘Imagine My Surprise’now collector’s items for Columbia Records before they disbanded in 1971. In the early 1970s, Randy performed live with many prominent artists including Larry Coryell’s Eleventh House, Stevie Wonder and Billy Cobham. He also recorded several classic albums with his brother under the leadership of the great pianist/composer Hal Galper. By 1975, Randy and Michael were ready to front their own group, the Brecker Brothers Band.  A band of immeasurable impact and influence, they released six albums on Arista and garnered seven Grammy nominations between 1975 and 1981. 

Their eponymous first record, which Randy wrote, arranged and produced, featured his now classic composition “Some Skunk Funk.”In 1992, exactly ten years after they parted ways to pursue solo careers, Randy and Michael reunited for a world tour and the triple-Grammy nominated GRP recording, ‘The Return of the Brecker Brothers’. The follow-up, 1994’s ‘Out of the Loop,’ was a double-Grammy winner.In 1997, ‘Into the Sun’ (Concord), a recording featuring Randy’s impressions of Brazil, garnered Randy his first Grammy as a solo artist.In 2001, Randy released ‘Hangin’ in the City’ (ESC), a solo project which introduced his alter-ego Randroid, a skirt chasing, cab driving ne’er do well, with lyrics and vocals by Randroid himself. This CD was especially well received in Europe, where Randy toured extensively with his own line-up.Randy’s next CD for ESC Records, ’34th n’ Lex,’ won him his third Grammy for ‘Best Contemporary Jazz Album’ in 2003. In May of that year he toured Europe with his Quintet in support of the CD, and in the summer went back to Europe yet again with the Randy Brecker/ Bill Evans Soulbop Band. The summer of 2003 culminated in the special headline appearance in Japan at the Mt. Fuji Jazz Festival of the reunited Brecker Brothers.2004 saw Randy touring Europe extensively as co-leader (with Bill Evans) of the band Soulbop. The WDR Big Band also celebrated Randy and his music that year in a performance at the Leverkusen Jazz Fest. The date was of special significance to Randy as it was the last time he played with his brother, who took ill shortly thereafter with a rare form of leukemia known as MDS. In 2005, with Mike unable to travel to Russia for Brecker Brothers gigs booked there, Randy’s wife Ada sat in for the first time.  Randy’s active schedule continued apace with the Randy Brecker Band performing throughout Eastern Europe and across the globe. In 2007, Randy was awarded his fourth Grammy for “Randy Brecker Live with the WDR Big Band” (Telarc/BHM), the live recording (also available in DVD format) of his performance with Michael at the Leverkusen Jazz Fest in 2004. 

Tragically, Michael passed away that same year on Jan 13th. 2007 also saw the release of a 2 CD set of live recordings of the band ‘Soulbop’ (BHM) featuring Dave Kikoski, Victor Bailey, Steve Smith or Rodney Holmes and the late great Hiram Bullock. Randy returned to his long-time love of Brazilian music in 2008 for the album ‘Randy in Brazil,’ which was recorded in Sao Paulo with a full complement of great Brazilian musicians and released on Summit Records. Chosen one of the top 10 CDs of 2008 by AllAboutJazz.com, the CD won the Grammy for “Best Contemporary Jazz Album,” bringing his Grammy total to five. A “Tribute to the Brecker Brothers” featuring Randy and recorded live at the Hamamatsu Jazz Festival in Japan with Yoichi Murata’s Solid Brass & Big Band was released by JVC Victor in Japan in late 2008. And in 2009, Randy’s roots were celebrated with the release of ‘Jazz Suite Tykocin,’ a project initiated and conceived by the Polish pianist and composer Wlodek Pawlik, featuring Randy as a soloist with members of the Bialystok Philharmonic. Tykocin is the area in Poland where Randy’s ancestors (mother’s maiden name: Tecosky) hail from, a fact that Pawlik discovered while helping to search for a bone marrow donor for Michael. 2011 saw the release of ‘The Jazz Ballad Song Book: Randy Brecker with the Danish Radio Big Band and The Danish National Chamber Orchestra,’ which garnered 4 Grammy nominations and enjoyed enthusiastic critical acclaim.  And in 2012, Sony Legacy recaptured history with the long-awaited boxed set, “The Brecker Brothers – The Complete Arista Albums Collection.” A Brecker Brothers Band Reunion tour of European festivals in the summer of 2013 in support of Randy’s newest project, Randy Brecker’s “Brecker Brothers Band Reunion,” re-introduced the familiar faces of Brecker Brothers Band members from the past and their special brand of music to sell-out crowds. 

A dual-disc release, Randy’s newest project will be released on September 25th, 2013 on Piloo Records. Randy Brecker’s “Brecker Brothers Band Reunion” features a live DVD recorded at the Blue Note in NYC bundled with a new 11-song studio recording featuring members of the Brecker Brothers bands from throughout the years including Dave Sanborn, Mike Stern, Will Lee, and Dave Weckl. George Whitty is back in the production and keyboard chair, and Randy’s Italian wife Ada Rovatti is in the ‘hot saxophone’ seat, keeping it in the family on tenor and soprano saxophone. The new dual-disc recording will be released in North America by Magenta/E-One, in Europe by Moosicus Records in November and in Japan by JVC/Victor. A long time in the making, this project is very close to Randy Brecker’s heart. It is dedicated to his brother, Michael, and other departed Brecker Brothers Band members. As a composer, performer and in-demand Yamaha clinician, Randy Brecker continues to influence and inspire young musicians around the world. http://randybrecker.com/about/

Personnel: Randy Brecker - Electric Trumpet, Flugelhorn, Mixing, Producer, Trumpet, Vocals, Arranger; Jim Beard - Drum Machine, Drum Programming, Keyboards, Arranger, Producer; Michael Brecker - Sax (Tenor); Bob Mintzer - Clarinet (Bass); Jon Herington - Guitar; Victor Bailey - Bass (Electric); Darryl Jones – Bass; Dennis Chambers - Drums, Drums (Snare); Bashiri Johnson – Percussion; Regina Belle - Vocals (Background); Mark Ledford - Arranger, Vocals, Vocals (Background)

Toe to Toe

Jules Day - Day Dreams

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 44:11
Size: 102,5 MB
Art: Front

(3:40)  1. Rio
(3:56)  2. Speak To Me
(3:40)  3. Come Sunday
(3:27)  4. XOXO
(3:41)  5. Late Night Cafe
(3:03)  6. The Goodbye Song
(4:05)  7. Life Goes On
(4:27)  8. When That Sun Rolls Back Around
(3:42)  9. Dues
(3:18) 10. Close Your Eyes
(3:20) 11. The Things That You Do
(3:46) 12. Freedom

Originally from Minneapolis, Jules Day is based in Los Angeles, California, where this album was created and recorded. After several years of anticipation, this album and project finally came true. From the start, the goal was not to compile just another collection of songs, but create a listening experience that will take you from a breezy and tropical feel, to a late night smoky atmosphere, to reflective and melancholy moments, to bluesy moods , and finally, to energetic songs that might surprise you. I hope you find this musical journey well worth the trip. https://store.cdbaby.com/cd/julesday4

Day Dreams

Peter Erskine, Tim Hagans With Norrbotten Big Band - Worth the Wait

Styles: Post Bop, Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 68:00
Size: 156,7 MB
Art: Front

(10:41)  1. Worth the Wait
(10:56)  2. You Should See My Office
(12:11)  3. Plan 9
( 9:03)  4. First Jazz
( 8:15)  5. Scotland, Africa
(11:04)  6. Reason to Believe
( 5:48)  7. Drum Row

Peter Erskine and Tim Hagans shared the stage in the early 1970s as members of the Stan Kenton Orchestra, which provided a nurturing atmosphere for two young musicians and a beginning to their musical careers. After decades in divergent paths, this recording reunites the drummer and the trumpeter in another big band setting that's, well, Worth The Wait. The duo front the sixteen-piece Swedish Norrbotten Big Band (NBB), which Hagans has directed since 1996, in a live recording for Sveriges Radio P2 (Swedish Radio) at the Kulturcentrum Ebeneses in Luea, Sweden. Playing with the NBB offered the perfect platform for the performance of their seven original compositions on a world stage. The big band's mission is to perform original music while featuring star soloists such as Joe Lovano, Toots Thielemans and Chris Potter; here of course, Erskine and Hagans fill that role admirably. The album is actually one half of a two-record release from Erskine's independent record label, while the other album, Standards (Fuzzy Music, 2007), features the drummer in a piano trio. There are no sweet ballads, charming melodies or simplistic big band charts, the music on this disc flows to a more sophisticated groove sure to draw the interest of the jazz aficionado who leans towards the progressive big band sound. Though the music is accessible, the intricate arrangements offer ample solo space for various members of the band to join the co leaders in play. The opening title track, an Erskine composition and Hagan arrangement, offers a glimpse of the nature of this recording as the music features the sounds of altoist Johan Horlen and bassist Martin Sjostedt early on, with later solos from Erskine that only become brassy midway towards the track's end. The woodwind section comes alive on Hagans' "You Should See My Office," where the two featured artists take their turn in the spotlight only after tenor Mats Garberg sets the stage with a solid performance of his own. Another Hagans tune, "First Jazz," delivers what is unquestionably the best swinging number of the album as Hakan Brostrom's play on alto outshines the leaders. Composer/arranger and professor of the Eastman Jazz Ensemble at the University of Rochester, Bill Dobbins contributes arrangements of Erskine's "Plan 9" and the percussive "Scotland, Africa" where Erskine takes over the tune with his prowess. He is again showcased as the only soloist on the Hagans finale, "Drum Row," where the band plays only a supporting role. This Erskine and Hagans big band project in no way resembles the classic orchestrations they were a part of during their Kenton days. That's not to say that the new music they are a part of now isn't as good or wasn't worth the wait, because the music is definitely good and the wait, certainly worth it. ~ Edward Blanco https://www.allaboutjazz.com/worth-the-wait-peter-erskine-fuzzy-music-review-by-edward-blanco.php

Personnel: Peter Erskine: drums; Tim Hagans: conductor,trumpet; Hakan Brostrom: saxophone; John Horlen: saxophone; Mats Garberg: saxophone; Bengt Ek: saxophone; Per Moberg: saxophone; P-O Svanstrom: trombone; Magnus Puls: trombone; Peter Dahlgren: trombone; Bjorn Hangsel: bass trombone; Bo Stranberg: trumpet; Dan Johansson: trumpet; Magnus Ekholm: trumpet; Tapio Maunuvaara: trumpet; Daniel Tilling: piano; Ola Bengtsson: guitar; Martin Sjostedt: bass.

Worth the Wait

Wallace Roney - Prototype

Styles: Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 53:43
Size: 123,2 MB
Art: Front

( 7:48)  1. Cyberspace
(10:37)  2. Shadow Dance
( 6:13)  3. Prontotype
( 4:49)  4. Then and Now
( 4:59)  5. Let's Stay Together
( 6:19)  6. Quadrant 329-4-526
( 5:19)  7. Three Views of the Blues
( 7:36)  8. Secret Identity

On Prototype , his first album in four years, trumpeter Wallace Roney continues to develop ideas begun on Village ('97) and No Room For Argument ('00). That is to say, as the liner notes describe, "Miles' playing and his album Nefertiti as one link; Weather Report as the compositional link; Mwandishi (pianist Herbie Hancock groundbreaking early '70s fusion band) as the conceptual link, with John Coltrane as the spiritual link." Roney's links to Miles Davis have been written about and, perhaps, overexaggerated. There is no doubt that Roney's playing and concept of openness stems from Miles and a time in the late '80s when Roney was hanging with the Prince of Darkness. But whereas Miles changed direction countless times during his career, Roney has chosen a starting point for his music that of the transitional Miles period of Nefertiti through Filles de Kilimanjaro and steadfastly evolved the idea, incorporating contemporary technologies and rhythms, painting a picture of where Miles might have gone had he been more evolutionary than revolutionary. Take "Then and Now," with its "I Got Rhythm" changes. It may start out as the most mainstream-sounding piece on the record, but only for about thirty seconds as it quickly breaks down into a freer piece, with wife Geri Allen peppering the song with abstract harmonies while bassist Matt Garrison and drummer Eric Allen play loose and elastic with the time. But while the track unquestionably fits within the context of the album as a whole, it is something of an anomaly. 

"Cyberspace" opens the album with a dark and deep funk groove, Roney and brother Antoine on saxophone stating the attractive yet edgy theme while keyboardist Adam Holzman, who spent time in Miles' late '80s bands, colors the piece with sharp chords and subtle washes. Similarly, "Shadow Dance" finds an expanded horn section building the extended theme over a 3/4 ostinato before heading into more exploratory territory, with guest Don Byron delivering a particularly pungent solo. The title track is a tender ballad, but even though it is one of only two completely acoustic tracks ("Then and Now" being the other), it brings a sense of freedom to the more closely-adhered changes that lends it a consistency with the rest of the record. It is, in fact, this sense of freedom that pervades the whole record, giving it a sense of urgency. That's not to say this is exactly free jazz; rather it is more open-ended jazz where a firm sense of rhythm exists throughout, but with harmonic and thematic liberation the group is less concerned with hanging on specific changes and, instead, uses harmonic devices as a jumping off point, much as early Weather Report did. Prototype continues to evolve Roney's conception of jazz, one that successfully combines inarguable roots with a more contemporary view, incorporating a diversity of influences into a blend where the fundamental notion is that of freedom, but, like Miles before him, with a clearly-defined rhythmic and harmonic basis. ~ John Kelman https://www.allaboutjazz.com/prototype-wallace-roney-highnote-records-review-by-john-kelman.php

Personnel: Wallace Roney: trumpet; Antoine Roney: saxophones; Geri Allen: piano; Adam Holzman: keyboards; Matthew Garrison: basses; Eric Allen: drums; Clifton Anderson: trombone; Don Byron: clarinet; DJ Logic.

Prototype

Ken McIntyre - 'Way,'Way Out

Styles: Saxophone, Flute Jazz
Year: 1963
File: MP3@320K/s
Time: 40:10
Size: 92,9 MB
Art: Front

(7:25)  1. Miss Ann
(7:31)  2. Lois Marie
(5:04)  3. Chittlin's And Cavyah
(6:15)  4. Permanentity
(4:50)  5. Tip Top
(3:23)  6. Kaijee
(5:39)  7. Reflections

A versatile player with a thoughtful style who can play quite freely, Ken McIntyre has never been a major name in jazz despite his talents. After serving in the military and graduating from the Boston Conservatory, he arrived in New York in 1960 and made a strong impression. He recorded two albums for New Jazz that year, including one on which he held his own against Eric Dolphy. McIntyre also led two now-scarce records for United Artists during 1962-1963 (including one titled Way Way Out) but became involved in education, teaching in public schools starting in 1961. He continued playing on a part-time basis (recording with Cecil Taylor in 1966). McIntyre led five albums for SteepleChase during 1974-1978, including his definitive set Hindsight (which finds him spotlighting each of his five horns in a quartet). He also recorded with Craig Harris in 1983 and put together an Eric Dolphy tribute set for Serene in 1991, but Ken McIntyre never gained the recognition he deserved. In the early '90s, he adopted the first name of Makanda and in June 2001, he released his first recording in years, entitled A New Beginning. Multi-instumentalist and music educator Dr. Makanda Ken McIntyre passed away at the age of 69 as a result of a heart attack on Wednesday, June 13, 2001, at his home in Harlem, NY. ~ Scott Yanow https://www.allmusic.com/artist/ken-mcintyre-mn0000766122/biography

Personnel: Makanda Ken McIntyre: alto saxophone, flute, oboe; Bob Cunningham: bass; Edgar Bateman: drums; 13-piece string orchestra

'Way,'Way Out

Tuesday, September 3, 2019

Phil Woods,Irio De Paula - Encontro (On Jobim)

Styles: Clarinet Jazz
Year: 2000
File: MP3@320K/s
Time: 55:57
Size: 129,3 MB
Art: Front

(7:04)  1. Eu Sei Que Vou Te Amar
(4:50)  2. Samba do Aviao
(5:10)  3. O Grande Amor
(6:03)  4. Corcovado
(5:57)  5. A Felicidade
(3:57)  6. Brigas, Nunca Mais
(5:45)  7. Retrato em Branco e Preto
(7:11)  8. Ana Luiza
(5:05)  9. Days of Wine and Roses
(4:52) 10. Autumn Leaves

" Life - wrote Vinicius de Moraes - is the art of encounter ". Philology dedicates a good part of its rich and varied catalog to this art. The label of Piangiarelli has always offered meetings, more or less occasional, of unpublished ensembles: musical stories of a single day. On the other hand this poetic precariousness is one of the foundations of jazz and of all music based on improvisation ..Phil Woods , eponymous deity of the Italian label, was obviously the protagonist of many of these "meet and say goodbye". In May 2000 , in five days, he recorded seven of these discs. One of these is "Encontro (on Jobim)" recorded, in a single afternoon, with Irio De Paula .C hi looking for new musical paths in operations of this kind would obviously be disappointed. The two musicians could only work on popular and popular songs: Jobim songs , and among the most well-known, or standard, so to speak, very " busy " as " Autumn Leaves ". N Despite this, the final result is very good. De Paula's guitar and Woods's clarinet dialogue in the quiet and rarefied atmospheres of bossa nova. Softly, with melancholy elegance and poetic disenchantment. Come to mind, listening to the melodic digressions of the two, the verses of Vinicius (Ancora he) dedicated to the samba, which is a direct ancestor of the bossa " To make good samba we need a bit of melancholy (a bocado de tristezza), ... it is the sadness made dance, it is white with skin in the poem, but it is black at the bottom of the heart ". Spleen Anglo-Saxon, Brazilian saudade, subtle mal of Africa. There is all this in the brief meeting of these two musicians, whose extraordinary qualities do not even mention: there would only come out banality.A record that will not enter the jazz legend, but to be heard often. Especially when you want something that is beautiful without being demanding. A disc, like certain wines, for meditation.
Marco Buttafuoco for Jazzitalia Translate by Google http://www.jazzitalia.net/recensioni/encontroonjobim.asp#.XWstcC5KiUk

Personnel: Phil Woods - Clarinet; Irio De Paula - acoustic guitar

Encontro (On Jobim)

Lauren Kilgore - Today Is Mine

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 41:58
Size: 98,0 MB
Art: Front

(3:22)  1. State of Grace
(4:25)  2. Carolina in my Mind
(3:40)  3. Sleeping Beauty
(3:31)  4. Let Me Dream Again
(4:00)  5. I'm Looking Through You
(4:35)  6. Today Is Mine
(3:01)  7. Three Times Seven
(2:30)  8. Just A Mockingbird
(4:39)  9. Moontown
(4:22) 10. George and His 88 Keys
(3:48) 11. Poor Wayfaring Stranger

"Today Is Mine" is a thoughtful collection of cover songs rich in folk, pop, and country influences from vocalist Lauren Kilgore. A native of Birmingham, Alabama, Lauren was exposed to an interesting variety of music as a child.

"I grew up listening to the music of Merle Travis, Jerry Reed, the Beatles, and James Taylor, and this record is sort of a 'thank you' for bringing me those musical influences and great tunes," she says. While Lauren's stunning voice celebrates the work of those who've come before her, the 21-year-old singer definitely makes each song her own.

"I don't think you have to fit into a single category musically," Lauren says. "I don't agree with that philosophy. Mixing different styles together for me was like creating a tapestry. The different pieces and textures work beautifully together and bring more depth to the whole project."

The title track comes from songwriter, singer, and guitarist Jerry Reed. Lauren's father, Larry Kilgore, is a terrific fingerstyle guitarist and he's been playing this song with her since she was old enough to sing. Reed's lyrics convey a philosophy of life that is as valid today as it was when he wrote the song in the 1960s - living each day to the fullest, in the here and now. As Reed wrote, "today is the only garden we can tend." This "seize the day" attitude fits perfectly with Lauren's current musical hopes and ambitions.

"My father played the guitar as long as I can remember and was constantly letting us hear various types of musical styles that he grew up with," says Lauren. "I think I have a unique advantage in being exposed to so many types of talented musicians. I don't know anyone my age who listens to artists like Chet Atkins, Jerry Reed, or Merle Travis."

Included on the CD are such well-known folk-pop classics as "Carolina In My Mind" (James Taylor) and "I'm Looking Through You" (Lennon/McCartney). Also featured are great songs by lesser-known writers such as Pierce Pettis ("State of Grace," "Moontown"), Tom Prasada Rao ("Sleeping Beauty"), Cosy Sheridan ("George And His 88 Keys"), and Leslie Braly ("Let Me Dream Again," "Just A Mockingbird"). In contrast to these recent songs is the Western swing classic "Three Times Seven" by Merle Travis, which features Larry Kilgore playing a Travis-inspired solo on his vintage Gibson Super 400 electric guitar. "Poor Wayfaring Stranger " dates back to the Civil War, although Lauren's reading of the song gives it an entirely new, jazzy flavor. The CD's producer and arranger, Jim O, selected the songs and played practically all of the guitar and percussion tracks on the album. Other Birmingham musicians lent their talents to the project, such as Greg Brown (bass guitar, electric guitar, mandolin and harmony vocals), Bobby Horton (trumpet and trombone on "George and His 88 Keys") and Jerry Ryan (harmonica). Also featured are drummer Jay Frederick, keyboardist Keith Knox, and upright bassist Roy Yarbrough ("Let Me Dream Again," "Moontown"). Robbi Podrug and Kathy Hinkle of the Herb Trotman Band, a popular Birmingham bluegrass band, sing harmony vocals on "Let Me Dream Again." The only non-Birmingham musician on the record is violin virtuoso Joe Ebel from Asheville, North Carolina, whose superb solos and multi-tracked string "quartets" grace many of the tracks.

"Today Is Mine" is a follow-up to Lauren's debut CD, "Before My Time," released in1999. Producer Jim O says, "when I produced her first recording three years ago I knew she was an artist with a bright future, and on this record she's hitting her stride with a beautiful, silky sound that brings a whole lot of warmth, feeling and great musicianship to the songs." https://store.cdbaby.com/cd/laurenkilgore

Today Is Mine

Matt Lavelle - Goodbye New York,Hello World

Styles: Cornet, Trumpet And Clarinet Jazz
Year: 2011
File: MP3@320K/s
Time: 65:59
Size: 152,0 MB
Art: Front

( 5:09)  1. Rose
(19:02)  2. You're the Tonic
( 9:26)  3. Endings and Beginings
(10:13)  4. Wayne
( 3:19)  5. Mi Manchi
(11:32)  6. Choices
( 7:14)  7. Goodbye New York,Hello World

Multi-instrumentalist Matt Lavelle's CD is entitled Goodbye New York, Hello World and he means it. Since 1999, Lavelle has been a vital part of the New York City avant-garde jazz scene: in addition to electrifying live performances and impressive CD releases, he has also been a thoughtful commentator on the music world, including blogs, Facebook posts, and a memoir-in-progress that's creating a buzz both online and off. These days, Lavelle's music and life have been taking him increasingly to Europe including an upcoming trip to Sweden, his first European tour as a leader and Lavelle finds himself at a crossroads: is it still possible to make a life and a living as a jazz musician in New York City, or does the action now lie elsewhere?  Goodbye New York, Hello World ponders these questions and more. Lavelle is a great storyteller, and each song is an original composition that documents his journey. He covers an astonishing spectrum of emotions in these seven tunes, aided by his facility on a wide range of instruments: cornet, flugelhorn, alto clarinet, and bass clarinet. As J.R.R. Tolkein made clear with The Lord of the Rings, good traveling companions are essential, and Lavelle is accompanied every step of the way by three musical blood brothers: tenor saxophonist Ras Moshe; bassist Francois Grillot; and drummer Bob Hubbard. Tunes such as "Choices" and "Endings and Beginnings" address Lavelle's questions straight on, offering no-holds-barred access to a human heart in flux. But there's also the beautiful "Mi Manchi" ("I miss you" in Italian), an elegant meditation on longing that's subtle and private. 

The CD's ground zero is "Your the Tonic," an 18-minute song without a single wasted breath. Lavelle's previous recordings are uniformly excellent, but here he breaks new ground. The heart of the song is Lavelle's relationship with legendary saxophonist and musical pioneer Ornette Coleman, with whom Lavelle studied formally from 2005 to 2009. "Your the Tonic" possesses some of the most urgent, intimate music on record, with such intensely propulsive swing it feels like the CD is going to burst out of the boom box. Lavelle releases his soul with primal cries of ferocious passion, leaping fearlessly through the door opened for him by Coleman. The tune's honesty, humanity, and keen intelligence are truly breathtaking, and not to be missed. In recent decades, New York once such a welcoming haven for jazz musicians in terms of cost of living and range of venues has become a tough place to survive. And yet, by virtue of his tenacity and musical mission, Lavelle has done just that, receiving an education that has included priceless contact with luminaries such as Coleman, multi-instrumentalist Giuseppi Logan and bassist William Parker. Whatever Lavelle's next step might be, let's hope he continues his generous sharing, much to the benefit of jazz lovers in New York City and beyond. ~ FLORENCE WETZEL https://www.allaboutjazz.com/goodbye-new-york-hello-world-matt-lavelle-music-now-review-by-florence-wetzel.php

Personnel: Matt Lavelle: cornet, flugelhorn, alto clarinet, and bass clarinet; Ras Moshe: tenor saxophone (2,4, 6); Francois Grillot: bass; and Bob Hubbard: drums and gongs (2, 4, 6, 7).

Goodbye New York,Hello World

Oliver Nelson - Black, Brown and Beautiful

Styles: Piano, Saxophone , Big Band
Year: 1970
File: MP3@320K/s
Time: 37:23
Size: 86,0 MB
Art: Front

(5:31)  1. Aftermath
(7:08)  2. Requiem
(2:34)  3. Lamb of God
(4:15)  4. Martin Was a Man, a Real Man
(4:11)  5. Self-Help Is Needed
(2:38)  6. I Hope in Time a Change Will Come
(3:29)  7. 3, 2, 1, 0
(3:30)  8. Black, Brown and Beautiful
(4:04)  9. Requiem, Afterthoughts

One of Oliver Nelson's hippest albums a bold statement of righteous energy, and a fantastic summation of all the genius he'd created during the 60s as an arranger for other people's records! The record is almost at a Duke Ellington level a complex yet soulful suite of tracks for the post-60s years complete with some sound effects of rioting and urban strife at the beginning, and a mix of modern, modal, and compositional styles that bursts out with pride and power that we wouldn't have heard in Nelson's music a decade before! The soloists are great and the album features wonderful read work from John Klemmer, Frank Strozier, and Nelson himself on great original titles that include "Self Help Is Needed", "I Hope In Time A Change Will Come", "Requiem Afterthoughts", "Lamb Of God", and "Martin Was A Man A Real Man".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/856690/Oliver-Nelson:Black-Brown-Beautiful

Personnel: Oliver Nelson - piano, alto saxophone, soprano saxophone, arranger, conductor;  Orchestra including the following soloists: Bobby Bryant - trumpet; Frank Strozier - alto saxophone;  John Gross, John Klemmer - tenor saxophone; Pearl Kaufman, Roger Kellaway - piano; Chuck Domanico - bass; John Guerin, Roy Haynes - drums

Black, Brown and Beautiful

Lalo Schifrin - Bossa Nova Groove

Styles: Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 73:24
Size: 170,4 MB
Art: Front

(7:42)  1. Mima
(5:32)  2. Samba para Dos
(3:31)  3. Tel Eco Teco Nº 2
(4:57)  4. Lolita Marie
(8:32)  5. Céu e Mar
(5:45)  6. Whispering Bossa Nova
(2:26)  7. Boato
(2:39)  8. Chora Tua Tristeza
(3:16)  9. Poema do Adeus
(2:49) 10. O Apito no Samba
(5:15) 11. Chega de Saudade
(1:52) 12. Bossa em Nova York
(3:30) 13. O Amor e A Rosa
(2:26) 14. O Meniño Desce o Morro
(2:23) 15. Menina Feia
(3:58) 16. Ouça
(3:43) 17. Samba de Uma Nota So
(2:59) 18. Patinho Feio

An Oscar- and Emmy-nominated film and television composer, classical composer, and acclaimed jazz pianist, Lalo Schifrin emerged as a big-band leader in the mid-'50s, collaborating with the likes of Dizzy Gillespie and Xavier Cugat before beginning to score films in the mid-'60s. His iconic theme to TV's Mission: Impossible was first broadcast in 1966. Following in the footsteps of John Barry and Monty Norman's "James Bond Theme," its orchestral jazz instrumentation (including prevalent flutes, brass, piano, bongos, and jazz drums) and adrenalized staccato, syncopated rhythms helped to define spy music for decades to follow. Much like contemporaries Michel Legrand, Henry Mancini, and André Previn, while he wrote in a variety of styles, Schifrin remained best known for his jazz-inflected scores. They also included crime films like 1968's Bullitt, which set an urban scene with a large jazz ensemble that included electric guitar and electric bass, and the Dirty Harry franchise (1971-1988). Though more varied, the Dirty Harry scores maintained an antsy jazz M.O. while updating the production palette over time to include more keyboards, strings, and rock-styled drums. After his Mission: Impossible theme was repurposed for a big-screen reboot in the mid-'90s, Schifrin combined jazz, rock, and lush orchestral tracks in his lively soundtracks for the Rush Hour action franchise in the late '90s and 2000s. Over 50 years after its introduction, his Mission: Impossible theme was still featured heavily in Lorne Balfe's music for the blockbuster sixth entry in the film series, 2018's Mission: Impossible - Fallout. Born Boris Claudio Schifrin in Buenos Aires in 1932, Schifrin grew up with a father who played violin with the Teatro Colón Orchestra. When Lalo was six years old, his dad arranged for him to begin studying piano with Enrique Barenboim, father of celebrated pianist/conductor Daniel Barenboim. As a teenager, he studied piano with the former head of the Kiev Conservatory, Andreas Karalis, and harmony with composer Juan Carlos Paz. After winning a scholarship to the Paris Conservatory in the early '50s, he studied with French composers Charles Koechlin and Olivier Messiaen. In his off hours, he played in Parisian jazz clubs, and in 1955, he represented Argentina in the Paris International Jazz Festival. After returning to Buenos Aires, he started his own 16-piece, Basie-style jazz band, the first of its kind in Argentina, and found work as a pianist and arranger. 

His status as a bandleader helped him meet Dizzy Gillespie in 1956, and Schifrin offered to write a suite for Gillespie. He completed the five-movement Gillespiana in 1958, the same year he became an arranger for Xavier Cugat. In 1960, Schifrin moved to New York City and joined Gillespie's quintet, which recorded Gillespiana to much acclaim. He became Gillespie's musical director until 1962, contributing another suite, The New Continent, before leaving the position to concentrate on his writing. Schifrin accepted his first film-scoring assignment in the U.S. in 1963 (Rhino!) and moved to Hollywood, soon finding a niche composing for both TV and the silver screen. In the meantime, he composed works marked by his jazz-classical fusion style, including the 1963 ballet Jazz Faust and 1965's Jazz Suite on the Mass Texts. After establishing himself on episodes of television series such as The Alfred Hitchcock Hour and The Man from U.N.C.L.E., Schifrin joined the music department of the spy series Mission: Impossible. It premiered on CBS in 1966 and featured his catchy 5/4 instrumental "Theme from Mission: Impossible," a track that would live on in TV-music collections for decades to come. He followed it a year later with his theme to Mannix, around the same time he was becoming known for his jazzy scores to high-profile crime films such as Cool Hand Luke (1967) and Bullitt (1968). He earned his first Academy Award nomination for Cool Hand Luke and his second a year later for the D.H. Lawrence drama The Fox. Schifrin composed the music for the Don Siegel-directed Coogan's Bluff, starring Clint Eastwood, in 1968. 

He reunited with the pair on 1971's Dirty Harry and went on to write music for four of the five remaining films in the series, which extended through the '80s (1976's The Enforcer was composed by Jerry Fielding). During that time span, he also wrote scores for films as diverse as the 1976 war film Voyage of the Damned (his third Oscar nomination), Disney's The Cat from Outer Space from 1978, and the 1979 horror classic The Amityville Horror (his fourth Oscar nomination). He received two more Academy Award nominations in the '80s, for The Competition (1980) and The Sting II (1983).  While he continued to write frequently for movies and TV, Schifrin returned some of his focus to classical works during the '90s, a decade that saw the release of the first three in a series of orchestral jazz albums called Jazz Meets the Symphony. He also arranged much of the music for the first three of the Three Tenors concerts. In 1996, his Mission: Impossible theme reached another generation when it was repurposed for a series of films starring Tom Cruise. U2's Adam Clayton and Larry Mullen, Jr. produced a dance version of the theme that reached the Top Ten of the singles charts in the U.S. and U.K. Still writing original material for film, beginning in 1998, Schifrin provided playful orchestral scores for the first three entries in the Rush Hour series, starring Jackie Chan. Schifrin stayed active in Hollywood in his seventies, scoring films such as the crime film After the Sunset and the horror movie Abominable (directed by his son, Ryan Schifrin), in addition to Rush Hour 3 in the 2000s. The third, fourth, and fifth Mission: Impossible films saw release during the 2010s, as did the Schifrin-scored romantic comedy Love Story (2011) and basketball bio-pic Sweetwater (2016). ~ Marcy Donelson https://www.allmusic.com/artist/lalo-schifrin-mn0000781932/biography

Personnel: Lalo Schifrin (piano), Leo Wright (alto sax), Eddie Harris (tenor sax), Jimmy Raney (guitar), Art Davis, Chris White (bass), Chuck Lampkin, Rudy Collins (drums), Osvaldo Cigno, Jack Del Rio (percussion).

Bossa Nova Groove

Monday, September 2, 2019

Joe Newman - The Definitive Black & Blue Sessions: I Love My Woman

Styles: Trumpet Jazz 
Year: 1979
File: MP3@320K/s
Time: 53:35
Size: 122,8 MB
Art: Front

(6:02)  1. It's Only A Paper Moon
(9:14)  2. Summertime
(6:00)  3. Prelude To A Kiss
(5:21)  4. Fiddy's Mood
(8:18)  5. Softly As A Morning Sunrise
(8:42)  6. I Love My Woman
(5:47)  7. Fiddy's Mood (altern.)
(4:06)  8. Softly As A Morning Sunrise (altern.)

Also made available on the Italian budget label I Ganti Del Jazz, this little-known effort finds veteran trumpeter Joe Newman (55 at the time) stretching out quite effectively on four standards and two originals. In what was his first opportunity to lead a recording session since 1962, Newman and his top-notch rhythm section (pianist Hank Jones, bassist George Duvivier and drummer Alan Dawson) swing their way through such songs as "Softly As In a Morning Sunrise," "Paper Moon" and "Fiddy's Moods." ~ Scott Yanow https://www.allmusic.com/album/i-love-my-woman-mw0000713220

The Definitive Black & Blue Sessions: I Love My Woman