domingo, 24 de septiembre de 2017

Muriel Roberts • Music For All Times And Seasons





Cal Tjader • Along Comes Cal



Stan Getz and Charlie Byrd • Jazz Samba



Partly because of its Brazilian collaborators and partly because of "The Girl From Ipanema," Getz/Gilberto is nearly always acknowledged as the Stan Getz bossa nova LP. But Jazz Samba is just as crucial and groundbreaking; after all, it came first, and in fact was the first full-fledged bossa nova album ever recorded by American jazz musicians. And it was just as commercially successful, topping the LP charts and producing its own pop chart hit single in "Desafinado." It was the true beginning of the bossa nova craze, and introduced several standards of the genre (including Ary Barroso's "Bahia" and Antonio Carlos Jobim's "Desafinado" and "Samba de Uma Nota Só" [aka "One Note Samba"]). But above all, Jazz Samba stands on its own artistic merit as a shimmering, graceful collection that's as subtly advanced -- in harmony and rhythm -- as it is beautiful. Getz and his co-billed partner, guitarist Charlie Byrd -- who was actually responsible for bringing bossa nova records to the U.S. and introducing Getz to the style -- have the perfect touch for bossa nova's delicate, airy texture. For his part, Byrd was one of the first American musicians to master bossa nova's difficult, bubbling syncopations, and his solos are light and lilting. Meanwhile, Getz's playing is superb, simultaneously offering a warm, full tone and a cool control of dynamics; plus, Byrd's gently off-kilter harmonies seem to stimulate Getz's melodic inventiveness even more than usual. But beyond technique, Getz intuitively understands the romanticism and the undercurrent of melancholy inherent in the music, and that's what really made Jazz Samba such a revelatory classic. Absolutely essential for any jazz collection.


Vibraphonic • Vibraphonic




Joschi Schneeberger Quintett • Rani


miércoles, 20 de septiembre de 2017

VA • The Organ



Dr. Lonnie Smith, Larry Young,  Joey DeFrancesco,  Jack McDuff,  Shirley Scott,  Baby Face Willette,  Walter Wanderley,  Bill Doggett, Jimmy Smith ...


VA • Jazz Bossa Nova



Sam Most • Flute Flight



Sam Most, one of a handful of truly great flute players, is in fine form on this quartet session with pianist Lou Levy, bassist Monty Budwig and drummer Donald Bailey. He has a classic duet with Levy on "It Might as Well Be Spring," plays beautifully on "Last Night When We Were Young," switches to clarinet for "Am I Blue," demonstrates his ability to sing along with his flute on "The Humming Blues" and really cooks during "Flying Down to Rio." A fine all-round showcase for Sam Most's underrated talents.


Floyd Cramer • That Honky Tonk Piano



Buddy Cole • Swing Fever



Nigel Kennedy • Blue Note Sessions



Review by Ken Dryden
Nigel Kennedy made quite a reputation for himself as a classical violin virtuoso, though he long expressed an interest in jazz prior to the making of this CD. A number of jazz veterans, including bassist Ron Carter, drummer Jack DeJohnette, pianist Kenny Werner, and tenor saxophonist Joe Lovano (along with several others) are present and provide a stimulating group for Kennedy, who early on in the disc is comparable to Jean-Luc Ponty during the early stages of his career as a leader. But Kennedy seems a bit too conservative throughout much of the date, not taking the kind of chances one would expect of a jazz violinist during his improvisations. Another part of the problem is due to the presence of some rather pedestrian material like Butch Cornell's bland funk vehicle "Sunshine Alley" (which adds organist Lucky Peterson) and the forgettable treatment of "Expansions," featuring Raul Midón's vocal and Kennedy's bizarre use of digital delay on his instrument. Even Horace Silver's hard bop masterpiece "Song for My Father" doesn't reach his potential. Nigel Kennedy demonstrates clearly how hard it is to play jazz convincingly when it is not a major part of his regular playing schedule.


The Glaciers • From Sea To Ski