Παρασκευή 15 Ιανουαρίου 2016
Mierlița - Stranger in Chișinău
Mierliţa (mir-LEE-tsa) plays rich, swingy, highly-ornamented Romanian music in the Lautari (Roma, or “Gypsy”) style. Intricate melodies and harmonies intertwine with an infectious jazz rhythm section to provide the core of this virtuosic quartet’s sound. Fiddlers Jon Cannon and Abigale Reisman, both students of Lautari master violinist Marin Bunea, bring a contemporary perspective to a full traditional repertoire alongside guitarist Sasha Kern and upright bassist Kirsten Lamb. Mierlita has given acclaimed performances all over New England including appearances at the New England Folk Festival and the Folk Arts Center of New England’s popular Balkan Music Night. Their debut full-length CD, “Stranger in Chisinau,” was released in March 2015.
Ετικέτες
ethno-jazz,
world music
Τρίτη 12 Ιανουαρίου 2016
Orkestar Kriminal - Tummel
Almost two years to the day after they launched a first EP, Montreal's Orkestar Kriminal returned to the stage armed with their debut album, Tummel. The 8 piece band who forged themselves a reputation of being a "gang of tough punks" will release their new repertoire of criminal tunes from the 1920s and 30s on vinyl, due out January 21st, 2016.
"Tummel", the Yiddish word for "chaos", summarizes the racket the band can create. This latest effort was produced and engineered by Howard Bilerman and recorded live-to-tape at Montreal's famous analogue studio, Hotel2Tango. "What really makes it special is that we used recording techniques from the 1920s", explains Giselle Webber, head of the orkestar gang "we recorded it as a live set and controlled the sound by placing everybody at a specific distance from the microphone". Tummel is a collection of songs from Moldova, Morocco, Greece, Ukraine, Poland and Argentina. The limited edition vinyl will contain 10 songs, and the digital album, released this past March on the digital label Sainte Cécile, contains 3 bonus tracks from Russia and Mexico!
Orkestar Kriminal is comprised of improv performers who interpret inspired renditions of slum-based "world music". They sing gutsy and adventurous criminal songs that originate from a dangerous and forgotten era. The band formed in 2012, three days before the POP Montreal Music Festival, so that Giselle's former orchestra could scam free passes to the festival.
Ετικέτες
world music
Δευτέρα 7 Δεκεμβρίου 2015
Upcoming Concert in NY: CHROMA
I'm pleased to announce that The Onassis Cultural Center NY will proudly present CHROMA, a new performance project fusing jazz, classical, Greek folk, and world music on Wednesday, December 9th at 7PM.
Chroma,
defined as the purity or intensity of a color, is performed by 13
musicians (strings and percussion) expressing a palette of emotions and
ideas captured in the works created by renowned composer and performer Petros Klampanis.
"CHROMA
is a collection of compositions that forms my personal palette of
emotions, ideas, and impressions," states Klampanis. "I have transformed
these experiences into musical colors in an effort to share them with
you, and I invite you to listen to them and feel them. Perhaps they will
remind you of colors in your own personal palette, or - and I hope -
they will move you, and even become the reason you discover new colors
that already exist inside you."
CHROMA
will be performed by: Petros Klampanis, bass, voice, compositions,
arrangements; Gilad Hekselman, guitar, composition; Shai Maestro, piano;
John Hadfield, drums and percussion; Keita Ogawa, percussion; Maria
Manousaki, Gokce Erem, Megan Gould, and Maria Im, violin; Carrie Frey
and Peter Kiral, viola; Colin Stokes and Maria Jeffers, cello.
Accompanying
the performance, Athens-based visual and jewelry artist Eleni
Kyrmizaki, is creating an installation work created for CHROMA.
Petros
Klampanis has performed alongside some of New York City's celebrated
jazz musicians, including saxophonist Greg Osby, pianist Jean-Michel
Pilc, and drummer Ari Hoenig. His extensive list of appearances in the
U.S. includes Carnegie Hall, Lincoln Center, and The Kennedy Center in
Washington, DC. He has performed at the internationally acclaimed North
Sea Jazz Festival and the Palatia Jazz Festival in Germany.
His
relationship with Greg Osby led to the release of his début album,
Contextual, on the saxophonist's Inner Circle Music label. The album was
praised by acclaimed bassist Arild Andersen as "one of the most
exciting projects I have heard from a bass player in years." His
arrangement of the Greek folk song "Thalassaki" was recently performed
by the Greek Public Symphonic Orchestra in Athens, with whom Klampanis
performed in 2013. He was recently voted as the "Best Artist of 2015" on
jazzonline.gr.
Ετικέτες
announcement
Τετάρτη 4 Φεβρουαρίου 2015
The Legacy of Bob Marley
Greetings and love everybody!
It's been a while since I stopped posting new stuff.A friend of the blog, Beth Kelly, managed to wake me up proposing me an interesting article of hers to share with.Beth's article is about Bob Marley's remarkable cultural influence and commercialization of his profile.
I'm still not sure if I'll post fresh goodies regularly,but I'll try to fix some requested links and we see...
The Legacy of Bob Marley
Bob Marley's legacy as a musician is unquestionable. He has become a touchstone of the musical world for performers and listeners alike, and has influenced many popular singers and musicians of today. However, there is a much more commercial side to his legacy, one that he would not have look favorably upon. In the years since his death, numerous products featuring his likeness have been released, and his heirs have traded heavily off of his fame and status as a musical icon to make a great deal of money – going against much of what Marley himself actually stood for.
Bob Marley was born and raised in Jamaica, where the island’s musical traditions heavily influenced his unique style of reggae songwriting. Throughout the 1960s and 70s, his fame as a musician grew, making him by far the most popular and influential reggae artist of any generation. During this time period, Marley also became an icon of the counterculture movement, in part due to his famous consumption of marijuana as a spiritual practice in line with his Rastafarian faith. It was this faith which also led him to decide not to make a last will and testament, out of concern for the possibility that his estate would become too commercialized and capitalist. Marley was diagnosed with melanoma in 1977, and died of the disease due to widespread metastasis in 1981.
In spite of his best efforts, Marley's estate and legacy became a hugely profitable and commercial brand. While it cannot be denied that Marley made a great deal of money from his music during his own lifetime, it was always his viewpoint that he was simply doing what he loved to do, and that the money was never the point of it. In fact, today, the royalties from the hit song “No Woman No Cry” still go directly to a soup kitchen in Jamaica. He was a strong proponent of the idea that money could not buy happiness, and was known for never changing his music to make it more commercially appealing. In fact, Marley’s last words to his son, Ziggy, who recently performed his own and his father’s music on DTV’s Guitar Center Sessions (see here), were, “Money can’t buy life.” The widespread branding of everything from posters to a personalized brand of Bob Marley marijuana that can be seen in the market today is far out of line with Marley's vision and beliefs, and would never have occurred during his lifetime.
In a broader context, Marley, in this regard, is part of a larger group of 1960s counterculture icons and ideals that have been distorted for profit. Such commercialization can be seen in everything from the immense profits made off of the legacy of the Woodstock festival to the wide array of merchandise, much of which is based on the classic counterculture film Easy Rider, available today.
On a brighter note, Marley's music and ideals have, however, influenced many of the musical icons of today. Despite the fact that commercialization has become the norm in modern music, many musicians and artists themselves hold to Marley's belief in music as a creation based on love of creating. In fact, modern pop music, especially that from more independent artists and labels, commonly uses this as a lyrical theme. Marley’s influence can be found in artists as widespread as The Fugees, Rihanna, Jazmine Sullivan, Naz, and many many more.
Bob Marley is unquestionably one of the most influential artists of the 20th century. His legacy, however commercialized it may have become since his death, still stands strong. In 2015, which is both the 33rd anniversary of his tragic death and would mark his 70th birthday if he were still alive, his influence on music and culture is just as strong as ever.
For those interested of an in-depth biography can check out this nice ebook of Timothy White called "Catch a fire".
It's been a while since I stopped posting new stuff.A friend of the blog, Beth Kelly, managed to wake me up proposing me an interesting article of hers to share with.Beth's article is about Bob Marley's remarkable cultural influence and commercialization of his profile.
I'm still not sure if I'll post fresh goodies regularly,but I'll try to fix some requested links and we see...
The Legacy of Bob Marley
Bob Marley's legacy as a musician is unquestionable. He has become a touchstone of the musical world for performers and listeners alike, and has influenced many popular singers and musicians of today. However, there is a much more commercial side to his legacy, one that he would not have look favorably upon. In the years since his death, numerous products featuring his likeness have been released, and his heirs have traded heavily off of his fame and status as a musical icon to make a great deal of money – going against much of what Marley himself actually stood for.
Bob Marley was born and raised in Jamaica, where the island’s musical traditions heavily influenced his unique style of reggae songwriting. Throughout the 1960s and 70s, his fame as a musician grew, making him by far the most popular and influential reggae artist of any generation. During this time period, Marley also became an icon of the counterculture movement, in part due to his famous consumption of marijuana as a spiritual practice in line with his Rastafarian faith. It was this faith which also led him to decide not to make a last will and testament, out of concern for the possibility that his estate would become too commercialized and capitalist. Marley was diagnosed with melanoma in 1977, and died of the disease due to widespread metastasis in 1981.
In spite of his best efforts, Marley's estate and legacy became a hugely profitable and commercial brand. While it cannot be denied that Marley made a great deal of money from his music during his own lifetime, it was always his viewpoint that he was simply doing what he loved to do, and that the money was never the point of it. In fact, today, the royalties from the hit song “No Woman No Cry” still go directly to a soup kitchen in Jamaica. He was a strong proponent of the idea that money could not buy happiness, and was known for never changing his music to make it more commercially appealing. In fact, Marley’s last words to his son, Ziggy, who recently performed his own and his father’s music on DTV’s Guitar Center Sessions (see here), were, “Money can’t buy life.” The widespread branding of everything from posters to a personalized brand of Bob Marley marijuana that can be seen in the market today is far out of line with Marley's vision and beliefs, and would never have occurred during his lifetime.
In a broader context, Marley, in this regard, is part of a larger group of 1960s counterculture icons and ideals that have been distorted for profit. Such commercialization can be seen in everything from the immense profits made off of the legacy of the Woodstock festival to the wide array of merchandise, much of which is based on the classic counterculture film Easy Rider, available today.
On a brighter note, Marley's music and ideals have, however, influenced many of the musical icons of today. Despite the fact that commercialization has become the norm in modern music, many musicians and artists themselves hold to Marley's belief in music as a creation based on love of creating. In fact, modern pop music, especially that from more independent artists and labels, commonly uses this as a lyrical theme. Marley’s influence can be found in artists as widespread as The Fugees, Rihanna, Jazmine Sullivan, Naz, and many many more.
Bob Marley is unquestionably one of the most influential artists of the 20th century. His legacy, however commercialized it may have become since his death, still stands strong. In 2015, which is both the 33rd anniversary of his tragic death and would mark his 70th birthday if he were still alive, his influence on music and culture is just as strong as ever.
For those interested of an in-depth biography can check out this nice ebook of Timothy White called "Catch a fire".
Ετικέτες
reggae,
world music
Τρίτη 23 Ιουλίου 2013
Palyrria - Palyrria [2004]
Born out of the need for experimentation PALYRRIA is a band that has devised and perfected its own, unique musical style. Created in 1996 as a dance project it wasnt until 1999 that the band decided to turn into its own musical direction, a mixture of western electronica and traditional music from around the Mediterranean. They call it world-electro and indeed this music is neither electronic nor ethnic. PALYRRIA has always been fascinated by traditional music and some of the bands members have worked with renowned traditional musicians, but living in Greece one realizes that traditional music goes way beyond the last millennium, back in times when people chose to express themselves in much more ecstatic and paganistic ways. Ancient ceremonies around the Mediterranean have always been filled with music and musical expression. It wouldnt be far from the truth if one was to draw a parallel between those events and the rave parties the world witnessed in the beginning of the nineties. The similarities are striking and have been the source of inspiration for the dynamic musical context of PALYRRIA. Aeolian scales, pentatonic music, instruments that come out of the depths of history, are presented alongside pumping bass lines, techno grooves, vocoders, clicks and cuts, in an attempt to create music that transcends the centuries and is both ancient and futuristic at the same time. Let the strangeness ware off and enjoy music that comes straight from the source.
Ετικέτες
ambient,
electronic,
world beat
Πέμπτη 11 Ιουλίου 2013
Kato apo to dentro - S/T [2010]
Blues, Rembetika, Pentatonic and other Greek traditional melodies, Dub basslines, African melodies and rhythms, meet unexpectedly through acoustic guitars, bass, mandolin, melodica and percussion in the music of the group ''Kato Apo To Dentro'' ("under the tree'' in English) which is a collaboration between several musicians and friends, based in Athens, Greece. Couplets in the blues mood, tales of adventures in faraway places but also something from Greek traditional fest fun (panigyriotiko) compose this musical journey.
Ετικέτες
psychedelic,
world music
Δευτέρα 24 Ιουνίου 2013
Jazz The World Forgot, Jazz Classics of the 1920s Early Roots and Branches of Jazz - Vol.1 [1996]
This groundbreaking series brings together some of the greatest performances of early jazz, illustrating that before jazz became a listener's music of improvised solos it was the rhythm-driven dance music of America, the rock and roll of its day. This album shows the incredible variety of the 1920s jazz by bringing together diverse, often obscure masterpieces by legendary small groups and large bands from both city and country. Highlighted is the rich regional flavor of early American jazz with showpieces by territory bands such as Ross De Luxe Syncopaters, Taylor's Dixie Serenaders, and Roy Johnson's Happy Pals along with classics by the pioneer New Orleans band of Louis Dumaine, Sam Morgan and much more. This is an entertaining and illuminating exploration of early jazz which traces its roots back to marching bands, ragtime and vaudeville.
Ετικέτες
big band,
compilation,
jazz
Τρίτη 18 Ιουνίου 2013
Thanasis Papakonstantinou and the Laikedelica - Ta zontana [2004]
The legendary Greek composer, singer and musician in a full-length double CD program of new works, and songs from previous his two recordings (Vrachnos Profitis and Agrypnia ) given a whole new perspective by the amazing ensemble he has backing him up. One of the best recordings of 2004, from anywhere on the planet. Highly recommended, especially for those who like creative, roots-inspired progressive rock-folk music.
Ετικέτες
folk,
psychedelic,
rock
Σάββατο 15 Ιουνίου 2013
African Spirits - A Spiritual Jazz Journey Looking Back to Africa [2004]
This album consists of 10 tracks that represent a spiritual jazz journey looking back to Africa: the motherland, the roots of jazz, the birthplace of black music and the ancestral origins of the musicians themselves.
Individually the tracks - some of the best music of its type ever recorded - are in demand in their own right, with most being compiled for the first time. In the 1960's and 1970's many Afro Americans started to look back to their roots and the roots of the music for inspiration, direction and confirmation. Musicians including Yusef Lateef, John Coltrane, Dizzy Gillespie, and many of the artists on this compilation experimented with African instruments and sounds during this period. It was a time of black celebration, the 'Afro' hairstyle was a prerequisite for hipness. The drum - the most basic rhythm instrument and the foundation that almost all modern music rests on - came from Africa. Indeed, Jazz music itself can also trace its origins back to Africa; in fact scientists, historians and archaeologists have suggested that the entire human race took its first steps in Africa and evolved from there. The music contained on this album, whilst rhythmically strong is also imbued with haunting melodies and spiritually uplifting shades. A major factor behind the making of this music was a reaction against a society based on commercialism and insincerity: this is music with a message, music of substance, music that demands the listener be drawn in. It's music that you can really feel…music that moves and fulfils you, leaving you spiritually uplifted. This album is not just about selecting and bringing together a collection of in demand Jazz cuts…it's about inviting the listener on a musical journey back to Africa, back to ancient civilisation. Enjoy the ride.
Ετικέτες
africa,
avant-garde,
compilation,
ethno-jazz,
jazz
Τετάρτη 12 Ιουνίου 2013
V/A - Pioneers of the Jazz Guitar [1992]
This anthology features the predecessors and contemporaries of Django Reinhardt and Charlie Christian with an emphasis on the jazz guitar duet. Working within their seldom recorded solo or duet performances, master guitarists such as Eddie Lang, Lonnie Johnson, John Cali and others couple melodic sophistication with the kind of economy and restraint rarely achieved today in such compositions as Teasin' The Frets, handful Of Riffs, Chicken A La Swing, Feeling My Way and others.
Ετικέτες
compilation,
instrumental,
jazz
Δευτέρα 10 Ιουνίου 2013
Various – Jazz Meets The World [1975]
Today, “World Music” has become a standard concept and the surpassing of borders between jazz musicians and other musical cultures goes without saying. One of the foundations for the development of jazz into world music was established by MPS during the sixties. With the series “Jazz meets the world”, initiated by Joachim-Ernst Berendt, meetings between jazz musicians and other musical cultures were started. The Irene Schweizer Trio played with musicians from India, George Gruntz worked with Arabic and Toni Scott with musicians from Bali. The MPS-series “Jazz meets the world” is still one of the most important concepts between jazz and traditional music from India, Bali, Cuba, Tunisia, Spain, Brazil and Japan.
Enjoy!
Ετικέτες
compilation,
east meets west,
ethno-jazz,
jazz
Τρίτη 30 Απριλίου 2013
Tommy McCook & The Supersonics – Down On Bond Street [1993]
'Down on Bond Street' compiles 20 tracks from 1966-1968.Like Roland Alphonso did while leading Clement Dodd's own Soul Vendors outfit (with organist Jackie Mittoo), McCook and the Supersonics cut several instrumental sides, focusing on groove-heavy beats and tasty horn and organ solos. Trojan's Down on Bond Street brings together 20 of these gems, ranging from late ska cuts like "A Yellow Basket (A Tisket a Tasket)" to early reggae sides such as "Second Fiddle." Focusing primarily on rocksteady material, McCook also delves into some updated Jamaican R&B ("Heatwave (Moving)"), several choice covers ("Ode to Billie Joe"), and a few breezy originals ("Real Cool"). Showing off his considerable jazz chops, McCook is ever present with his vaporously tart and sinewy tenor lines (he turns in impressive flute work on a handful of cuts as well). Also part of that select crew of Jamaican jazz musicians, many being fellow Skatalite alums as well, the Supersonics featured alto saxophonist Lester Sterling, trumpeter Johnny "Dizzy" Moore, trombonist Vin "Don Drummond, Jr." Gordon, guitarist Lynn Taitt (whose Jets found work with producer Joe Gibbs), and organist Winston Wright. While Heartbeat's fine Tribute to Tommy and a few albums with the Aggrovators cover ska and reggae ground respectively, this McCook title is one of the few, if not the only wide-ranging collection of the saxophonist's instrumental output during the '60s. Highly recommended.
Enjoy!
Ετικέτες
compilation,
instrumental,
reggae,
rocksteady
Δευτέρα 29 Απριλίου 2013
Don Drummond - Jazz Ska Attack:1964 [2000]
Drummond was one of the top soloists and most
creative musical minds of Jamaica's ska era. His apex came in 1964 when
he and fellow Skatalites, like saxophonists Tommy McCook and Roland
Alphonso, organist Jackie Mittoo, Lester Sterling, and trumpeter Johnny
"Dizzy" Moore, ruled Kingston's musical scene as the virtual house band
for producers Clement Dodd, Duke Reid, George Phang, and many others.
Drummond's lopey sounding yet technically superb trombone work stood out
on all the Skatalites sessions, whether the band was cutting some of
its own records or backing numerous singers like Alton Ellis and Delroy
Wilson. This fine Drummond roundup on Jet Set brings together many of
the trombonist best Skatalites sides from 1964, including such
self-penned classics as "Musical Storeroom," "Eastern Standard Time,"
and "Don-de-Lion." A great introduction to this most talented of
Jamaican jazz masters.
Enjoy!
Ετικέτες
instrumental,
ska
Τετάρτη 24 Απριλίου 2013
Milt Jackson – Sunflower [1973]
Jackson is joined here by an outstanding aggregate of younger all-star musicians including Hubbard on trumpet and flugelhorn, Herbie Hancock, swapping chores on piano and Fender Rhodes, Ron Carter (of course) on bass and Billy Cobham on drums.
The image of a sunflower might best describe the music contained within this record. First there’s Someone I Love that is a light and casual Jazz piece that gets a little frantic in the middle with the Herbie Hancock’s piano playing. What Are You Doing The Rest Of Your Life? is in the same mood and range. The highlight of the album however, is a cover of People Make The World Go Round with Freddie Hubbard’s trumpet in the lead and Ron Carter and Billy Cobham locking down the rhythm into a tight groove in the middle when Jackson takes his solo on the vibes.
Enjoy!
Ετικέτες
jazz
Κυριακή 21 Απριλίου 2013
Legion of Mary: The Jerry Garcia Collection, Vol. 1 [2005]
Buried beneath Jerry Garcia’s endless side projects, guest appearances and solo endeavors is the rarely mentioned Legion of Mary. The LOM lineup consisted of Merl Saunders, JGB bassist John Kahn, Martin Fierro on sax and flute along with Ronnie Tutt on drums (who replaced Paul Humphrey in early ’75). The band was short lived—lasting only from July of ’74 to July ’75—but during the time it lasted the Legion of Mary was a rare force, blending the sounds of jazz, rock and R&B with a touch of psychedelia.
The two discs here feature 14 selections recorded at either the aforementioned club, the Portland Theater and the Great American Music Hall; none of the material has been previously released.The first disc includes readings of Bob Dylan's "Tough Mama," and Robbie Robertson's "The Night They Drove Old Dixie Down," as well as the staple "I Second That Emotion." But the greatest surprise is the improvisation in "Talkin' 'Bout You" that closes the disc. Garcia's interplay with Saunders is simply magical, and Fierro's saxophone work here pushes them both. The second disc ranges from rollicking early rock & roll classics like "Let It Rock" and "Mystery Train," to more Motown tunes such as "Money Honey" and "How Sweet It Is To Be Loved by You." The playing is off-kilter funky, relaxed but adventurous throughout.
Enjoy! Cd1 & Cd2
Ετικέτες
jazz funk,
psychedelic,
rock
Παρασκευή 19 Απριλίου 2013
Paul Giovanni - The Wicker Man [2002]
Extraordinarily literate and thoroughly compelling, The Wicker Man has often been called the Citizen Kane
of horror movies. Writer Anthony Shaffer and director Robin Hardy built
their contemporary (1973) English murder mystery/thriller upon gothic
Druid underpinnings and wisely gave songwriter-composer Paul Giovanni
(whose first and only film score this is) the freedom to create music of
a piece. The score remains one of the most unusual in the entire genre:
a collection of original, well-researched folk songs and instrumental
underscore that evoke a rare, eerily discomfiting sense of displaced
time and place--'70s folk-pop informed by ancient forces of nature and
superstition. Long a holy grail among soundtrack aficionados, this
lavishly packaged and annotated release has been prepared from recently
discovered master tapes with a clarity and presence that gives the late
Giovanni's haunting music the gratifying showcase it's so long deserved.
Enjoy!
Ετικέτες
folk,
soundtrack
Τετάρτη 17 Απριλίου 2013
The Earthbound - The Earthbound [2000]
Formed in Athens (Greece) in 1998 by six former members of The Last Drive, Honeydive, Rockin’ Bones and Engine-V. The Earthbound recorded their self-titled debut album with producer Jim Spliff, which came out in 2000. The album contains three cover versions, namely Kyuss (Gardenia), Woody Guthrie and Guillermo Portaballes. Expect on this platter a sultry mix between americana and rock.
Enjoy!
Ετικέτες
psychedelic,
rock
Σάββατο 13 Απριλίου 2013
The Baghdaddies - Random Acts Of Kindness [2003]
Touring the world for 14 years, the Baghdaddies’ music is world music with strong Balkan tendencies alongside Caribbean grooves, Middle Eastern rhythms and even some Geordie [native Newcastle] touches, all awash with influences such as ska, jazz, punk , delivered with theatre and exuberance. Uplifting and infectiously danceable, full of blistering brass, rousing 5 part vocal harmonies and a rhythm section that you can’t keep still to. Songs to listen to and party!
This album is called Random Acts Of Kindness and you can't listen to it and not smile. On paper, the lyrics might not aspire to poetry, but the exuberant performance style and musical dexterity brings them to life. Songs like Winter Winds, the title track and 6/8 - We'll Be Late would grace any party.
Enjoy!
Ετικέτες
balkan,
ethno-jazz,
ska,
world beat
Πέμπτη 11 Απριλίου 2013
Dizzy Gillespie – Matrix (The Perception Sessions '70-'71) [2005]
Excellent funk from Dizzy Gillespie – featuring all 3 of his albums for the legendary Perception label! The Real Thing is an amazing mix of funky jazz, cool rhythms, and some nice Latin-tinged grooves – and it's a stunning representation of the way that Dizzy kept on growing as a musician, long after his bebop years were over. James Moody sits in with some very funky tenor, and Mike Longo is on piano. Tracks include "N'Bani", "Matrix", "Soul Kiss", "Ding A Ling", and "Alligator" – all short, hard, and funky! Next up is Portrait Of Jenny, which has a cool electric feel that you don't really associate with Diz. The whole album has a sly sweet funky sound that's part CTI/part Latin-tinged Dizzy – and the real strength is the great Mike Longo, who plays some amazing stretched out piano lines, which work perfectly with the basslines on the record as a foil for Dizzy's sparkling trumpet solos. The album's got 4 long cuts – including the excellent "Me N Them", plus "Olinga" and "Diddy Wa Diddy". The last set is Giants – a live recording that features Dizzy with Mary Lou Williams and Bobby Hackett, in a pretty mellow, pretty straight setting that shows that Diz could still play straight jazz when he wanted to. Titles include "Love For Sale", "Caravan", "My Man", and "Birks Works". 2 CDs, with 21 tracks in all!
Enjoy! CD1 & CD2
Ετικέτες
compilation,
jazz,
jazz funk
Τετάρτη 10 Απριλίου 2013
Mike Longo - Matrix [1971]
It was 1966 when Mike Longo was playing in Manhattan. His trio at the time consisted of Paul Chambers on bass and Chuck Lampkin on drums. The trio became a house rhythm section there and during this period Mike played with such jazz greats as Frank Foster, Frank Wess, Clark Terry, Zoot Sims and the legendary Roy Eldridge. It was Roy who went around the corner to where Dizzy was playing and told Dizzy “you got to come by and hear this piano player who is playing with me.” Dizzy came by and heard Mike play a set with his trio and the next day hired him to be the new pianist with the Dizzy Gillespie Quintet, a post Mike would remain in for the next nine years.
During his first year with Dizzy, Mike began writing material for the group and Dizzy eventually appointed him as his musical director. A close bond of friendship as well as musical collaborator developed between the two which lasted until Gillespie’s death in 1993.
Although Mike has led his own trio on and off for many years, this is his first solo effort on record. In trio and quintet context, Mike has assembled some of the finest rhythm players in jazz including Mickey Roker, Ron Carter, Sam Jones and Potato. Guitarist Al Gafa, whose sound is similar to George Freeman and the late Wes Montgomery, is less known, but in no way less talented.
The six tunes presented here provide a full range view of Mike Longo, the pianist and the composer. "Matrix" and "My San Francisco" are beautiful, rich ballads. "Let Me Out" best illustrates Longo's ability to just swing.
"Night Rider" is possibly his most poetic composition.
Some of these tunes were written for Dizzy's band, some specifically for this record, others were just written. This then is the music of Mike Longo.
Enjoy!
Ετικέτες
jazz
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