Sunday, February 22, 2015

Clark Terry 1920 - 2015



By David La Rosa at TheJazzLine.com
After a long bout with diabetes, Jazz legend Clark Terry has died at the age of 94.
The highly influential musician and educator’s wife Gwen confirmed his passing with a message on his official Facebook page, which read: “Our beloved Clark Terry has joined the big band in heaven where he’ll be singing and playing with the angels. He left us peacefully, surrounded by his family, students and friends.”
Terry was first diagnosed with diabetes almost 40-years ago, and despite suffering physical challenges that would be insurmountable for less dedicated performers, including the amputation of both his legs, he kept the music alive and well and continued to perform well into his 90th year on this earth. And even when he couldn’t play he continued to dedicate much of his time to providing education and encouragement to the countless musicians, both young and old, that were inspired by the path he led in life.
Born on December 14, 1920 in St. Louis, MO, Terry had a rough upbringing after his mother died while he was young and his abusive father kicked him out of the family’s home at just 12 years of age. Music served as Terry’s only sanctuary from a very young age, and after standing out in his high school band a local musician encouraged him to take music more seriously; which sparked the start of a whirlwind career that would see Terry appear as a pivotal figure in the ongoing development of jazz as a genre.
After working with various travelling bands, and the U.S. Navy Band during World War II, Terry’s career took off when he performed with Count Basie’s big band between 1948 – 1951. Immediately after leaving Basie’s band, he enjoyed an 8-year stint as a central figure in Duke Ellington’s orchestra before becoming the first black musician on The Tonight Show’s house band in 1962.
During this period Terry became a fixture on the jazz scene. In addition to recording more than 80 albums as a bandleader he also worked with an incredible list of fellow jazz legends that includes Dizzy Gillespie, Miles Davis, Ella Fitzgerald, Sonny Rollins, Cannonball Adderley, Louis Armstrong, Charles Mingus, Stanley Turrentine, Yusef Lateef, Quincy Jones, and countless others.
In a career spanning seven decades, he is listed as a performer or producer on over 900 different recordings.
His impact on music today is incalculable, and according to his recently published autobiography Terry has received more than 250 accolades for his contributions to music. In addition to receiving a Grammy Lifetime Achievement Award in 2010 and being named an NEA Jazz Master in 1991, he was also the recipient of sixteen honorary doctorates at universities across the globe.
And despite all of his musical achievements, education always remained his greatest passion. In addition to mentoring jazz icons like Miles Davis, he also taught at many universities over the years and organized countless camps and classes for aspiring musicians to learn more about jazz. On his website, Terry wrote: “Teaching jazz allows me to play a part in making dreams come true for aspiring musicians.”
Terry’s recent mentorship of 23-year-old blind pianist Justin Kauflin was the subject of an award-winning 2014 documentary titled Keep On Keepin’ On.

Sunday, February 15, 2015

1 Sem 2015 - Part Four

Joona Toivanen Trio
November



By CamJazz
The bond between Scandinavian jazz and CAM JAZZ is becoming increasingly closer and stronger. The new work of Joona Toivanen Trio is an additional outcome of their common vision, which has given rise to a sizable number of remarkable projects and records. The Finnish pianist, still accompanied by Tapani Toivanen on double bass and Olavi Louhivuori on drums, composed an album that strikes a balance between the modern and the traditional, and between quiet, distinctively Nordic jazz moods and openness to new sounds and new expressive forms. This all is made even more intriguing by the outstanding empathy among the three musicians, who are able to cleverly back one another and, through refined mutual listening, reach a remarkable degree of interplay and responsiveness. Thus, each of them plays a leading role, in turn, and bears the responsibility for steering his band-mates towards new directions, new vibes, new melodic insight. The “liaison” between the Finnish trio and CAM JAZZ began in 2010, when the album At My Side was released. Of course, many things have happened from that time to this “November” release (including Joona Toivanen’s solo experiments and Olavi Louhivuori’s fruitful association with Claudio Filippini and Palle Danielsson), which this trio benefited from, as one realizes when listening to this new album. Eleven tunes, the authorship of which is equally shared between the bandleader and Louhivuori, also saving space for the title track by the double bass player. From the opening track “Moon Illusion” to the closing track “Open, Closed”, there is a quiet feeling in the air: time drawn out, a soft touch and sober, balanced arrangements. A journey in search of a clear, pure, crystalline sound. An elegant, refined tone. A thoughtful album, that never stops looking for new inspirations, between skillful song-making and moments of intriguing improvisation.
Personnel:
Olavi Louhivuori ( Drums ); Joona Toivanen ( Piano ); Tapani Toivanen ( Bass )
Recorded in Gothenburg on 21-23 February 2014 at Svenska Grammofonstudion
Recording engineer Oskar Lindberg
Mixed in Helsinki on 27, 28 February 2014 at Studio Kekkonen 
Mixing engineer Mikko Raita


Nenê Trio
Inverno




By SESC/SP
O Nenê Trio surgiu em 2001, do encontro do baterista Nenê com o contrabaixista Alberto Luccas. Depois de uma sessão de improvisos na casa de um dos músicos, os dois resolveram que seria um bom momento para desenvolver boa música instrumental, com grande variedade de estilos rítmicos, neste que atualmente é “o momento mais feliz” da carreira de Nenê, como ele mesmo diz. Alberto reafirma o sentimento, dizendo: “é um trabalho sem palavras, eu adoro. Realmente é um lugar que a gente pode se expressar ao máximo, no limite como músico”.
Para completar, desde 2008 eles contam com a participação do pianista Írio Jr., que comenta sua participação no trio: “para mim tem sido liberdade de expressão total, a gente faz o que quiser, sai criando o que dá na cabeça”.
Com tamanha liberdade criativa, o trio lançou o CD Inverno pelo Selo Sesc, segundo da formação atual. O projeto é continuidade do trabalho que vem sendo realizado, e da tetralogia que começou com Outono, lançado anteriormente.
Por conta da variedade de referências musicais mundiais com as quais cada um deles já teve contato, o trio usa da mistura de ritmos, mas nunca de maneira óbvia: “você não vai ouvir um maracatu claramente como é tocado em um grupo regional. Mas ele está dentro da música, lá no meio ele aparece também” explica o baterista.
Para que se mantenham prontos e com repertório para gravar a qualquer momento, o trio se encontra regularmente para ensaios a cada 15 dias. O compromisso em proporcionar boa música para o público é claro nas composições, na seriedade dos ensaios, e pode ser conferido no CD, todo captado de maneira analógica. Na captação digital, os músicos podem substituir partes das músicas que não deram tão certo, ou contar com ajustes técnicos de pequenos erros. No caso da captação do CD Inverno, a gravação foi feita como em um show, sem recortar as músicas ou ajustar nada.


Jaques Morelenbaum & CelloSam3aTrio
Saudade do Futuro, Futuro de Saudade




By Carlos Calado
Muitos trios instrumentais brilharam na história da bossa nova e do samba-jazz, mas nenhum com a singular formação do CelloSambaTrio. Criado em 2004 pelo violoncelista e arranjador Jaques Morelenbaum, esse grupo, que destaca também o violão de Lula Galvão e a percussão de Rafael Barata, parece já ter nascido clássico.
No esperado álbum de estreia do trio, "Saudade do Futuro, Futuro da Saudade" (lançamento Mirante),
o violoncelista carioca e seus parceiros fazem uma viagem sentimental pelo passado do samba: do gingado choro de Jacob do Bandolim, “Receita de Samba”, ao sestroso “Eu Vim da Bahia” (de Gilberto Gil), em versão calcada na gravação de João Gilberto, cujo “álbum branco” (lançado em 1973) inspirou a criação do próprio CelloSambaTrio.
Faixas autorais, como a lírica “Maracatuesday” (de Morelenbaum) ou o samba “Abaporu” (do violonista Lula Galvão), indicam que esse trio tem um futuro promissor à sua frente.


Eric Reed
Groovewise

By C.Michael Bailey
Eric Reed has fully established himself in the forefront of jazz pianists. Additionally, he has proven to be a gifted composer whose vision is as acute as it is compassionate. Reed's Smoke Sessions recital was performed on September 6 and 7, 2013. He led a saxophone-fronted (Seamus Blake) quartet secured by bassist Ben Williams and drummer Gregory Hutchinson. Reed composed eight of the ten selections performed, covering Clifford Jordan's "Powerful Paul Robeson" and Christian McBride's "The Shade of the Cedar Tree."
Reed's playing has matured into a deeply wrought hew, orchestral and expansive. His playing is of a unique vintage with notes of McCoy Tyner and Gene Harris. But Reed's voice is bigger than any influence. His playing is tactile, like that played behind Blake on "Ornate," where he incorporates Latin shades with bold Cecil Taylor-like statements and accents. "Bopward" is a circuitous and air theme for Blake to blow soprano in an Eastern vein. The tour de force is the title cut with its introductory vamp on "Lean on Me." Reed summons all of the church at his disposal, in the spirit of Gene Harris, the master of such. Reed turns it all upside down at the hinge between the introduction and song. Simply put, he rocks and so does his band.

Saturday, February 14, 2015

1 Sem 2015 - Part Three

Janis Siegel
Nightsongs: A Late Night Interlude




By C. Michael Bailey
Vocalist Janis Siegel is the mezzo-soprano/alto quarter of the Manhattan Transfer as well as half of the female contingency of the same with soprano Cheryl Bentyne. Like Bentyne, Siegel has managed a very successful solo career, releasing ten recordings since 1981. Nightsongs: A Late Night Interlude follows 2006's A Thousand Beautiful Things (Telarc, 2006) and 2004's Sketches of Broadway (Telarc). Siegel is a wholesale master of jazz vocals subgenre: ballads, scats, bop, she competently does them all. Nightsongs endeavors a theme of breezy Caribbean evenings, comfortably humid and crepuscular.
Sonically, this is an exceptional hearing. The engineer is impeccable, and the production is top notch without being overdone. There is a comfortable balance between the shiny and organic in this music. "Love Saves," "Slow," and "Marie" smell like salt and spray in the islands. "A Flower is a Lovesome Thing" is given a measure of funk among other piquant Latin delights, John di Martino modulates time and space over Christian McBride's muscular electric bass. Siegel shares a duet with Peter Eldridge on Jobim's "If You Never Come To Me" that is as provocative as it is simply elegant. Siegel continues to inhabit an upper echelon of jazz vocalist few can aspire to. Siegel wins with this fine band and material.
Track Listing: 
Love Saves (Salva Pantallas); Slow; Love and Paris Rain; If You Never Come to Me (Inutil Paisgem); Marie; You're Mine, You; Sweet September Rain; A Flower Is a Lovesome Thing; Midnight Sun; Lover; Say You'll Go; Clair De Lune. 
Personnel: 
Janis Siegel: vocals; John Di Martino: piano, arrangements; Rob Mounsey: keyboards; Christian McBride: bass; Martin Wind: bass; Paul Meyers: guitar; Steve Khan: guitar, guiro; Dominick Farinacci: flugelhorn, trumpet; Joel Frahm: tenor and soprano saxophones; Alain Mallet: Melodica; Luisito Quintero: Percussion; Joel Rosenblatt: Drums; Peter Eldridge: Vocals; Roger Treece: vocals.


Stefano Bollani
Joy In The Spite Of Everything



By John Fordham
When the Italian virtuoso Stefano Bollani plays piano, the word play applies in its widest senses, and the title of this fine transatlantic session (Americans Bill Frisell and Mark Turner augment Bollani’s Danish rhythm section) could hardly be a better description of his methods. While it would be difficult for the whole album to live up to the delicious opening calypso, Easy Healing, (in which Turner’s sax floats over Frisell’s softly skewed chords, and the melody is formed by a lovely piano-guitar unison), this is a warmly expressive encounter between a close-knit trio and two guests they’d never previously met, and the frequently genre-hopping Bollani freely revels in his straight-ahead jazz. The beboppish No Pope No Party is like a Monk tune played by a cool–school band. In the impressionistic 12-minute Vale, Bollani is in Bill Evans mood and Turner is at his most probing, while, in the piano-guitar duet Teddy, Frisell shows his skill with harmonics and his early schooling as a quiet jazz swinger. Bollani’s vivacious soloing provides many of the highlights, never more so than in the quicksilver title track.
Track Listing: 
Easy Healing; No Pope No Party; Alobar e Kudra; Las Hortensias; Vale; Teddy; Ismene; Tales from the Time Loop; Joy in Spite of Everything.
Personnel: 
Mark Turner: tenor saxophone; Bill Frisell: guitar; Stefano Bollani: piano; Jesper Bodilsen: double bass; Morten Lund: drums.


Tierney Sutton
Paris Session



By Thom Jurek
One need listen no further than "You Must Believe in Spring," the opening track of Tierney Sutton's Paris Sessions, to grasp that something quite special is taking place between the musicians. This collection of standards and originals recorded in duos and trios between the singer, guitarist Serge Merlaud, and bassist Kevin Axt is a bare-bones journey into the depths of musical intimacy. Recorded over two days at Val d'Orge Studio, these 12 tunes are the product of minimal rehearsal on the day before recording. The arrangements, such as they are, are simple, transparent; the considerable depth comes from the well of the song allowing itself to be expressed so nakedly. The aforementioned cut is a duet, with Merlaud's nylon-string acoustic guitar introducing it. When Sutton enters, the emotional frame is already in place; she fills it with commitment and hope derived from earned wisdom, not wishful thinking. It's a striking contrast to the dusky wordless vocals she provides to the guitarist's own tunes, including "Asma," where Axt's bass bridges the center as singer and guitarist engage in an ethereal and sensual dialogue. Of the other standards here, "Beija-Flor" by Nelson Cavaquinho and Noel Silva is introduced by a long wordless duet with the guitar before Axt enters on an acoustic bass guitar and coaxes surprising harmonic nuances from the familiar bossa nova. The other bossa here, Bruno Martino's "Estate," is perhaps more conventional in articulation, but Sutton sinks so deeply into the grain of the lyric that she owns its emotional expression. Merlaud uses an electric guitar on "Body and Soul," reflecting the multi-harmonic influence of Jim Hall. Sutton draws out the words slowly, purposefully, each syllable infused with a generosity absent of artifice or affect. She's sung this song many times before, but not like this. The resonance in "Don't Worry 'Bout Me" is dialogic. Merlaud's electric guitar doesn't merely comp and fill, but is the other equal voice in a difficult conversation. Axt enters with gorgeous chord voicings providing an equanimity that illustrates the emotional dimension shared between the conversants. Sutton's delivery is even, but far from detached. It affirms the beloved even as a glimpse of romantic pain is betrayed by the ends of her lines. Two of these cuts, "Don't Go to Strangers" and "Answer Me, My Love," will be familiar; they were recorded for and appeared on After Blue, but they fit this context just as well. Paris Sessions is a gem, so elegant, sparse, and intimate in its directness that it is as arresting as it is lovely.
Track Listing: 
You Must Believe In Spring; llm; Don't Go To Strangers; Beija-Flor; You're Nearer; Estate; All Too Soon; Asma; Body And Soul; Izzat; Don't Worry 'Bout Me; Answer Me, My Love.
Personnel:
Tierney Sutton: vocals; Serge Merlaud: acoustic guitar, electric guitar; Kevin Axt: acoustic bass guitar.


David Feldman
Piano



By Galeria Musical
O piano é um instrumento fascinante tanto para quem o toca quanto para quem o ouve sendo bem tocado. E é mais que justa a homenagem ao instrumento e ao seu som feito por David Feldman ao batizar o seu álbum singelamente de “piano”. David resolveu chamar o disco de “piano” com “p” minúsculo por querer transpassar ao ouvinte o clima intimista, sereno e suave que o piano pode oferecer.
O músico estreou em CD no ano de 2009 com o elogiado “Som do Beco das Garrafas”, e agora retorna com um álbum onde sessenta por cento das canções são autorais e inéditas, o que reafirma o momento de dedicação ao instrumento e de criatividade deste músico que acumula importantes feitos, como o de ter ficado entre os 10 maiores pianistas do mundo na competição de piano-solo do Festival de Jazz Montreaux, evento curado por ninguém menos que Quincy Jones.
Dessa forma, David vai dando vida a canções como “Conversa de Botequim” (Noel Rosa, Vadico), que ganha leveza sem perder a sua ginga original, e a inédita “Chobim” (David Fieldman), que funde Chopin e Tom Jobim com melancolia e lirismo.
No currículo de David também está o fato de já ter trabalhado com diversos ressonantes nomes de nossa MPB, como Maria Rita, Leny Andrade, Leila Pinheiro, Wilson Simoninha, dentre tantos outros.
“Piano” é um disco sofisticado e certeiro quando o assunto é o elegante som do piano, e momentos como “Sabiá” (Tom Jobim, Chico Buarque), que encerra o disco, e a dobradinha feita com ele mesmo em “Esqueceram de Mim no Aeroporto”, por si só já valem o disco.

Sunday, January 11, 2015

1 Sem 2015 - Part Two

RdT
Antídoto




By Souza Lima
Trio reforça sua atuação baseada no equilíbrio entre a improvisação e a composição.
Guto Brambilla (baixo), Fernando Baggio (bateria) e Walter Nery (guitarra). Essa é a formação do RdT, grupo criado há seis anos que lança em agosto o segundo cd, intitulado Antídoto. Neste cd, o trio evolui em suas composições trazendo músicas dos três integrantes, tornando um trabalho mais heterogêneo. Inicialmente o grupo era conhecido como Rapazes do Trio, nome também do primeiro cd lançado em (ano 2008),bastante elogiado pela crítica especializada não só do Brasil, mas também de outros países, como o site europeu Jazz Rytmit, que considerou um dos melhores cds do ano. Para o grupo, "a mudança do nome marca uma transição para uma nova fase de maior cumplicidade e amadurecimento do trabalho".
Os músicos, também professores do Conservatório Souza Lima, definem o som que executam como música instrumental contemporânea, voltada para o equilíbrio entre a improvisação e a composição. A influência vem dos grandes nomes do jazz europeu e norte-americano, além dos compositores brasileiros, seguindo portanto, a tendência do jazz atual com elementos da música brasileira.
Os temas presentes no cd Antídoto trazem uma linguagem atual da música e do cotidiano vivido numa grande cidade. Um trabalho com uma sonoridade e estilo bem particulares, que acompanha a música que acontece agora nos outros grandes centros, como Nova Iorque, Boston, Los Angeles, Paris, Londres. Ou seja, uma música contemporânea, moderna, que preza por experimentações, sofisticações, improvisos, mas acima de tudo, pela estética da composição como elemento chave.


Marcin Wasilewski Trio w/ Joakim Milder
Spark Of Life



By John Kelman
What do you do when you've released three albums as a trio (more, if you include albums released in Poland, prior to coming to the label) for a producer who traditionally seems to like shaking things up after that magic number? For Polish pianist Marcin Wasilewski and his longstanding trio—first coming together in their teens, they've been together more than two decades, and first recorded for ECM with trumpeter Tomasz Stanko for a triptych of evolutionary albums that began with 2002's Soul of Things and concluded with the far maturer Lontano (2006)—there have been two moves in 2014: first, show up as Norwegian guitarist Jacob Young's band (along with saxophonist Trygve Seim ) on Forever Young, and now, follow that appearance with another set under the trio's own name, but with guest saxophonist Joakim Milder in tow. Spark of Life is another stellar collection from a trio predicated on the value of longevity and leveraging the opportunities this now late-thirty-something trio has been afforded to build a language all its own.
The Swedish-born Milder is no stranger to either the Polish scene or to ECM, though it's been 17 years since he last made an appearance on the label on one of Tomasz Stańko's most lauded sessions since the trumpeter's fruitful return to the label in 1994, 1997's Litania: Music of Krzystof Komeda. Here, in a smaller, more intimate context, the saxophonist helps make Spark of Life an album that, while rich with the profound lyricism that has imbued Wasilewksi's trio since it first emerged in Poland as the Simple Acoustic Trio, with its own tribute to the great film and jazz composer, Komeda (GOWI, 1995), simmers at a higher temperature...even, at times, approaching (if not exactly reaching) a full boil.
Not that Spark of Life doesn't possess the same elegance, the same rarefied, song-like melodism of previous albums including 2008's January and 2011's Faithful, nor does it fail to capitalize on the innate strength of the trio, which performs six out of Spark of Life's eleven tracks on its own. Wasilewski's "Austin," is as soft and lyrical as the trio has ever been, an inviting opener that creates a strong sense of continuity with what's come before. And if "Austin" seems redolent of the American music town for which it might be named, despite it actually being a dedication to fellow pianist Austin Peralta, Wasilewski's "Sudovian Dance"—which follows and introduces Milder to the mix—turns to a more appropriately Baltic sense of folkloric melody, even as bassist Slawomir Kurkiewicz
and drummer Michal Miskiewicz begin to turn the heat up during the saxophonist's solo, hinting at more muscular interaction to come.
Still, Wasilewski's title track—presenting in two variations, first with Milder, but closing the album with a trio-only take—demonstrates that Milder does more than simply light a fire. A rubato tone poem where Miskiewicz's textural support is particularly noteworthy, Milder engages in a piece where interpretation and tone are everything. The saxophonist demonstrates similar developmental patience on his own irregularly metered "Still," while on a by now de rigueuer look at a Komeda piece, in this case, "Sleep Safe and Warm," the saxophonist demonstrates his attention to detail on a track that simmers with a slow-burning pedal point before breaking the tension into its familiar changes, with Kurkiewicz and Miskiewicz treading a very fine swinging line between the implicit and the explicit.
While Wasilewski contributes five of the album's compositions, the trio makes clear that its musical touchstones range far and wide on a series of covers that range from a luxurious look at "Do Rycerzy, do Szlachty, do Mieszcan," from the Polish rock group Hey, that features Milder at his sparest and most refined, to a trio reading of Jazz Police's "Message in a Bottle. Heavily deconstructed and reconstructed, Kurkiewicz delivers his most potent solo of the set, while Wasilewksi demonstrates just how many rounded surfaces he can find in the relatively square corners of such a simple construct—having, in the past, found similar freedom in the music of Björk and Prince. And while he's long been a personal reference for Wasilewski, Spark of Life is the first time the pianist has taken the leap to actually perform a song by Herbie Hancock. In this case, the bright and bubbly "Actual Proof"—performed often by Hancock but first heard on the Headhunters' Thrust (Columbia, 1974)—and here turned into a more liberated and open-ended version that comes as close to incendiary heat as this trio gets, also providing Miskiewicz a rare moment in the spotlight.
ECM has, in its 45-year history, created a number of particular emphases amongst its massive breadth of musical offerings, and one of them has been to take that most conventional of jazz ensembles, the piano trio, and push it into different directions that respect the tradition of American greats like Bill Evans, Herbie Hancock and, looking further back, Lennie Tristano, while encouraging it to incorporate music of other genres and cultures as, at the same time, it strives to assert a clear sense of modernity. Of the young piano trios it has encouraged over the years, the Marcin Wasilewski Trio may well be its longest-standing, and for good reason. Clearly, Wasilewski, Kurkiewicz and Miskiewicz are capable of working in other contexts—Wasilewski and Kurkiewicz, for example, working together on drummer Manu Katche's first two ECM dates, 2006's Neighbourhood and the 2007 followup, Playground—but it's equally clear that it's in the context of this trio that these three young Poles find the most freedom to explore as they please.
With the addition of Milder on roughly half of this 74-minute program, the Marcin Wasilewski Trio has managed to retain its core strengths while adding something new to avoid any pitfalls of predictability. If the at once sublet yet intense Spark of Life is any evidence (along with Forever Young), it's a sure thing that this simpatico trio still has plenty up its collective sleeve to ensure no risk of that ever happening.
Track Listing: 
Austin; Sudovian Dance; Spark of Life; Do Rycerzy, do Szlachty, do Mieszcan; Message in a Bottle; Sleep Safe and Warm; Three Reflections; Still; Actual Proof; Largo (from Sonata #2 for piano); Spark of Life (var.).
Personnel:
Joakim Milder: saxophone (2-4, 6, 8); Marcin Wasilewski: piano; Slawomir Kurkiewicz: double bass; Michal Miskiewicz: drums.


Itiberê Orquestra Família 
Contrastes 



By Editio Princeps
A Itiberê Orquestra Família comemora seus 10 anos de existência com o lançamento de seu terceiro CD, intitulado "Contrastes". Integralmente composto por músicas inéditas, de autoria do baixista/multi-instrumentista Itiberê Zwarg (com exceção da faixa "Feitinha para Nós", escrita por Hermeto Pascoal exclusivamente para a Orquestra), este é o trabalho mais maduro da Orquestra Família, apresentando seu já tradicional repertório eclético, interpretado por formações camerísticas de duos, trios e quartetos, além da orquestra completa, seguindo sempre a escola Hermeto Pascoal de liberdade total de criação, arranjos complexos e rompimento de fronteiras estéticas e estilísticas.
Tracks:
1. Interiores 9'43; 2. Clássico Romântico Moderno 5'33; 3. Depois da Arrebentação 5'12
4. Batera 3'46; 5. Atualidades 7'34; 6. Flora Lis 2'35; 7. É Pra Você, Arismar 5'40
8. Na Calada da Noite 4'37; 9. Feitinha pra Nós 8'08; 10. Já Fui 4'27
11. Do Chão à Cumeeira 13'37.
Todas as faixas de autoria de Itiberê Zwarg, exceto por "Feitinha pra Nós", de Hermeto Pascoal.
Personnel:
Itiberê Zwarg: Piano, melodica, voz, baixo elétrico, Direção Musical, composição, arranjos e regência; Carol Panesi: Violino, piano, voz; Beto Lemos: Viola caipira, rabeca, zabumba, violão; 
Mariana Zwarg: Flauta, piccolo, voz, percussão; Karina Neves: Flautas, percussão: 
Letícia Malvares: Flautas; Ana Carolina D'Ávila: Flautas, cavaquinho, guitarra, voz;
Ajurinã Zwarg: Bateria, percussão, sax soprano; Ranier Oliveira: Piano e acordeon.
Extra:
Produção Executiva: Felipe Ábido e Mariana Maia; Produção Musical: Itiberê Zwarg; Gravado, mixado e masterizado em março e abril de 2009 no Tenda da Raposa - Rio de Janeiro - RJ; Gravação: Daniel Vasques e Carlos Fuchs; Mixagem: Daniel Vasques, Carlos Fuchs e Itiberê Zwarg; Masterização: Carlos Fuchs.


Zéli Silva
Una



By JazzB
O baixista, arranjador e compositor Zéli Silva é conhecido na cena instrumental brasileira pelo virtuosismo e sofisticação nas composições e arranjos.
Tem vasta experiência no jazz e na música brasileira. Sua música tem como referências, além do jazz, o samba, o choro e o cancioneiro brasileiro. O músico faz desses elementos uma música criativa e comunicativa, rica em melodias, ritmos e harmonias.
Zéli fez parte do grupo Terra Brasil, com o qual foi indicado ao Grammy Latino pelo CD “Atlântico”. Atuou ainda ao lado de Zé Menezes, Rosa Passos, Badi Assad, Virgínia Rosa, Nuno Mindelis, Oswaldinho do Acordeon, MPB-4, entre muitos outros.
Os arranjos e o talento dos músicos improvisadores são destaque em sua música, registrada em 4 CD’s: “Voando Baixo” (2002), “Em Movimento” (2006), “Duo” (2010), com o saxofonista Vitor Alcântara, e “UNA – Zéli Silva Convida”, que apresenta hoje.
“UNA” tem o conceito de união de gerações de instrumentistas e está representado pelas participações especiais de João Donato, Arismar do Espírito Santo, Lulinha Alencar, Léa Freire, Chico Pinheiro, Cléber Almeida, Renato Consorte, Gil Reyes, Da Do e Tatiana Parra.
Vitor Alcântara (sax), Fernando Corrêa (guitarra), Moisés Alves (piano), Zéli Silva (baixos acústico e elétrico), Gabriel Guilherme (bateria).


Albert Heath/ Ethan Iverson/ Ben Street
Tootie's Tempo




By Manuel Grosso Galvan 
The great Albert Tootsie Heath on drums, Ben Street on bass and Ethan Iverson on piano had made one of more lovely album of the year. Have a very special type of sound, is not simple retro is pure vintage. Tootie is part of the history of jazz, and this record confirm the reasons. A collection of songs from "The Charleston" to the incredible Motian's "It should have happened a long time ago", from a great version of "How Insensitive" to"Violets for your Furs", and not forget a incredible solo "Tooties Tempo" five magic minutes of pure drumming feeling. Is the soundtrack of another times, thanks to Iverson to get it. I's so nice, so beautiful that you can't believe it. Only one suggestion; the next time please put the booklet inside, print not digital
PS. If you like this very special album, please hear "Live at Smalls" from 2009 with the same musician

Saturday, January 10, 2015

1 Sem 2015 - Part One

Annie Lennox
Nostalgia



By Matt Collar
Annie Lennox's 2014 covers collection, Nostalgia, finds the former Eurythmics vocalist soulfully interpreting various pop, jazz, and R&B standards. In many ways, Nostalgia works as a companion piece to her similarly inventive 2010 album, the holiday-themed Christmas Cornucopia. As with that album, Lennox eschews predictability by picking an unexpected set of songs and producing them with detailed care. While Nostalgia certainly fits nicely next to any number of other standards albums by veteran pop stars, it does nothing to diminish Lennox's distinctive style. On the contrary, working with producer Mike Stevens, Lennox has crafted an album that brings to mind the sophisticated, contemporary sound of her original studio releases while allowing her to revel in the grand popular song tradition. Moving between evocative piano accompaniment, orchestral numbers, moody synthesizer arrangements, and even some rollicking small-group swing, Lennox takes a theatrical -- yet always personal -- approach to each song, finding endlessly interesting juxtapositions and stylistic combinations to explore. She references Miles Davis' plaintive take on the Porgy and Bess classic "Summertime," tenderly evinces a combination of Billie Holiday and Sade on "Strange Fruit," and draws on both Aretha Franklin and Screamin' Jay Hawkins for "I Put a Spell on You." Elsewhere, tracks like "I Cover the Waterfront" and "Mood Indigo" bring to mind similar recordings from Carole King and Bryan Ferry. Ultimately, even without Nostalgia's impeccable production, in the end it's Lennox's burnished, resonant vocals that steal the focus here, and just like the songs she's picked, their beauty will likely stand the test of time.


Jason Moran
All Rise : A Joyful Elegy For Fats Waller



By Steve Leggett
Yeah, All Rise: A Joyful Elegy for Fats Waller is a tribute to the great stride pianist, but in Jason Moran's hands, it's not what one would expect. This album isn't full of stride piano, but it is full of Fats Waller's larger persona as a performer. Waller mixed jokes and comic routines, and did whatever he could to connect with his audience in his act, and if his piano playing was the hinge, it sat on a door that opened straight to the dancefloor. This album had its beginnings when Moran was commissioned by the N.Y.C. performing arts venue Harlem Stage Gatehouse to create a tribute to Waller as part of its Harlem Jazz Shrines series. Moran came up with a unique combination of piano, vocal jazz, and dance that used Waller's signature songs as springboards. Collaborating with singer Meshell Ndegeocello, wearing a large papier-mâché mask of Waller's head created for him by Haitian artist Didier Civil, and adding interpretive dancers, Moran called his conceptual tribute The Fats Waller Dance Party, and All Rise is the studio-recorded rendition of the project. It's a stunning mix of piano jazz with moody, winsome late-night vocals, and it has plenty of get-up-and-go when it's time for it. If it doesn't sound much like Waller, one could imagine Waller would love it, and his signature songs are well represented, including "Ain't Misbehavin'," which Ndegeocello sings with a wistfully sultry edge, "The Joint Is Jumpin'," which is just that, a joyous and yet graceful romp, and a ethereal take on "Ain't Nobody's Business," which in Moran and Ndegeocello's hands becomes a dark, moody, and elegantly defiant statement in modal jazz. This set manages to be reverent to Waller's original recordings, but since facsimile was never the goal, it also manages to create a completely new veneer for them, and the end result is a marvelous tribute that still retains its own shape and coherency.
Track Listing: 
Put Your Hands on It; Ain't Misbehavin'; Yacht Club Swing; Lulu's Back in Town; Two Sleepy People; The Joint Is Jumpin'; Honeysuckle Rose; Ain't Nobody's Business; Fats Elegy; Handful of Keys; Jitterbug Waltz; Sheik of Araby / I Found a New Baby.
Personnel: 
Lisa Harris: vocals; Charles Haynes: drums, vocals; Stephen Lehman: saxophone; Tarus Mateen: bass; Jason Moran: Rhodes, piano, Wurlitzer; Charles Haynes: drums, vocals; Meshell Ndegeocello: vocals; Josh Roseman: trombone; Leron Thomas: trumpet, vocals; Nasheet Waits: drums


Kenny Barron & Dave Holland
The Art Of Coversation



By Shaun Brady at JazzTimes
There are conversations meant solely for the ears of those involved, full of jocular camaraderie and inside references. And then there are those designed to be overheard, where the dialogue is meant to engage and enlighten anyone who is listening in as well as the speakers themselves. With a musical relationship dating back nearly three decades, pianist Kenny Barron and bassist Dave Holland could certainly engage in the former, but The Art of Conversation is a vivid example of the latter. These 10 tracks all showcase the profound mastery of two artists who share an easy rapport and elegantly restrained expressiveness.
The warmth of their collaboration beams through on Holland’s opening, “The Oracle,” where Barron spins buoyant melodic variations around his partner’s buoyant bassline; and on their brisk tandem spin on Charlie Parker’s “Segment,” which contains the disc’s most engaging back-and-forth. But the album features a wide range of moods: the wistful lyricism of Barron’s “Rain,” on which Holland leads with the heartfelt melody; the simmering groove of Holland’s “Dr. Do Right”; and the presciently elegiac “Waltz for K.W.,” a dedication to Kenny Wheeler recorded six months before the trumpet great’s death. Monk, as always, is a touchstone, with a breezy take on “In Walked Bud” and the sharp-angled, Monk-meets-Ellington stroll of Barron’s “The Only One.” Holland’s achingly beautiful “In Your Arms” is an indelible highlight, with both articulating simultaneous melodies with breathless delicacy.


Dave Holland
Prism



By Dan Bilawsky 
Bassist Dave Holland first became a leader-on-record with Conference Of The Birds (ECM, 1973), a now-classic outré quartet session. That initial leader date portrayed Holland as a restless seeker, willing and eager to explore the inner workings of group dynamics and the outer reaches of convention, and he's done little to alter that perception of himself in the intervening years. Holland has, with band after band and album after album, continually broadened his outlook, creating a vast and enviable body of work along the way. Now, he celebrates four decades of leadership by introducing another potent foursome to the world.
On Prism, Holland reunites with three musical spark plugs from his past: guitarist Kevin Eubanks, who appeared on the bassist's Extensions (ECM, 1989), drummer Eric Harland, who worked side-by-side with Holland in The Monterey Quartet and then joined him for Pass It On (Dare2 Records, 2008), and pianist/Fender Rhodes man Craig Taborn, who's shared the stage with the bassist on a number of occasions over the past few years. As individuals, these gentlemen rank high on many a critic and fan's list of players; together, they form the most exciting and awe-inspiring quartet to debut on record this year.
The music this band delivers on Prism is like a vortex, sucking in everything within earshot. Interlocking patterns, excoriating lines, killer grooves and blazing solos are par for the course. Democracy prevails in all aspects, as each band member contributes music, muscle and more along the way. "The True Meaning Of Determination" is the perfect example of this one-for-all and all-for-one philosophy. Holland draws focus with his bass introduction, melodic delivery is a joint venture between two band mates, Eubanks' guitar singes everything in sight, Taborn takes the spotlight and has a blast chopping up the time with Harland, and everybody comes together to drive it home. It's nine-plus minutes of pure, heart-pounding bliss, and it doesn't even stand above the other tracks; nearly every performance here has a similar endorphin-producing effect. The band does operate in other areas, from the bluesy and soulful ("The Empty Chair (For Clare)") to the contemplative and free floating ("Breathe"), but they retain a group identity no matter where the music takes them. They sound best when they burn, but they still sound like the same unit when they simmer or stay put.
Prism isn't simply a great album by a great band; it's as good as jazz records come. Four months may separate this album's release and the close of 2013, but this one may have already sealed it up for "Album Of The Year" honors.
Track Listing: 
The Watcher; The Empty Chair (For Clare); Spirals; Choir; The Color Of Iris; A New Day; The True Meaning Of Determination; Evolution; Breathe.
Personnel: 
Dave Holland: bass; Craig Taborn: piano, Fender Rhodes; Kevin Eubanks: guitar; Eric Harland: drums.


Pedro Araujo
Raiz



By Jota Carlos – produtor e crítico musical 
Em pouco mais de dez anos de carreira, grande parte dedicada à música instrumental, com dois discos autorais e o reconhecimento de músicos consagrados, Pedro Araujo vem conquistando seu espaço entre os grandes nomes da guitarra brasileira.
No seu segundo disco, RAIZ, Pedro interpreta composições inéditas e faz releituras de músicas do cancioneiro popular da sua terra natal, São Luís do Maranhão. Sendo também arranjador, Pedro usa de variadas formações instrumentais para colorir os arranjos dando às canções atmosferas diversas, destacando-se “Cheiro do Jasmim”, um arranjo orquestral, e “Tsunami”, arranjada pra big band.
Do disco, inteiramente instrumental, participam músicos como Rui Alvim, Cassius Theperson, Dudu Viana, Danilo Sinna, Eduardo Neves, Carol Panesi, e muitos outros...
“Suas composições têm algo de refinamento, linhas melódicas bem definidas e apreciação pelo detalhe nos arranjos. Raiz, o presente álbum, é recheado de motivos sonoros, um passeio pelo universo de ritmos e canções que apontam para o caminho de maturidade do artista.”

Friday, December 26, 2014

Buddy DeFranco 1923 - 2014



By Howard Reich at CHICAGO TRIBUNE
Buddy DeFranco, one of the most virtuosic and musically accomplished clarinetists in the history of jazz, died Wednesday night in Panama City, Fla., said his wife of 44 years, Joyce DeFranco. He was 91.
DeFranco, more than anyone, brought the clarinet into the rarefied realm of bebop. As Charlie Parker did with alto saxophone, Dizzy Gillespie with trumpet and J.J. Johnson with trombone, DeFranco proved that his instrument could finesse the extraordinary technical hurdles of bebop music of the 1940s.
DeFranco also had copious performance and recording experience, working with Gene Krupa, Tommy Dorsey, Count Basie, Oscar Peterson, Billie Holiday and practically everyone else of his era. He won the country's most prestigious jazz honor, the National Endowment for the Arts Jazz Masters Fellowship, in 2006.
DeFranco last performed publicly at age 89, said his wife. A public celebration of his life will take place next year, she added.

Sunday, December 21, 2014

WORLDJAZZ TOP 10 - 2014

WORLDJAZZ TOP 10 - 2014

Best Jazz 2014 by WORLDJAZZ

Jazz Record of 2014
- Ellis Marsalis & Makoto Ozone - Pure Pleasure For The Piano

Top 10 Jazz Records of 2014
- Alexi Tuomarila Trio - Seven Hills
- Enrico Pieranunzi - Stories
- Claudio Fillipini Trio - Breathing In Unison
- Martin Wind & Orchestra Filarmonica Marchigiana - Turn Out The Stars
- Jacob Young - Forever Young
- Peter Bernstein/ Larry Goldings/ Bill Stewart - Live At Smalls
- Stan Getz & Kenny Barron - People Time - The Complete Recordings
- Fred Hersch Trio - Floating
- Ahmad Jamal featuring Yusef Lateef - Live At The Olympia


Artiste du Jazz 2014
Peter Bernstein & Ellis Marsalis