Sorry pelo atraso ( late ), mas como eh pouco lido não vejo maiores problemas ! ha ha ha !
Não esquecer da lista dos 10 mais para Desert Island.
Aqui vão alguns reviews:
"Truth and Beauty" - Sam Yahel Trio; Brian Blade; Joshua Redman
Este eh o segundo Cd deste trio, o primeiro foi o "Yaya 3". Acho o Joshua um grande sax-player, mas o unico CD em que vejo este musico bem, e nesse trio. Belissimo trabalho de um bom trio.
by Scott Yanow
As pianist BM mentions in his lengthy and well thought-out liner notes, organist Sam Yahel, tenor saxophonist JR and drummer BB each have the ability to sound like themselves no matter what the setting or the dominant style. Yahel is one of the most original organists of his generation for even when his tone recalls JIMMY SMITS, his choice of notes does not. JR and BB also have original sounds and the three have played together on numerous occasions, often under the saxophonist's leadership. On Truth and Beauty, they perform six of Yahel's originals and three obscurities including ORNETTE COLEMAN's challenging "Check Up" and PAUL SIMON's relatively lightweight but lyrical "Night Game." JR and Yahel blend together particularly well, with the ensembles logically leading to the solos and lots of close interaction. While none of the individual originals have memorable themes, the set of complex post-bop has a definite charm that grows.
"Music Maestro Please" - Freddy Cole & the Bill Charlap Trio
Para aqueles que gostam da voz do Freddy Cole com companhia de um bom mas burocratico trio.
Michael G. Nastos
Jazz singer Freddy Cole has accompanied himself on piano for decades, but here he turns that task over to the quite able Bill Charlap on a program of well-worn standards and a handful of lesser-known tunes. Cole's sweet, soulful, robust voice has held him in good stead over the years, and continues to retain that refined, aged yet timeless texture. He plays pretty piano in primarily balladic mode, while the famed Washington rhythm team (bassist Peter and drummer Kenny) is as reliable as any. Quite a few of the compositions are plucked from the '30s, like "If I Love Again," "Once in a While," and "You Leave Me Breathless." There are two midtempo numbers, including a scatted intro on "There Are Such Things," and two voice/piano duets, the downhearted blues "Why Did I Choose You?," and the equally blues-trodden medley "Don't Take Your Love from Me/I Never Had a Chance." Another obscure song, "You Could Hear a Pin Drop," evokes a mood apropos of its title, written by Bobby Cole (no relation). The finale — the old Johnny Mercer novelty "How Do You Say auf Wiedersehn?" — could be Heidi Klum's Project Runway closing theme song. There are no real sparks flying here, just palpable empathy among the supportive backup participants, evidence of a low, slow, steady blue flame that burns forever in everybody's heart, kept quite alive and well by troubadour Cole.This CD was nominated for a Grammy award in 2007 for Best Jazz Vocal Album.
"San Francisco" - Fleurine
A esposa do Brad Mehldau fez um bom Cd, mas não foi pelo maridão chapadão, e sim pelo nosso Chico Pinheiro, com quase todos arranjos e duo vocal. Eh bom o Brad tomar cuidado! ha ha ha !
by Scott Yanow
Fleurine is an important jazz singer who was originally from Holland. She attended the Amsterdam School of High Arts Music Conservatory during 1990-1994. A versatile performer, she toured Cuba with trumpeter Roy Hargrove in 1996, recorded a ballad-oriented duo album with pianist Brad Mehldau, recorded her lyrics to songs by top jazz musicians (including those of Monk,Redman, and Harrell) in 1995, and moved to the United States in 1998. One of her albums, Fire, features her turning pop-oriented material into jazz. San Francisco differs from her previous work in that it is an exploration of Brazilian music, including the songs of Chico Buarque, Chico Pinheiro, and Francis Hime plus a lone number ("Memories in Black and White") from Jobim. Some of the selections feature her English lyrics though she also sings in Portuguese. Fleurine has a soft and haunting voice that is well suited to this material. Her backup group, which never includes more than four musicians and has a duet number apiece with guitarist Freddie Bryant and pianist Brad, is quite sympathetic with Chris Potter's three appearances (each on a different instrument) adding to the date's variety. San Francisco is a program of subtle music that is quietly infectious.
"Garota de Ipanema" - Riccardo Arrighini Trio
Só posso dizer uma coisa.......... eargasm !!!!
" Prez and Bix" - Franco D'Andrea
Qualquer trio do Franco D'Andrea e muito bom, este não eh diferente, talvez o unico ponto fraco sejam as musicas pouco conhecidas.
by Ken Dryden
Don't be fooled by this CD's title! Even though it is a tribute to Lester Young and Bix Beiderbecke, pianist Franco D'Andrea's rather modern approach to the songs the two greats played is full of surprises. Featuring bassist Ares Tavolazzi and drummer Massimo Manzi, D'Andrea's angular setting of "Lester Smooths It Out" gets a bit far out in spots, though it never loses track of its bluesy theme. The trio's jaunty take of "East of the Sun" (a standard recorded by Young on just one occasion) can best be described as a post-bop roller coaster. Manzi introduces "At the Jazz Band Ball" in march tempo, though this classic jazz favorite gets a considerable facelift once the leader makes his entrance. In the two takes of Beiderbecke's "Davenport Blues," D'Andrea begins with a playful, dissonant introduction before reverting to some delicious stride piano and eventually swing as well. The pianist's "Pres and Bix" incorporates excerpts of pieces like Beiderbeck's "In a Mist" and Young's "Jumpin' with Symphony Sid" in a compelling solo piano collage. This recording is a delight from start to finish.
"Live" - Arriale, Lynne
Grande pianista todo mundo já sabe. Mas um bom disco, fazia tempo. Ainda vem com um DVD completo. Vale muito ouvir.
by Jeff Tamarkin
Like 2000s Live at the Mntreaux Jazz Festival, Lynne Arriale's first live album, her second, Live, brings out the best tendencies in her trio's playing. Arriale has long been established as one of the most creative and thoughtful pianists in jazz, and after ten years together she and her band — bassist Jay Anderson and drummer Steve Davis— know where one another is heading long before they get there, making for playfully intuitive and often unexpected interactions. Arriale's nimble-fingered, graceful excursions display both technique and heart, and though she rarely veers too far from the melody at a song's core, she's not finished with a piece until she's explored all of its possibilities. Much of the material performed here at the 2005 Burghausen Jazz Week in Germany appeared first on Arriale's studio recordings, including two very hip covers, The Beatles "Come Together," which Arriale deconstructs and reconstructs in a most inventive manner, and the New Orleans standard "Iko Iko," which opens the recording. Arriale also enjoys tripping to the tropics, and both "Braziliana" and "Flamenco" (which, like the two aforementioned covers, appear on her 2004 Come Together album) are bold statements, the former a rhythmic tour de force and the latter a stunning example of Arriale's seamless fusing of classical and jazz elements. The trio's take on Abdullah Ibrahims "Mountain of the Night" manages to remain absorbing even after 11-plus minutes without so much as a tempo change, and the set-closing take on Monk's "Bemsha Swing" leaves little doubt that these musicians are more than willing to venture into deep and difficult waters. A DVD of the performance in 5.1 surround sound is also included in the package, adding a version of the standard "Alone Together" to the program.
" Spring Is Here" - Ozone, Makoto
Um bom CD do japones Makoto Ozone, mas o motivo eh de 1987 ! Velho mas bom !!!
" The Third Man" - Rava, Enrico; Stefano Bollani
E uma continuação do belo solo de Bollani na ECM, mas agora com seu mestre Rava. Muito bonito, muito bem tocado, sem grandes variações. Para o bom ouvido !!!!
by Thom Jurek
While The Third Man is a skeletal, live-in-the-studio duo recording between pianist Stefano Bollani and Italian treasure, trumpeter Enrico Rava, its sound moves far beyond the intimacy that such a pairing would normally warrant. Bollani and Rava have been playing together for over a decade, and these 12 pieces reflect the deep communication that exists as a result of that working relationship. According to Bollani, they have worked as a duo in concert settings before and on record, but never like this. What this means is that both the recording studio — the Auditorio Radio Svizzera in Lugano, Italy, and Manfred Eicher's recording process for ECM that allows recording without headphones in direct communication — played a unique and powerful role, as well as an informative one in the process of making the record. The title of the disc references Eicher as a collaborator, as well as referring good-naturedly to Orson Welles and the film noir tradition. Rava composed six of the album's tracks, Bollani one, and the pair freely improvised the hauntingly beautiful and melodically compelling title cut. There are all sorts of nods here. For openers, there's Bruno Martino's "Estate," a Neapolitan folk song, which was extrapolated upon by Antonio Carlos Jobim for "Retrato Em Branco y Preto." The original plus two versions of the Jobim tune are here. This track and its evolution marks passage through the set at beginning, middle, and the final variant, right near the end.Then there is the magnificently tender reading of "Felipe," by one of Brazil's greatest composers, Moacir Santos. (Check out his Blue Note sides, which are available as inexpensive imports from Europe at good online retailers.) Its open, reverie-like character is brought into the present by Rava's deeply expressive take on the melody, as Bollani offers augmented chords that enhance and deepen it. When he takes his solo, he uses the melody as a way inside the character of the tune, making it a bittersweet cavern of memory. "Cumpari," by Rava, is a fine and strangely complex lyrical approach to modern composition. The contrapuntal pianism of Bollani as he uses three different scalar approaches to the motifs in the structure nod to everyone from Stravinsky, Bartók, and even Lutoslawski, but they echo Bernard Hermann, Umiliani, and Morricone, as well. Rava engages a more dimensional and textural approach in his solo, where he adds vanguard and modal jazz to the mix. This is the only "remotely" outside thing here. At just under five minutes, it is still a delight, and melds well with the more deeply and consciously melodic pieces here. It's a wonder that "The Third Man" is so near the beginning, because it is arguably the best thing here. That said, it doesn't detract from the rest as much as it provides an aural view into the deeply conversational and historically rich sound world being so poetically explored between this pair. While it's also true that it is indeed the Italians who have put such a lyrical, emotionally honest stamp on jazz since the '60s and are indeed involved in a tremendous period of creativity with it since the '70s that shows no sign of slowing down (no matter which subgenre of the music being made), these two are among its most expressive and communicative, making them ambassadors. The Third Man is a brilliant collaboration and a beautifully accessible as well as adventurous offering.
"Palermo" - Gomez,Eddie Trio
Bom, mas continuo com saudades do nosso grande Eddie Gomez, talvez gravando mais, adquira sua excelente musicalidade.
"January" - Marcin Wasilewski Trio
Belissimo trabalho destes poloneses, faltou um pouco mais de punch. Vale ouvir !!
by Thom Jurek
On their sophomore effort for ECM, the Marcin Wasilewski Trio (pianist Marcin Wasilewski, bassist Slawomir Kurkiewicz, and drummer Michal Miskiewicz — who are also Polish trumpet maestro Tomasz Stanko's rhythm section) reflect the true sign of their maturity as a group of seasoned jazz musicians and risk-takers. Their debut album, simply called Trio, merely reflected to American and Western European audiences the wealth of talent, vision, and discipline that Polish and Eastern Europe's audiences had known for over a decade. (The group recorded five previous albums in its native country between 1993 and 2004.) They came together in 1991 as teenagers: Wasilewski and Kurkiewicz were only 16 and had already been playing together for a year when they met up with Miskiewicz. In 1993 they began playing behind Stanko, and eventually became his recording group as well. They were first heard on his 2001 album The Soul of Things, as well as his subsequent ECM outings, Suspended Night and Lontano. But all of this is history and history only. It doesn't begin to tell of the magic and mystery found in this beautiful album. There are four Wasilewski compositions in this ten-cut set. They range from the lovely songlike opener, "The First Touch," with its romantic melody that suggests Bill Evans' late "Song for Evan" period, as well as elliptical European improvisers like Bobo Stenson. But it's that inherent sense of dimension and space that is in all the best Polish jazz that makes this is such a stellar tune. The utterly lyrical brush and cymbal work by Miskiewicz and present yet uncluttered bassline of Kurkiewicz allow the full range of Wasilewski's reach from melodic invention to gently ambiguous modal exploration to come to the fore. The group's reading of Ennio Morricone's "Cinema Paradiso" underscores the deep and inseparable relationship between Polish jazz and the cinema that has existed since the collaborations between director Roman Polanski and Stanko's first boss, pianist and composer Krzysztof Komeda. The sense of dynamic that the trio goes for on this piece is perhaps less forcefully pronounced than the composer's, but it is almost a reading of its other side, where the brooding aspects of the original give way to something fuller and more picaresque, while allowing its sense of nostalgia and memory free rein inside the narrative of the tune. This is followed by one of the set's true highlights, a killer jazz reading of Prince's "Diamonds and Pearls," led by a tough little three-note bass intro by Kurkiewicz; he proceeds to underscore every note in the melody with a fill. It's difficult to know for the first couple of minutes exactly what the trio is getting at here, but just before the extrapolation of the harmony and its inversion it becomes clear and it gains a more aurally recognizable quality. The tune is soulful and romantic, and contains all of the inherent lyricism that Prince employs in its chord structure, adding just a little of jazz's sense of adventure in the final third of the tune and wrapping it all together into something new. This is a worthy interpretation if there ever was one. Interestingly, the trio tackles some tunes by ECM standard-bearers as well. There are innovative, challenging, and very fresh-sounding versions of Gary Peacock's "Vignette," Carla Bley's "King Korn" (which retains all of its knotty humor and then adds some of its own), and Stanko's gorgeous and enduring "Balladyna"— the title cut from his own ECM debut back in the 1970s. Three longer Wasilewski compositions — "The Cat," the title track, and another crack at the relationship between Polish film and jazz in "The Young and the Cinema" — dominate the second half of the record by giving the band a chance to really stretch and fly. All of these tunes, but particularly the last one, reveal the trio members' ability to swing effortlessly together no matter how complex the music gets as it moves from post-bop to angular impressionistic jazz. The final cut is a muted improvisation that is, if anything, all too brief. This is terrific second effort by a band that, despite the fact that its members have been together for 17 years, is only really coming into its own in the present moment.
" The Offering" - Willis, Larry
"Avatar" - Rubalcaba, Gonzalo
"Whirlpool" - Taylor, John
"Fred Hersch: Concert Music 2001-2006" - Dorothy Lawson; Hersch, Fred
"Invocation" Bollenback, Paul
" Love Songs, Ballads and Standards " Mayfield, Irvin & Ellis Marsalis
"On the Snow" - Lanzoni,Alessandro Trio
"Contradictions "A look at the music of Michel Petrucciani" The > Cristian Jacob Trio
" So Many Stars" - Mayer, Jon
Muito bom!!! surpresa !!!
Scott Yanow
Jon Mayer has long been a superior modern mainstream pianist based in the Los Angeles area. While he gained his initial recognition in the late 1950s when he recorded with John Coltrane and Jackie McLean, ever since his return to the scene in 1992, he has far surpassed his earlier abilities, recording quite a few rewarding CDs for Reservoir. So Many Stars is a particular standout due to the strong material and the enthusiasm that the trio puts into their interpretations. Starting with Cedar Walton's "Holy Land" and including such pieces as "Nica's Dream" and "Jeannine," the trio sounds quite inspired and closely attuned to each other. Mayer contributed two originals to the CD ("Rip Van Winkle" oughta become a standard) and takes "Never Never Land" as a thoughtful piano solo. With fine support by bassist Rufus Reid and drummer Roy McCurdy, Jon Mayer is heard throughout in prime form. Recommended.
" Live at Jazz Standard, Vol. 1" - DeRose, Dena
Surpresa ! Surprise !! Eargasm !!! Ela canta e toca muito mais, bons arranjos, belissimo trio e eh americana !!!!! Muito bom !!!!
by Ken Dryden
There have been a number of singing jazz pianists over the years, yet most have been stronger in one area or the other. Dena DeRose was a pianist first and took up singing only after a hand injury sidelined her from playing for a time. But she is the real deal, able to bring out the best in the music and lyrics to any given piece. Her snappy take of the standard "Speak Low" features her assertive playing, along with a bit of soft scat as she winds up the piece. DeRose wrote the lyrics to Philippe Petrucciani's haunting ballad "This Is Love," a challenging piece that also showcases bassist Martin Wind. Cole Porter's "Get out of Town" seems like a song in danger of overexposure, yet the pianist's amusing approach includes her dark extended vamp and Matt Wilson's unusual percussion line in the introduction. She proves captivating in her solo feature, the bittersweet ballad "A Table Set for Solitude." Her bluesy arrangement of "Alone Together" and delicate bossa nova treatment of "On Green Dolphin Street" also shine. Tenor saxophonist Joel Frahm is added for "I Fall in Love Too Easily," providing an emotional foil for her moving vocal. For DeRose's jaunty take of "Lover," she shows off a bit of playful stride piano before switching to the more familiar jazz waltz setting.
"Live " - Brad Mehldau Trio
"Let It Come to You" - Eigsti, Taylor
"Present Tense" - Carter, James
" Luiza" - Riccardo Meets Barbara Arringhini & Fabrizio Bosso
" Bill Remembered" - Zetterlund, Monica
Uma belissima homenagem ao Bill Evans, feito pela cantora sueca Monica Z, que gravou com ele nos anos '60. Foi seu ultimo CD e realizado apos ela ouvir o Cd do Don Sebesky
" Duke Ellingtonsuites 1931-1974 Chapter 1"- Franco,D' Andrea
Outro belo Cd de trio, com musicas pouco conhecidas, o que prova da enorme produção do Duke e sua turma.
" The Tony Bennett/Bill Evans Album " Extra tracks
O mesmo grande classico com mais 5 extras tendo diferentes arranjos e andamento, principalmente na faixa "young and foolish". Possui liner notes e "novas" fotos.
by William Ruhlmann
Having completed his relatively brief sojourn with MGM/Verve in 1973, Tony Bennett was in the midst of forming his own label, Improv Records, when he made a deal with jazz pianist Bill Evans to cut two LPs, this one for Evans' label, Fantasy Records, with another to follow on Improv. The singer and his collaborator ("accompanist" does not adequately describe Evans' contribution, and in any case he received co-billing) got together in a recording studio over four days in June 1975 with no one other than the producer, Helen Keane, and an engineer present, and quickly recorded one of the best albums of either's career. For Bennett, it was a dream project; for years (decades, actually), he had been balancing the demands of commerciality with his own inclinations toward jazz and affection for the songs of Broadway masters and of the Great American Songbook. Left to himself with a jazz partner, he naturally gravitated toward both interests. There were songs here that he had already recorded, but never in so unadorned, and yet fully realized a fashion. Evans was an excellent accompanist, using his steady left hand to keep his singer centered, but ready, whenever the vocals were finished, to go off into his characteristically lyrical playing. Bennett could seem a bit earthbound when he came back in (he still wasn't really a jazz singer), but his obvious enthusiasm for the project, coupled with his mastery of phrasing in songs he understood perfectly made him an equal in the partnership. As far as the major-label record business was concerned, the 46-year-old singer might have been over the hill and indulging himself, but in fact he was in his prime and finally able to pursue his ambitions unfettered, and that would prove itself a major boost to his career over time. For the moment, he'd made an excellent jazz-pop hybrid in which both musicians were shown off to advantage. [The album was reissued with five bonus tracks.]
" Rabo de Nube - Charles Lloyd; Jason Moran; Reuben Rogers
" An Open Letter to Thelonious " - Marsalis, Ellis
Uma homenagem respeitosa, demais !! Cade o bom e velho Ellis ????
by Ken Dryden
One of the most challenging demands placed on a jazz musician is interpreting another's works while utilizing the same instrumentation as the composer. Veteran pianist and jazz educator Ellis Marsalis admits that at one point in his career, he was not objective about Thelonious Monk as a composer, preferring the bop of Dizzy Gillespie and Charlie Parker. But with the passage of time and the opening of his ears to the subtle nuances of compositions, he is perfectly at ease playing his music on these 2007 sessions, which include his youngest son Jason Marsalis on drums, bassist Jason Stewart, and tenor saxophonist Derek Douget(who also doubles on soprano sax). While the opener "Crepescule with Nellie" doesn't stray too far from Monk's concept, the rollicking treatment of "Jackie-Ing" opens up the piece a good bit. Douget switches to soprano for a funky, New Orleans-flavored interpretation of "Epistrophy." The driving take of "Teo," a blues that Monk recorded just a few times, brings to the forefront one of his lesser known works. Throughout the date Marsalis keeps Monk's music very much alive with his inspired interpretations of the legend's compositions.
Rainbow People - Turre, Steve
Trio Sud: Young and Fine - Luc, Sylvain; Trio Sud
Loverly - Cassandra Wilson
No More No Less - Manusardi, Guido
Re: Pasolini - Battaglia, Stefano
Songs for a New Century - Williams, Jessica
O melhor de 2008. Suas composições são fortes e tem inspiração para um brilhante Cd de Jazz. E solo, mas nessse nivel, quem precisa de outro instrumento.
It's Magic - Jamal, Ahmad
Near Gale - Alboran Trio
After Hours, Vol. 4 - Carrothers, Bill
Letter to Evans - Rosnes, Renee; The Drummonds
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