1 Sem 2014 - Part Ten

Marco Lobo



By Delira

Para este terceiro álbum Marco Lobo e sua banda ensaiaram e gravaram todos juntos, em busca de uma sonoridade mais próxima dos shows ao vivo. Todo o processo de criação foi coletivo, aproveitando a afinidade musical e o entrosamento que já existe entre os músicos.
A producão é do próprio Marco Lobo e do baixista Gastão Villeroy. As composições são assinadas por Carlos Malta, Gastão Villeroy, Kiko Continentino, Altay Veloso, Milton Nascimento, Njamy Sitson ( cantor e percussionista africano), Widor Santiago e Marco Lobo. O CD conta também com os músicos convidados Aldivas Ayres, Bebê Kramer, Carlos Malta, Marcio Bahia, Marina Machado e Njamy Sitson, mais as participações especiais de Billy Cobham e Toninho Horta.
O CD Marco Lobo é uma expressao moderna da música instrumental brasileira: feito a partir dos nossos talentos e enriquecido com influencias de outros artistas do mundo.

Tracks:
1. Lobine (Widor Santiago); 2. Tocaia (Gastão Villeroy); 3. Segunda Página (Kiko Continentino)
4 Aláfia (Letieres Leite); 5. O Cavaleiro (Milton Nascimento/Wilson Lopes)
6. Saídas e Bandeiras (Milton Nascimento/Fernando Brant);

7. Swing na Rampa do Mercado (Luiz Brasil/Djalma Oliveira); 

8. Pro Gil (Beto Lopes); 9. Severino (Widor Santiago)

Personnel:
Direção Musical: Marco Lobo
Produzido por:
Marco Lobo e Widor Santiago / co-produzido por Gastão Villeroy (I e 9)
Marco Lobo e Gastão Villeroy (2)
Marco Lobo e Kiko Continentino / co-produzido por Gastão Villeroy (3)
Letieres Leite (1)
Marco Lobo e Gastão Villeroy / co-produzido por Wilson Lopes (5)
Wilson Lopes e Lincoln Cheib (6)
Luiz Brasil (7)
Marco Lobo, Beto Lopes e Wilson Lopes / co-produzido por Gastão Villeroy (8)
Este CD foi Gravado entre 2006 e 2007 nos estúdios:
XRBM Audio Ideias por Rulian Fernandes ( 1,3,9 )
Beck por Aurio Marquezini / Sant Clair Lima (1,3,5,8 e 9 )
Carioca por Daniel Cheese ( 1,2,1,5,6,7 e 8 )
Bemol por Dirceu Cheib ( 5,6 e 7 )
Pacto por Gastão Villeroy ( 2,3,7 e 8 )
São Salvador por Marcelo Cuinha ( ‘f )
Brasa por Luiz Brasil ( 7 )
Órbita por Fenando Morello ( 2 e 5)
"WL” por Chicletinho ( 5 e 8 )
Mixado no Solo Áudio por Denilson Campos
Masterizado no Classic Master por
Carlos Freitas
Design Gráfico: Daniela Procopio
Fotos: Sandra Lopes
Finalização: LA Studio
Modelo em “Pro Gil”: Gabriela Gross
Realização: Delira Música www.deliramusica.com
Milton Nascimento gentilmente cedido pela Nascimento Música

Rogério Botter Maio

Aprendiz



By Eldorado
Lançado pela Gravadora Eldorado, este trabalho marcou o retorno de Rogério ao Brasil em caráter definitivo, e conta com as participações especiais do cantor e guitarrista Filó Machado, do saxofonista Teco Cardoso e da flautista Léa Freire.
Por um prisma jazzístico, o repertório do CD é predominantemente instrumental e tem profundas raízes na nossa cultura, trazendo ritmos como xaxado, samba, afoxé, choro, etc.
Inclui a canção Aprendiz, a toada Belluno, a valsa Ainda é Cedo e a milonga The Other One, composta para uma coreografia de mesmo nome, no período em que o autor viveu nos EUA.
Rogério assina todas as composições, que mostram ricas instrumentações que incluem fagote, violoncelo, flugelhorn, flautas e saxes, além da sessão rítmica.
From the beginning, this recording was not intended to be only a live recording. Instead, I wanted to capture the energy of a live performance which took place in October 14th, 1999 at the Supremo Musical in São Paulo, Brazil (a renowned "jazz club").
Some tunes were kept intact, while others were enriched in their arrangement and sonority by the inclusion of the cello, bassoon and flutes, which would have been impossible at the live performance.
"Aprendiz" is a reverence of life, nature and the universe, to all of which we are apprentices. The expansiveness of its meaning almost turns it redundant. It is also a reverence of all the people destiny brings to us, having them cross our path and walk with us.
This recording is dedicated to the memory of Manfredo Fest.

Personnel:
Rogério Botter Maio | baixo acústico, elétrico e voz | basses and voice
Teco Cardoso | saxes e flauta | saxes and flute
Léa Freire | flauta e voz | flutes and voice
Tiago Costa | piano
Edu Ribeiro | bateria | drums
Filó Machado | guitarra e voz | guitar and voice
Daniel Alcântara | flugelhorn
Rodrigo Botter Maio | sax alto e flautas | alto sax and flutes
Alexandre Foo Silvério | fagote | bassoon
Silvana Rangel Teixeira | violoncelo | cello


Marcos Ariel

Jazz Carioca - Solo Piano



By Biscoito Fino
O músico e compositor Marcos Ariel lança pela Biscoito Fino o CD de número 26 de sua rica discografia, incluindo álbuns solo, colaborações e projetos. Batizado de JAZZ CARIOCA, o álbum foi produzido e gravado por Lucas Ariel, filho de Marcos, sendo o sétimo no qual pianista e seu instrumento se complementam no estúdio. “Desenvolver um trabalho em piano solo é um sonho e uma busca constante na minha carreira. Sempre procurei utilizar a técnica da música erudita nos meus arranjos e interpretações de piano”, comenta Ariel que, ao longo de sua trajetória, foi desenvolvendo um estilo personalíssimo que sempre chamou a atenção da crítica especializada. “Naturalmente fui encontrando uma forma de conseguir uma independência da mão esquerda para improvisar à vontade com a mão direita. Essa sempre foi uma característica que os críticos especializados ressaltaram nas minhas gravações e apresentações ao vivo”, completa.
Foi justamente uma crítica do jornalista e crítico de jazz Luiz M. Gonzales, publicada no jornal La Opiníon de Los Angeles e batizada de “Jazz con sabor Carioca”, que fez o pianista pensar em gravar JAZZ CARIOCA. “Nos Estados Unidos, muitos críticos sempre comentaram o fato de eu ser carioca e trazer muito do Brasil na minha música. A crítica do La Opinión foi um incentivo e um impulso definitivo para o novo projeto”.
O repertório reúne temas de Ariel e de mestres do jazz, como Thelonious Monk, John Coltrane, Bill Evans, Charlie Parker. “A seleção foi acontecendo naturalmente, fui escolhendo e preparando composições de jazz que eu gosto muito. Todos os clássicos que escolhi são temas desafiadores e até uma forma de estudar o instrumento. O Lucas me ajudou dando a palavra final e filtrando as melhores interpretações”, conta. Para definir os temas autorais que fariam parte do CD, Ariel escolheu os que costuma tocar mais em suas apresentações, gravadas em outros projetos.
JAZZ CARIOCA é, acima de tudo, a celebração de um “estilo” que Marcos Ariel e seu piano traduzem perfeitamente. “Na minha procura de encontrar uma forma original de tocar clássicos do Jazz, o meu lado de carioca de Botafogo, que começou a carreira nos anos 70 tocando chorinho, falou mais alto. Com a pulsação do choro e o balanço do samba, trabalho na mão esquerda a parte da harmonia do ritmo e do baixo, enquanto a direita apresenta o tema e improvisa. Assim é tocar jazz com sabor carioca. Assim é o JAZZ CARIOCA”, define o mentor dessa mistura musical saborosa, que agora pode ser apreciada em porções generosas.

Tracks:
1-Blue Monk (Thelonious Monk); 2-Ana Maria (Wayne Shorter)

3-Músico no Parque (Marcos Ariel); 4-Giant Steps ( John Coltrane)
5-Falling Grace (Gary Burton); 6-Invitation (Bronislau Kaper)
7-Donna Lee (Charlie Parker); 8-Round Midnight ( Thelonious Monk)
9- Ponteio da Manhã ( Marcos Ariel); 10-Valsa para Alice (Marcos Ariel)
11-Journey to Recife (Bill Evans)


Benjamim Taubkin

A Pequena Loja da Rua 57 - Piano Solo



By Radio Cultura Brasil
Em novembro de 2007, Benjamim Taubkin frequentou o Fazioli Piano Salon at Klavierhaus, em Nova York. Convidado para gravação de um álbum, por três dias, chegava ao estúdio às seis da tarde e, durante horas, registrava temas de sua autoria. Sozinho, o músico apertava o botão do equipamento e atacava o teclado de um Fazioli, instrumento de origem italiana que muito agradou o pianista.
“A pequena loja da rua 57” é produto daquelas sessões em que Benjamim tocou composições antigas e temas surgidos ao sabor da improvisação no momento da gravação. Nas11 faixas do CD, Taubkin também dá sua interpretação a títulos de Tom Jobim, Pixinguinha e John Coltrane.
No TodaMúsica, Benjamim Taubkin sublinha sua identificação com Jacob do Bandolim; confessa que levou tempo para sentir-se apto para apresentações de piano-solo e queixa-se da má qualidade dos instrumentos que é obrigado a tocar em diversos locais para os quais é convidado.
O TodaMúsica com o CD “A pequena loja da rua 57” toca “Meu outono em NY”, “O morro não tem vez”, “Proezas de Solón”, “Pro Frank”, “O coração e o rio” e “Em torno da Influência”, tema inspirado em “Influência do jazz”, clássico de Carlos Lyra.
O bônus traz trechos da entrevista não incluídos na edição final do programa. Nele, Taubkin lembra o início da carreira de pianista e comenta seu aprendizado no instrumento iniciado tardiamente, aos 18 anos.

Personnel:
Produzido por Jim Luce e Richard Zirinsky
Produtores Executivos Richard Zirinsky e Benjamim Taubkin
Gravado 1-bit/ 5.6 MHz por Benjamim Taubkin e Jim Luce no Fazioli Piano Salon at Klavierhaus, 211 West 58th Street, New York, em novembro de 2007
Gravado em um Korg mr-1000, Sennheiser mkh-800 microphones E Grace Lunatec microphone preamp
Mixado por Jim Luce no Piano Culture Studios, Easton, Pennsylvania, utilizando Sonic Solutions Soundblade software
Masterizado por Alberto Ranelucci em Fevereiro de 2010 em São Paulo, Brasil
Design gráfico: Teresa Maita
Desenho da capa: Denis Duarte
Foto: Benjamim Taubkin


Mraz & Viklický
Duo Art - Together Again



By Ian Patterson

In European jazz the assimilation of folkloric influences has become commonplace as the American vernacular—or more specifically the Great American Songbook—exerts less of a hold. Czech musicians pianist Emil Viklický and bassist George Mraz's collaborations on Morava (Fantasy/Milestone 2001)—with drummer Billy Hart and singer Zuzana Lapcikova—and Moravian Gems (Cube-Métier 2007) with singer/violinist Iva Bittova and drummer Laco Tropp—explored the beauty of Moravian folk music in a jazz context. ACT Music's Siggi Loch was so captivated that he has made it his mission to bring the music to a wider audience. Thus, Together Again sees Viklický and Mraz revisit the tunes from the two aforementioned recordings in an intimate duo setting.
Together Again is undoubtedly a jazz recording, and little wonder, as both musicians have spent decades delving into the standards repertoire. Mraz made his name with pianists Oscar Peterson
and Tommy Flanagan and in the Thad Jones/Mel Lewis
Orchestra. Viklický has led his own small ensembles, including a jazz-funk quartet with guitarist Bill Frisell
in 1979. However, Moravian folk has been ever-present in the pianist's music since his debut V Holomóci městě (Supraphon 1978). Viklický has also composed a significant number of classical works and it's these threads—the swing and blues of jazz, Moravian traditional melodies, and classical sensibilities—that largely define the music.
Five Viklický originals and his arrangements of six traditional tunes might suggest that this is a Viklický leader session in all but name. Still, Mraz's deeply sonorous tone and vibrant playing is as fundamental to the chemistry as bassist Georg Riedel's was to pianist Jan Johansson
playing on Jazz Pa Svenska, (Megafon, 1964) perhaps the most outstanding example of traditional European folk music given the jazz treatment to this day. Viklický and Graz's light steps on two traditional tunes, the vignette "Dear Lover" and the quietly compelling "U Dunaja u Prešpurka" come closest to the chamber intimacy of that Johansson/Riedel recording,
Viklický imbues 19th century Czech classical composer Zdeněk Fibich's romantic "Poem," with a gentle bluesy lyricism, which Mraz replicates in an extended solo. Fibich was a contemporary of Antonín Dvořák, Gustav Mahler and Leoš Janáček, the latter of whom is something of a muse for Viklický. Two of Janáček's compositions are arranged afresh by the pianist; "Theme From 5th Part of Sinfonietta" flows with a slightly stately melodicism, while the blues-based "Thank You, Laca" is more romantic at its core. Both tunes highlight the duo's intuitive interplay and the loose-limbed freedom in their improvisations.
The blues number "A Bird Flew By" shifts subtly through the gears, moving between reflective melancholy and a more buoyant mood. "I Saw Grey Pidgeon" [sic] is a traditional tune given the blues treatment in a straight-forward yet appealing arrangement. More compelling is the harmonically arresting and rhythmically dynamic, "Austerlitz"—one of Viklický's most strikingly original compositions. The soulful "Moon Sleeping In The Cradle," the lightly stated classicism of "Up On A Fir Tree" and the delightful, elegant blues of "In Holomóc Town"—with fine arco work from Mraz—round out the set.
Together Again is an enchanting recording of subtle charms and a fine addition to ACT's growing Duo Art series. Doubtless for some it will serve as a reminder of Mraz's exquisite playing and for many more as a tardy introduction to Viklický—one of Europe's most significant and yet unheralded jazz pianists/composers.
Track Listing: 

Dear Lover; Poem; Theme From 5th Part of Sinfonietta; A Bird Flew By; U Dunaja u Prešpurka; Austerlitz; Moon, Sleeping In A Cradle; Thank You, Laca; Up On A Fir Tree; I Saw Grey Pidgeon; In Holomóc Town.
Personnel: Emil Viklický: piano; George Mraz: acoustic bass.

Old Jazz CD's 2014 - Part Four - The Duke Ellington Session

Joe Henderson

Lush Life: The Music Of Billy Strayhorn



By Scott Yanow
With the release of this CD, the executives at Verve and their marketing staff proved that yes, indeed, jazz can sell. The veteran tenor Joe Henderson has had a distinctive sound and style of his own ever since he first entered the jazz major leagues yet he has spent long periods in relative obscurity before reaching his current status as a jazz superstar. As for the music on his "comeback" disc, it does deserve all of the hype. Henderson performs ten of Billy Strayhorn's most enduring compositions in a variety of settings ranging from a full quintet with trumpeter Wynton Marsalis and duets with pianist Stephen Scott, bassist Christian McBride, and drummer Gregory Hutchinson to an unaccompanied solo exploration of "Lush Life." This memorable outing succeeded both artistically and commercially and is highly recommended.

Ellis Marsalis

Duke In Blue



By Andrew Bartlett
Despite his prodigious talents on piano, Ellis Marsalis has been largely content to remain in his hometown of New Orleans, raising sons who would go on to win wide acclaim in the jazz world. And with albums like Duke in Blue to his credit, Marsalis ought to be content, as this is easily among the most fulfilling nods to Ellington in his centennial year. The playing is neither reserved nor sporty, relying on color and a slowed pace to demonstrate how well Ellington built his works from behind the keyboard. "Come Sunday" gets the most sublime reading, and "The Mooche" gets the broadest, brightest jump, opening the session. In between, there's "Squatty Roo" with its finger-jumping complexity and "Reflections in D" to quietly indulge a melancholic strain that runs throughout Duke in Blue. Maybe Marsalis's vision of Ellington is suffused with the blues, not just their structure but their philosophic, on-the-run underpinnings. After all, Marsalis chose to remain somewhat local in the Crescent City, deepening his family's legacy for sure. And Ellington? Well, he barely came off the road for home leave in all his decades of touring. In any event, Marsalis sounds experienced and wise throughout his Ellingtonian forays, ever comfortable and carefully creative.

Dave Grusin

Homage To Duke



By CDUniverse
"Mood Indigo" won the 1994 Grammy Award for "Arrangement on an Instrumental." Although Dave Grusin is best known as a soundtrack composer and for his jazz-pop recordings, he has always had a great admiration for jazz. This CD (released in a fairly deluxe package) gave Grusin an opportunity to pay tribute to Duke Ellington. He performs ten mostly familiar songs associated with Ellington and wisely features fluegelhornist Clark Terry on five of the selections. Other prominent soloists include tenor saxophonist Pete Christlieb, trombonist George Bohanon, tenor saxophonist Tom Scott (returning to his roots), clarinetist Eddie Daniels (on an orchestrated version of "Mood Indigo"), and pianist Grusin himself. This is a respectful and well-conceived tribute. ~ Scott Yanow Recorded at Sunset Sound, Los Angeles, California. Includes liner notes by Leonard Feather and Dave Grusin. Personnel: Dave Grusin (piano); Clark Terry (vocals, trumpet, flugelhorn); Steve Kujala (flute, alto flute); Ronnie Lang (flute); Eddie Daniels (clarinet); John Lowe (bass clarinet); John Clark (oboe, English horn); Pete Christlieb, Tom Scott (tenor saxophone); David Duke , Brian O'Connor , Richard Todd (French horn); George Bohannon (trombone); Tommy Johnson (tuba); Harvey Mason, Sr. (drums). Audio Mixer: Don Murray . Recording information: Sunset Sound Studios, Los Angeles, CA. Photographers: William Gottlieb; Chuck Stewart. Unknown Contributor Roles: Clark Terry; O'Connor. Arranger: Dave Grusin. Personnel: Dave Grusin (piano); Clark Terry (vocals, trumpet, flugelhorn); Tom Scott, Pete Christlieb (tenor saxophone); Rick Todd, David Duke, Brian O'Connor (French horn); George Bohanon (trombone); Tommy Johnson (tuba); Steve Kujala (flute, alto flute); Ronnie Lang (flute); Eddie Daniels (clarinet); John Lowe (bass clarinet); John Clark (oboe, English horn); John Patitucci, Brian Bromberg (bass); Harvey Mason (drums).

Duke Ellington & John Coltrane

By Nathan
...and these two legends of their own time done amassed it all into this one 35-minute recording. A collaboration like this is, well, basically, the stuff dreams are made of. And this is the cool and calculated nightclub album that all the newly-open ears to jazz are looking for. When you take Duke Ellington, possibly the single most important figure in jazz history, give him a set list of his own classic standards, then have him handling all the piano parts and such, then place him alongside one of the most popular and rule-changing jazz ensembles of the day, the John Coltrane Quartet, headed by the inimitable Coltrane saxophone, as well as having Ellington's own bassist Aaron Bell and drummer Sam Woodyard sit in on the sessions. Ohhh, baby, you done mixed a drink that's gonna make everybody in the bar smile. These recordings are just purely respectful to the original compositions and masterfully-performed. When you hear John take on an old 1940s Ellington standard like 'In a Sentimental Mood', all them World War II veterans that were gettin' on in their years must've been proud of the young saxophonist. But, as most others have mentioned, absolutely nothing tops the interpretation of Billy Strayhorn's 'My Little Brown Book'. It will just absolutely move you to tears. It's cool, it's sophisticated, it'll make you sweat and the build-up and movement of the lines Coltrane plays go down perfectly. Even more perfectly when coupled with some cognac. This is just not something any jazz fan or Coltrane completist or Ellington historian, or whatever you are, should be without. I rank it among my Top 5 favorite jazz recordings, truth be told. So that right there should be enough to peak your curiosity.


Don Sebesky

Joyful Noise: A Tribute to Duke Ellington



By Michael G. Nastos
The orchestration skills of Don Sebesky are known far and wide through jazz and non-jazz circles. As an arranger he has no peer, but tackling the music of Duke Ellington in this centennial year of Ellington's birth is a daunting task. Sebesky proves up to the challenge, turning a few of Ellington's tempos 180 degrees, lavishly building on well-established melodies, adding some flourishes of his own, and composing an Ellingtonian suite as a 100th birthday present. Sebesky assembled a 23-piece band with such prominent soloists as bassist Ron Carter, trombonist Bob Brookmeyer, saxophonist Phil Woods and trumpeter Tom Harrell. They further fortify Ellington's heightened emotional aesthetic and vegetable-soup-like delicious music. Never taking a safe path, Sebesky pumps up the midnight slow ballad "Mood Indigo" into a mid-tempo swing waltz, John Pizzarelli's guitar so what backtalking with the horns. A loping bass from Carter turns into a cowboy "Creole Love Call" with able solos from Woods and Harrell. The classic ballad "Chelsea Bridge" and "Take the Coltrane" are both fairly up swingers, the former with cleverly staggered phrases in the melody contrasting with the shouting horns, the latter where Sebesky uses upper register horns to state the basic, simple theme that was Coltrane's sound on this tune originally done by Trane and Duke. "Caravan" and "Satin Doll" are more typical rhythmically, Sebesky dropping orchestral layer upon layer on the camel's back for "Caravan," while the face of "Doll" is shadowed in thick rouge by Carter's bass way up in the mix, his lines running contrary to the band playing this well-known melody, lipstick traces provided by Woods, mascara dripping via Pizzarelli's coyish scatting and guitar licks. "Warm Valley" is as expansive a ballad as you'd expect from Sebesky; it's an organ of sheer beauty. The nineteen-plus-minute "Joyful Noise Suite" runs thorough a quoted and paraphrased melánge of Ellington catch phrases, starting with a bah-bah-doo-bop theme, merging into slinky, spooky gossamer crescendos and decrescendos, ending in a wild, hard-charging frenzy, the passages named "Gladly-Sadly-Madly." The band swings out on a euphonium led "Koko." Of all the tributes to Ellington, this is the best, a magnum opus to the maestro from a man and his band who are well aware of his grandeur, plus how to play all the right notes. Highly recommended. 

Michel Petrucciani

Promenade With Duke



By Dave Nathan
In an interview, Michel Petrucciani said "...my biggest inspiration is Duke Ellington, because in my very early age he gave [me] the inspiration to play the piano." For Promenade with Duke Petrucciani not only honors music Ellington composed, but music with which he was associated. There are some Billy Strayhorn pieces and other songs where Ellington's compositional contributions are arguably marginal. That the album offers an adventure in harmony is predicted by the first cut, "Caravan." Stretching over seven minutes in length, it explores, in-depth, virtually every nuance of this 1936 hit which Ellington wrote with trombonist Juan Tizol. Bold approaches to harmonies notwithstanding, Petrucciani does not desert his basic let-it-all-hang-out romanticism which he celebrates on "Lush Life." He emphasizes feelings of sentimentality in his rendition of "In a Sentimental Mood." His interpretation is brooding and introspective, but every now and then some bright chords hold out the hope that the somber climate may be passing. Petrucciani is a master at clarifying the mood he is trying to create with his piano. Not all the music on the album is familiar Ellington, as shown in the presence of two rarely performed pieces, "Hidden Joy" and "One Night in the Hotel." It is on the well-known "Take the 'A' Train," however, that Petrucciani expresses best the joy he experiences with Ellington's music and the influence it has had on him. His is a rousing, twisting rendition of the Duke's signature tune. Promenade with Duke is one of the more innovative and stimulating sets of solo piano performances of Ellington's music on disc.