quinta-feira, 17 de agosto de 2017

Júlio Resende ‎| Amália Por Júlio Resende


1. Fado Português 
2. Vou Dar De Beber À Dor 
3. Tudo Isto É Fado 
4. Foi Deus 
5. Estranha Forma De Vida 
6. Uma Casa Portuguesa 
7. Barco Negro 
8. Gaivota 
9. Ai Mouraria 
10. Amêndoa Amarga 
11. Medo (Feat. Amália Rodrigues)

Copyright: Edições Valentim De Carvalho 2013

John Scofield | Quiet And Loud Jazz

When I first got into jazz — around 1969, I came from playing R&B and Soul in High School. Jazz Rock was in its infancy stage and I was lucky enough to be around to experience the Golden Age of both Rock and Soul and see Jazz embrace that movement while I was trying to learn how to play straightahead Jazz. A lot of my early chances to actually gig were in various Jazz/Rock idioms. I got to play “real” jazz with Gary Burton and Gerry Mulligan but my real first “big time” gig was with the Billy Cobham/George Duke band. We got to play in gigantic concert halls and rock venues for excited people who were not necessarily jazz aficionados, but loved the music.
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"When we started to play, I did kind of get chills from the songs ." - John Scofield

Almost exactly 30 years ago, guitarist John Scofield recorded an album he evocatively titled Loud Jazz. Not quite a decade later, he made one called Quiet. Both albums were statements of intent, widely embraced and justly acclaimed. And despite the obvious differences between the two, both were genuine expressions of Scofield's musical personality, which has always been more flexible than those extreme dynamic markings would seem to suggest.

Jazz Night In America caught up with Scofield this past spring, just before he played a concert called "Quiet And Loud Jazz" in Jazz at Lincoln Center's Appel Room. The idea was to both acknowledge and bridge the distance between the two disparate albums, which might have been more difficult were it not for Scofield's sly consistency. "It's not like other famous jazz musicians, where their style changes, you know, decade to decade," says Jim Beard, the veteran keyboardist on hand for the Loud Jazz half of the concert. "He sounds very similar to what he sounded like, you know, 30 years ago. I don't think he sounds that different. And it's just such a strong personal style that that's amazing."

John Scofield (electric guitar)
Joe Lovano (tenor saxophone and flute)
Charles Pillow (flute and horn)
Michael Rodriguez (trumpet and flugelhorn)
Roger Rosenberg (baritone saxophone and bass clarinet)
Jeffrey Scott (french horn)
John Clarke (french horn)
Larry Grenadier (bass)
Bill Stewart (drums)

Jim Beard (keyboard)
Gary Granger (bass)
Dennis Chambers (drums)

2:54 - "Door #3"
9:00 - "Hold That Thought"
15:40 - "Tulle"
20:51 - "Rolf and the Gang"

31:25 - "Dance Me Home"
39:00 - "Loud Jazz"
47:18 - "So You Say"
52:48 - "Trim"

domingo, 13 de agosto de 2017

Gene Ammons | Funky

The saxman who advanced the cause of bebop as the king of the “Chicago school” and was a major soul-jazz influence. 
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AllMusic Review by 

The Gene Ammons all-star jam session recordings of the 1950's are all quite enjoyable and this one is no exception. The great tenor is matched with trumpeter Art Farmer, altoist Jackie McLean, guitarist Kenny Burrell, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor for lengthy versions of "Stella By Starlight," the Burrell blues "Funky" and a pair of numbers by arranger Jimmy Mundy. All of the horns plus Burrell and Waldron get ample solo space and Ammons seems to really inspire his sidemen on these soulful bop jams.

Gene Ammons, tenor saxophone
Jackie McLean, alto saxophone
Art Farmer, trumpet
Mal Waldron, piano
Kenny Burrell, guitar
Doug Watkins, bass
Art Taylor, drums 

01 - Funky - 0:00
02 - Pint Size - 8:59
03 - Stella By Starlight - 21:23 
04 - King Size - 30:21

Bill Coleman ‎| From Boogie To Funk

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's… 
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AllMusic Review by 

From Boogie to Funk finds the somewhat undercelebrated swing trumpeter Bill Coleman at a late period in his career, nailing down this set of blues in Paris with a fine group in 1960. The set begins wonderfully with an extended journey through a 16-minute two-part piece entitled "From Boogie to Funk," with the first part subtitled "The Blues" and the second titled "The Boogie." The subtitles prove fitting as Coleman indeed picks up the pace a bit for the second part, and from there the album never really slows down much. It's this swinging feel that propels the later pieces -- "Bill, Budd and Butter," "Afromotive in Blue," "Colemanonlogy," and "Have Blues, Will Play 'Em" -- which were all composed by Coleman, as were the two parts of "From Boogie to Funk." Overall, this set never hits a lull and proves delightful throughout, making one wish Coleman would have recorded a few more sessions such as this while in Paris. Joining him here are Budd Johnson (tenor sax), Les Spann (guitar), Patti Bown (piano), Quentin Jackson (trombone), Buddy Catlett (bass), and Joe Harris (drums).

Bill Coleman
From Boogie To Funk  

Saxophone Budd Johnson
Trombone Quentin Jackson
Trumpet Bill Coleman 
Contrabass Buddy Catlett
Drums Joe Harris 
Guitar Les Spann
Piano Patti Bown

1 From Boogie To Funk, Part 1: The Blues 11:37
2 From Boogie To Funk, Part 2: The Boogie 4:34
3 Bill, Budd And Butter 9:42
4 Afromotive In Blue 6:30
5 Colemanology 5:11
6 Have Blues, Will Play'em 9:46

Recorded - January 21 and 22, 1960 - Paris

Maria De Medeiros ‎| Penínsulas & Continentes

Maria de Medeiros is a Portuguese actress, director, and singer who has been involved in both European and American film productions. She is best known for playing Fabienne in Quentin Tarantino’s 1994 film Pulp Fiction.
In 2007, Medeiros released an album, A Little More Blue, in which she performs songs by Brazilian musicians, including Chico Buarque, Caetano Veloso, Ivan Lins and Dolores Duran. On the album, she sings in Portuguese, French (“Joana Francesa” by Buarque), and English (“A Little More Blue” by Veloso).
On 23 February 2010 her second recording was released, Peninsulas & Continentes.  uguru


1. La Dolce Vita 
2. Não Vás Contar Que Mudei A Fechadura 
3. O Homem Voltou 
4. Muxima 
5. Quem À Janela 
6. A Jazmín
7. Epigrama 
8. Speak Softly Love (II Padrino) 
9. Tudo Por Acaso 
10. Paz, Poeta E Pombas 
11. Che Scherzi Fa L'Amore 
12. Velha Chica 
13. Te Recuerdo Amanda 
14. Coro Da Primavera 
15. Aixi Com Cell Qui Es Veu Prop De La Mort

Copyright: Universal Music 2010

Session At Midnight | Jazz Reunion At Melrose

AllMusic Review by   [-]

Two full LPs of Harry "Sweets" Edison and Charlie ShaversSession at Midnight and Session at Riverside are reissued in full on this single CD, here titled Complete at Midnight/At Riverside Sessions. Both of the sets are in the tradition of the Buck Clayton Jam Sessions with fairly basic chord changes, riffing behind soloists, and the lineups being populated by colorful swing veterans. The main difference from the Clayton jams is that the performances are briefer, clocking in mostly between five and six minutes. However there is ample solo space for all of the key players, sometimes including as many as eight horn players and the pianist on a single track. A bit unusual is that "Blue Lou" features trumpet solos and trade-offs by Harry "Sweets" EdisonShorty Sherock and Benny Carter (switching from alto), along with alto trade-offs between CarterMurray McEachern (who doubles on valve trombone) and Willie Smith. In general, all of the musicians play at least as well as one would expect, and one gets a rare opportunity to hear trumpeter Shorty Sherock, clarinetist Gus Bivona and tenor saxophonist Babe Russin in this type of mid-'50s all-star group. The results are fun, often infectious, and filled with spirited playing.
Alto Saxophone – Benny Carter, Murray McEachern (# B1), Willie Smith (2)
Trumpet – Benny Carter (# A2, B1), Harry "Sweets" Edison*, Shorty Sherock
Bass – Mike Rubin
Clarinet – Gus Bivona
Drums – Irv Cottler
Guitar – Al Hendrickson
Piano – Jimmy Rowles
Tenor Saxophone – Babe Russin, Plas Johnson
Trombone – Murray McEachern

A1 Moten Swing 
A2 Making The Scene 
A3 Sweet Georgia Brown 
B1 Blue Lou 
B2 Stompin' At The Savoy 
B2 Session At Midnight

Recorded 1955

Capitol Melrose Studio

sábado, 12 de agosto de 2017

Larry Carlton Quartet | Vitoria-Gasteiz 2017

Larry Carlton's own musical story began in Southern California. He picked up his first guitar when he was only six years old. He was introduced to jazz in junior high school after hearing The Gerald Wilson Big Band album, Moment of Truth, with guitarist Joe Pass. Larry then became interested in Barney Kessel, Wes Montgornery and the legendary blues guitarist B.B. King. Saxophonist John Coltrane was also a major influence on Carlton, beginning with Coltrane's 1962 classic Ballads.
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Larry Carlton Quartet
41 Festival de Jazz de Vitoria-Gasteiz
Spain, July 12th, 2017

Larry Carlton guitar
Claus Fischer bass
Wolfgang Dahlheimer keyboards
Hardy Fischötter drums

01. The Lords Prayer
02. Goodbye
03. West Coast
04. My Mama Told Me So
05. Friday Night Shuffle
06. Oui Oui Si
07. March of the Jazz Angels
08. Minute by Minute
09. Sunrise
10. Burnable
11. Josie

Patti Austin | For Ella | Vitoria-Gasteiz 2017

Grammy-winning singer, as well as an indispensable session vocalist whose diverse career goes back to the mid-'60s. 
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AllMusic Review by   [-]

Patti Austin is well qualified to record an album in the style of Ella Fitzgerald, having spent her career shadowing the paths taken by Fitzgerald and her contemporaries. Although she has worked in R&B-oriented adult pop much of the time, she is clearly in the tradition of Fitzgerald, and in 1988 she even recorded an album of standards that she tellingly titled The Real MeFor Ella easily could be the sequel to that collection. Austin traveled to Köln, Germany, to record a program of songs associated with Fitzgerald with the WDR Big Band conducted by Patrick Williams. Many of the songs, of course, are just ones Fitzgerald happened to sing but that have broader associations as well, such as George & Ira Gershwin's "Our Love Is Here to Stay" and "The Man I Love," though others, such as "A Tisket a Tasket," inevitably evoke FitzgeraldAustin does not, for the most part, attempt to sing in Fitzgerald's style, giving listeners her own interpretations that, in Williams' neo-swing arrangements, nevertheless hark back to the 1950s. That's fine for the most part, though the version of "Miss Otis Regrets," which treats it as a gospel performance in the manner of Mahalia Jackson, without the slightest touch of humor, is a misstep. On two occasions, Austin does copy Fitzgerald, re-creating the scat sections of "You'll Have to Swing It (Mr. Paganini)" and "How High the Moon." That obviates the problem of having to compete with Fitzgerald on her greatest improvisational triumphs, but it's a technical achievement of an odd sort. Austin is better off putting her own stamp on the songs; that she does very well.
Patti Austin
 "For Ella
Tribute to Ella Fitzgerald
41 Festival de Jazz de Vitoria-Gasteiz

Spain, July 14th, 2017

Patti Austin - vocals
Olaf Polziehn - piano
Christian von Kaphengst - bass
Peter Lübke - drums

01. Too Close for Comfort
02. Honeysuckle Rose
03. You'll Have To Swing It (Mr. Paganini)
04. Our Love Is Here to Stay
05. A Tisket, A Tasket
06. Miss Otis Regrets
07. Hard Hearted Hanna (The Vamp Of Savannah)
08. But Nor for Me
09. Satin Doll
10. The Man I Love
11. How High the Moon
- Encore:
12. Hearing Ella Sing

Mixtape Funky Jazz

Jazz-funk is a subgenre of jazz music characterized by a strong back beat (groove), electrified sounds[1] and an early prevalence of analog synthesizers. The integration of funk, soul, and R&B music and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs, and jazz solos, and sometimes soul vocals.[2]
Jazz-funk is primarily an American genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club-circuit in England during the mid-1970s. Similar genres include soul jazz and jazz fusion, but neither entirely overlap with jazz-funk. Notably jazz-funk is less vocal, more arranged and featured more improvisation than soul jazz, and retains a strong feel of groove and R&B versus some of the jazz fusion production. wikipedia


01. Brian Culbertson - Funkin’ Like My Father 00:00
02. Fred Wesley & The J.B.’s - Watermelon Man 05:15
03. Grant Green - California Green 08:43
04. Ledisi - Runnin’ 15:07
05. Jimmy Smith - The Cat 17:25
06. Patti Austin - Rock Steady 20:46
07. Donald Byrd - Witch Hunt 25:27
08. Roy Ayers - The Fuzz 35:09
09. Eddie Henderson - The Kumquat Kids 39:19
10. Roy Ayers - Ebony Blaze 43:50
11. Brother Jack Mcduff - Flat Backin’ 47:50
12. James Brown - Everyday 1 Have The Blues 58:13
13. The Three Sounds - Repeat After Me 01:02:39
14. Donald Byrd - You And Music 01:09:21
15. Chet Baker - Love For Sale 01:14:42