domingo, 18 de novembro de 2018

Horace Silver: Blowin The Blues Away

AllMusic Review by   [-]

Blowin' the Blues Away is one of Horace Silver's all-time Blue Note classics, only upping the ante established on Finger Poppin' for tightly constructed, joyfully infectious hard bop. This album marks the peak of Silver's classic quintet with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Louis Hayes; it's also one of the pianist's strongest sets of original compositions, eclipsed only by Song for My Father and Horace Silver and the Jazz Messengers. The pacing of the album is impeccable, offering up enough different feels and slight variations on Silver's signature style to captivate the listener throughout. Two songs -- the warm, luminous ballad "Peace" and the gospel-based call-and-response swinger "Sister Sadie" -- became oft-covered standards of Silver's repertoire, and the madly cooking title cut wasn't far behind. And they embody what's right with the album in a nutshell -- the up-tempo tunes ("Break City") are among the hardest-swinging Silver had ever cut, and the slower changes of pace ("Melancholy Mood") are superbly lyrical, adding up to one of the best realizations of Silver's aesthetic. Also, two cuts ("Melancholy Mood" and the easy-swinging "The St. Vitus Dance") give Silver a chance to show off his trio chops, and "Baghdad Blues" introduces his taste for exotic, foreign-tinged themes. Through it all, Silver remains continually conscious of the groove, playing off the basic rhythms to create funky new time patterns. The typical high-impact economy of his and the rest of the band's statements is at its uppermost level, and everyone swings with exuberant commitment. In short, Blowin' the Blues Away is one of Silver's finest albums, and it's virtually impossible to dislike.



Blowin' the Blues Away is an album by jazz pianist Horace Silver, released on the Blue Note label in 1959 featuring performances by Silver with Blue MitchellJunior CookGene Taylor, and Louis Hayes.[5]



Track listing 

All compositions by Horace Silver except as indicated
  1. "Blowin' the Blues Away" - 4:44
  2. "The St. Vitus Dance" - 4:09
  3. "Break City" - 4:57
  4. "Peace" - 6:02
  5. "Sister Sadie" - 6:19
  6. "The Baghdad Blues" - 4:52
  7. "Melancholy Mood" - 7:10
  8. "How Did It Happen" (Don Newey) - 4:41 Bonus track on CD
Recorded August 29 (tracks 1, 6), August 30 (#3, 4, 5, 8) & September 13 (#2, 7), 1959.

Personnel 








sábado, 17 de novembro de 2018

Gary Clark Jr.: Paléo Festival 2015



Gary Clark, Jr.

Texas guitarist who combines blues roots with contemporary soul and hip-hop. 
Read Full Biography








Gary Clark Jr
Paléo Festival 2015
Live at Paléo Festival
Nyon, Switzerland
July 23



Set List
1. Bright Lights 2. When My Train Pulls In 3. Cold Blooded 4. Our Love 5. Travis County 6. Numb 7. Next Door Neighbor Blues 8. Catfish Blues 9. Don't Owe You a Thang

Bach: Cantata Gott, man lobet dich in der Stille BWV 120








The only parts that Bach definitely wrote especially for 'Gott, man lobet dich in der Stille', performed by the Netherlands Bach Society for All of Bach, are the recitatives and the final chorale of the piece. Although the opening aria and the ensuing chorus for a large group of musicians to the words ‘Rejoice, you joyful voices’ correspond closely to the text, Bach initially did not compose them for these words. The latter and other remaining parts were borrowed from his earlier pieces.

Recorded for the project All of Bach on March 15th 2014 at St Martin's Church, Groningen. Netherlands Bach Society Jos van Veldhoven, conductor Maria Keohane, soprano Damien Guillon, alto Valerio Contaldo, tenor Lionel Meunier, bass





sexta-feira, 16 de novembro de 2018

Da melancolia ao vigor...


...uma palete de sons e palavras por quem sabe que o mundo real é mais dramático do que a televisão. Um Coyote à deriva nos desertos do éter.


Coyote
com Pedro Costa
RTP Antena 3

Natalia Lafourcade: NPR Music Tiny Desk Concert







Oct. 27, 2017 | Felix Contreras --

Natalia Lafourcade is a successful singer-songwriter whose voice and music live on the edge of pop, but maintain a distinct independence. A few years ago, while Lafourcade was traveling Brazil, she felt a great nostalgia for her native Mexico and its folk music. When she finally returned home, she immediately called some friends for the kind of party that is ubiquitous in Latin America: lots of social drinking, lots of food and lots of guitars and singing. Classic folk songs were on the playlist and a good time was had by all. Someone recorded the informal jam session and Lafourcade's management team heard the tapes. "This is your next record!" they told her. That record, Musas: Un Homenaje al Folclore Latinoamericano en Manos de los Macorinos, Vol. 1, was a commercial and critical hit, and received a Latin Grammy nomination for Album of the Year. It only made sense for Lafourcade to bring her Musas tour to the Tiny Desk. The performances are an ode to a magical time in Mexican popular music, one that is revived with every note this singer and her band perform. One important historical note: The two older gentlemen on the video are Juan Carlos Allende and Miguel Peña, two revered musicians who played with the iconic ranchera singer Chavela Vargas.

Set List "Soledad y el Mar" "Mi Tierra Veracruzana" "Tú Sí Sabes Quererme"

MUSICIANS Natalia Lafourcade (vocals)
Ernesto Anaya (traditional Mexican guitar)
Uriel Herrera (drums)
Jorge Molina (double bass)
Juan Carlos Allende [Los Macorinos] (acoustic guitar)
Bernardo Ruiz (electric guitar)

CREDITS Producers:Felix Contreras, Bronson Arcuri; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Bronson Arcuri, Morgan Noelle Smith, Tsering Bista, Maia Stern; Production Assistant: Jenna Li; Photo: Liam James Doyle/NPR



quinta-feira, 15 de novembro de 2018

Karajan: Beethoven / Symphony No 9









Ludwig Beethoven
Symphony No 9 in D minor, op 125 "Choral"
Herbert von Karajan, conductor
Philharmonia Orchestra
Elisabeth Schwarzkopf, soprano Marga Höffgen, contralto Ernst Haefliger, tenor Otto Edelmann, bass
Chor der Gesellschaft der Musikfreunde Wien
Wien, 24.-29.VI.1955


1. Allegro ma non troppo, un poco maestoso 2. Molto vivace-Presto 3. Adagio molto e cantabile-Andante moderato 4. Presto-Recitativo-Allegro assai-Allegro assai vivace- Alla marcia-Andante maestoso-Allegro energico, sempre ben marcato- Allegro ma non troppo-Prestissimo

Coimbra em Blues / 9ª Edição





Zona Groovy
com Mário Dias
TSF

quarta-feira, 14 de novembro de 2018

Sonny Rollins & Coleman Hawkins: Sonny Meets Hawk!


AllMusic Review by   [-]

Throughout a career that spanned more than 40 years, Coleman Hawkins consistently maintained a progressive attitude, operating at or near the cutting edge of developments in jazz. If Hawk's versatility came in handy when he backed Abbey Lincoln during Max Roach's 1960 We Insist! Freedom Now Suite, he took on an assignment of challenging dimensions when in 1963 he cut an entire album with Sonny Rollins in the company of pianist Paul Bley, bassists Bob Cranshaw and Henry Grimes, and drummer Roy McCurdyColeman Hawkins and Sonny Rollins each virtually defined the tenor saxophone for his respective generation. To hear the two of them interacting freely is a deliciously exciting experience. Hawkins is able to cut loose like never before. Sometimes the two collide, locking horns and wrestling happily without holding back. For this reason one might detect just a whiff of Albert Ayler's good-natured punchiness, particularly in the basement of both horns; such energies were very much in the air during the first half of the 1960s. Rather than comparing this date with the albums Hawkins shared with Ben Webster (1957), Henry "Red" Allen (1957), Pee Wee Russell (1961), or Duke Ellington (1962), one might refer instead to Hawk's wild adventures in Brussels during 1962 (see Stash 538, Dali) or Rollins' recordings from around this time period, particularly his Impulse! East Broadway Run Down album of 1965. Check out how the Hawk interacts with Rollins' drawn-out high-pitched squeaking during the last minute of "Lover Man." On Sonny Meets Hawk!, possibly more than at any other point in his long professional evolution, Hawkins was able to attain heights of unfettered creativity that must have felt bracing, even exhilarating. He obviously relished the opportunity to improvise intuitively in the company of a tenor saxophonist every bit as accomplished, resourceful, and inventive as he was.



Sonny Meets Hawk! is a 1963 album by jazz saxophonist Sonny Rollins, with Coleman Hawkins appearing as guest artist.[4] It was recorded at RCA Victor Studio "B" in New York City on July 15 and 18, 1963. The album features some of Rollins's most avant-garde playing.[5]
The album marks the first time the two saxophonists had entered a recording studio together, although they had appeared on stage together briefly that same year at the Newport Jazz Festival.[6]


Track listing 

  1. "Yesterdays" (Jerome KernOtto Harbach) - 5:13
  2. "All the Things You Are" (Kern, Oscar Hammerstein II) - 9:33
  3. "Summertime" (DuBose HeywardGeorge GershwinIra Gershwin) - 5:58
  4. "Just Friends" (John KlennerSam M. Lewis) - 4:40
  5. "Lover Man (Oh Where Can You Be?)" - (DavisRoger "Ram" Ramirez, James Sherman) - 8:54
  6. "At McKies'" (Rollins) - 7:03


Personnel



Read more




terça-feira, 13 de novembro de 2018

Martha Argerich: Liszt / Piano Concerto No. 1







Liszt: Piano Concerto No. 1
Conductor: Daniel Barenboim Piano: Martha Argerich December 2017 Wiener Philharmoniker Musikverein, Golden Hall



01:00 Allegro maestoso 06:22 Quasi Adagio 10:51 Allegretto vivace (Scherzo) 14:52 Allegro marziale