domingo, 2 de outubro de 2022

Best of Jazz House Grooves


Jazz-House is more of a way to identify artists caught between the polar extremes of mainstream house/techno and ambient/intelligent electronic music. Larry Heard, the first great house producer, was also the first to layer his productions with jazz-based chords and atmospheres.

Electronic » House » Jazz-House


The fusion of house rhythms and jazz atmospheres is a difficult style to pin down, most likely because so many artists have been influenced by jazz that it undoubtedly colors every house production ever put on wax. Also, the methods of Jazz-House producers vary widely, from simply translating the atmosphere in an electronic setting (Swayzak, Herbert, Kevin Yost, Jazzanova) to attempting a synthesis of electronics with jazz soloing (Innerzone Orchestra, St. Germain, Spacetime Continuum, As One). Jazz-House is more of a way to identify artists caught between the polar extremes of mainstream house/techno and ambient/intelligent electronic music. Larry Heard, the first great house producer, was also the first to layer his productions with jazz-based chords and atmospheres. Thanks in part to his continuing influence, dozens of producers began looking back to jazz heroes like Miles Davis, Herbie Hancock, and Lonnie Liston Smith for inspiration. Perhaps the epitome of jazz-house's emphasis on a global-village community is Nuphonic Records, a British label home to productions by New Yorkers (Blaze, Ten City, Joe Claussell), Chicagoans (Free Chicago Movement, Roy Davis, Jr.), and a Japanese act (Natural Calamity) as well as several Brits (Black Jazz Chronicles, Faze Action, Soul Ascendants, Idjut Boys).


Best of Jazz House Grooves 

Laura van der Heijden / Tom Poster piano - Live at Wigmore Hall

A varied programme from Laura van der Heijden, the British cellist who won BBC Young Musician of the Year ten years ago and who released her first solo CD earlier this year. She will be performing with British pianist Tom Poster.


 

Laura van der Heijden
Tom Poster
Live at Wigmore Hall



Laura van der Heijden cello
Tom Poster piano



PROGRAMME Élisabeth Jacquet de la Guerre (1665-1729) Violin Sonata No. 1 in D minor Errollyn Wallen (b.1958) Dervish Sergey Rachmaninov (1873-1943) Vocalise Op. 34 No. 14 George Walker (1922-2018)

sábado, 1 de outubro de 2022

Coyote - Home Sessions #88

Coyote 

com Pedro Costa, RTP Antena 3

No trilho entre outros com Cass McCombs,Dawes,Josh Rouse e Wilco.

 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.

Photo - Jean-François Jonvelle



Bobby Hutcherson - San Francisco


San Francisco Review

 

by Steve Huey

  [-]

Bobby Hutcherson's late-'60s partnership with tenor saxophonist Harold Land always produced soulful results, but not until San Francisco did that translate into a literal flirtation with funk and rock. After watching several advanced post-bop sessions gather dust in the vaults, Hutcherson decided to experiment with his sound a bit, but San Francisco still doesn't wind up the commercial jazz-funk extravaganza that purists might fear. Instead, Hutcherson and Land stake out a warm and engaging middle ground between muscular funk and Coltrane-style modality; in other words, they have their cake and eat it too. Joined by pianist/keyboardist Joe Sample (also of the Jazz Crusaders), acoustic/electric bassist John Williams, and drummer Mickey Roker, Hutcherson and Land cook up a series of spacious, breezy grooves that sound unlike any other record in the vibist's discography (even his more commercial fusion sessions). The selections -- all group-member originals -- often skirt the edges of fusion, but rarely play it as expected; they might float some spare tradeoffs over a loping, heavy bass groove, throw in an oboe solo by Land, or -- as on the slowest piece -- keep time only with intermittently spaced piano chords. It's all done with enough imagination and harmonic sophistication to achieve the rare feat of holding appeal for traditional jazz and rare-groove fans alike. It's a shame Hutcherson didn't explore this direction more, because San Francisco is not only one of his best albums, but also one of his most appealing and accessible.


Bobby Hutcherson
San Francisco       


All compositions by Bobby Hutcherson except as indicated
  1. "Goin' Down South" (Sample) - 7:10
  2. "Prints Tie" - 7:29
  3. "Jazz" (Sample) - 5:26
  4. "Ummh" - 7:49
  5. "Procession" - 5:46
  6. "A Night in Barcelona" (Land) - 7:23  





San Francisco is an album by jazz vibraphonist Bobby Hutcherson and saxophonist Harold Land, released on the Blue Note label in May 1971.[4] The album features a shift away from the usual hard bop-post-bop style pursued previously by Hutcherson and Land, and shifts towards jazz fusion.     Wikipedia

sexta-feira, 30 de setembro de 2022

DeepMe - Live @ Melodic Techno & Progressive House



DeepMe - Live @
Melodic Techno & Progressive House
from Los Angeles, California

Stan Getz: East Of The Sun / The West Coast Sessions Vol. II

East of the Sun: The West Coast Sessions Review

 

by Jack Rabid

 
 [-]

The mainstream came to know this remarkable tenor sax player via bossa nova -- his unforgettable, breathy solo on "The Girl from Ipanema" propelled the song to number five in 1964 and to continued popularity to this very day, every bit as much as Astrud Gilberto's equally stunning, spare voice. But Stan Getz's involvement in this populist '60s craze actually displeased many a serious jazz enthusiast who'd admired his work in that field for more than two decades. After all, this 17-time winner of the Down Beat poll for top tenor saxophonist had already staked out a remarkable reputation, playing in the bands of such vaunted names as Stan KentonJimmy DorseyBenny Goodman, and Woody Herman from 1944-1949, and then leading his own bands thereafter. This three-CD box, then, finds Getz in top form as a jazz soloist and bandleader. Recorded, as so much jazz was, in various off-the-cuff sessions from 1955-1957 -- although this box culls from different LPs such as West Coast JazzStan Getz and the Cool Sounds, and The Steamer -- it still all fits together as one long, languid, bop-to-bluesy session. Fusion beckoned to many a talent of the time, but Getz nicely held his ground, insisting that long, wide-stretching solos always serve a well-grounded song, be it a composition by George and Ira GershwinMiles DavisJimmy Van Heusen, or himself. With an almost unparalleled sense of time and space, Getz fills it in no particular hurry, and his piano, trumpet, bass, and drums likewise seem inclined to be tasteful rather than showoff-ish virtuosity. The slow, quiet-afternoon melancholic stuff, such as "A Handful of Stars," are the real favorites. Like "Girl from Ipanema," these allow Getz to blow like the gentle lull before a storm or, as original pianist Lou Levy writes in the notes here 40 years later, like "a sound of an angel." But the man is a master of all the styles presented, and an overriding cool, calm, pleasant air nicely defines these spontaneous yet well-organized sessions. This box is a fitting legacy and a thorough overview of an inspired period in his prolific career (37 CDs and counting by Getz are available on Verve).    AllMusic


Stan Getz
East Of The Sun
The West Coast Sessions Vol. II

01. A Handful of Stars 00:00 02. Love Is Here to Stay (take 1) 05:59 03. Love Is Here to Stay (take 2) 09:45 04. Serenade in Blue 13:15 05. Blues for Mary Jane 17:25 06. There Will Never Be Another You 26:19 07. You're Blasé 36:33 08. Too Close for Comfort 40:46 09. Like Someone in Love 47:42 10. How About You? (take 1) 55:08 11. How About You? (take 2 partial) 01:02:17 12. How About You? (take 3 master) 01:03:45 Tenor Saxophone – Stan Getz Bass – Leroy Vinnegar Piano – Lou Levy Drums – Shelly Manne (tracks 1 to 4), Stan Levey (tracks: 5 to 12) Recorded August 9, 15, and 19, 1955; November 24, 1956; and August 2, 1957.

BIMHUIS TV Presents: Martin Fondse Voice Orchestra feat Trygve Seim

BIMHUIS COMPOSITION ASSIGNMENT
Dutch National Composer presents new work in the context of the BIMHUIS Composition Assignment, featuring his tentet and star saxophonist Trygve Seim. Martin Fondse piano/vibrandoneon/ composition, Eric van der Westen double bass, Romain Bly French horn, Miguel Boelens alto sax, Trygve Seim tenor sax/sopranino Vox Sturnus Margriet Sjoerdsma vocals/guitar/piano, Sanne Huijbregts vocals/kalimba/chimes, Anne Marie Roel Messerschmidt vocals/percussion, Thora Sveinsdottir vocals/alto violin, Maaike van der Linde vocals/flute/bass flute, Annie Tångberg vocals/cello The third BIMHUIS Composition Assignment has been awarded to Martin Fondse, following Ben van Gelder (2019) and Tineke Postma (2021). Together with his tentet and the lauded Norwegian saxophonist Trygve Seim, Martin Fondse will present new music from his suite Card Games. In this suite, he uses the card game as a metaphor for life. It consists of five parts: heart, diamonds, clubs, spades, and joker. Each part has its unique character, personality and meaning. Martin Fondse has earned recognition for his colorful contribution to the Dutch music scene. As a pianist he has been leading his own ensembles since the 1990s. As a composer and arranger he has collaborated with many big bands, orchestras, and international superstars such as Pat Metheny, George Duke, and Cristina Branco. From January 2022 onwards, Martin Fondse will be the Dutch National Composer for two years. He’s the fourth composer in this position. His ambition is to connect all layers of society through music.



BIMHUIS TV Presents:
Martin Fondse Voice Orchestra
feat
Trygve Seim

quinta-feira, 29 de setembro de 2022

70's Soul Groove




70's Soul Groove 


- Barry White, James Brown, Billy Paul, Bill Withers...

Oscar Peterson Trio | Last Call at The Blue Note

Last Call Review

 

by Scott Yanow

The third of four Telarc CDs to be released from an Oscar Peterson reunion engagement at New York's Blue Note club matches together the great pianist with guitarist Herb Ellis, bassist Ray Brown, and drummer Bobby Durham. Although the veterans did not rehearse together beforehand, the repertoire is quite fresh, with five standards being balanced by five Peterson originals, including "Bach's Blues," "Wheatland," and "Blues Etude." The performance is as strong as one would expect, although the inclusion of Durham's drums makes the music less exciting and risky than the late-'50s trio recordings. It's worth picking up, as are the other Oscar Peterson Telarc releases from this now legendary engagement.   AllMusic



Oscar Peterson Trio
Last Call at The Blue Note       


  1. "Jim" (Caesar Petrillo, Milton Samuels, Nelson Shawn) – 7:02
  2. "Yours Is My Heart Alone" (Ludwig Herzer [de]Franz LehárBeda Fritz Loehner) – 11:38
  3. Medley:"It Never Entered My Mind"/"Body and Soul" (Lorenz HartRichard Rodgers)/(Frank EytonJohnny GreenEdward HeymanRobert Sour) – 9:12
  4. "Wheatland" (Oscar Peterson) – 8:48
  5. Medley: "Our Waltz"/"Adagio"/"Bach's Blues" (David Rose)/(Peterson)/(Peterson) – 9:54
  6. "March Past" (Peterson) – 7:22
  7. "Blues Etude" (Peterson) – 7:22




Last Call at the Blue Note is a 1990 live album by Oscar Peterson; it is the third CD of the Telarc 4-CD set.[3] The performance includes three of Oscar Peterson's famous originals: "Blues Etude", "March Past" and "Wheatland".