Cada um de nós nasce com um artista lá dentro.
Um poeta, um escultor, um aventureiro...
um cientista, um pintor, um arqueólogo, um estilista, um astronauta, um cantor, um marinheiro.
E o sonho e a distância, e o tempo e a saudade deram-nos vida, amor, problemas, mentiras e verdade; e damos por nós mesmos descobrindo que agora, se calhar, já é um pouco tarde.
E nas memórias velhas e secretas da menina morou sempre aquele sonho de um dia ser...
bailarina, actriz, modelo, princesa, muito rica; eu sei lá!
Mas os anos correram num assombro, e a vida foi injusta em qualquer jeito para a chama indelével que ainda arde.
E os filhos são bonitos no seu peito.
Pois é...
mas agora...
agora já é tarde.
E nos papéis antigos que rasgamos há sempre meia dúzia que guardamos.
São os planos da conquista do Pólo Norte que fizemos aos sete anos, escondidos no sótão uma tarde, e estiveram perdidos trinta anos.
E agora, se calhar, maldita sorte!
Por desnorte, acaso ou esquecimento, alguém já descobriu o Pólo Norte e agora...
agora pronto, agora já é tarde.
Há sempre nas gavetas escritores secretos, cientistas e doutores, desenhos e projectos construtores feitos em meninos de tudo o que sonhámos fazer quando fosse a nossa vez!
Cientistas em busca de Plutão, arqueólogos no Egipto, viajantes sempre sem destino, futebolistas de sucesso no Inter de Milão.
E o curso da vida foi traidor, e o curso da vida foi cobarde, e o ciclo do tempo completou-se, e agora...
e agora pronto, paciência, agora já é tarde...
Agora é tarde.
Emprego, casa, filhos muito queridos, algum sonhar ainda com amigos, às vezes sair, beber uns copos p'ra esquecer ou p'ra lembrar, e fazer ainda um certo alarde, talvez para esconder ou para abafar, como é já tão demasiado e tão impiedosamente tarde...
Não...
mas não, não; nunca é tarde para sonhar!
Amanhã partimos todos para Istambul, Vladivostock, Alasca, Oslo, Dakar!
Vamos à selva a Timor abraçar aquela gente e às montras de Amsterdam (que eu afinal também não sou diferente).
Chegando a Tóquio são horas de jantar, depois temos de voltar a Bombaim, passando por Macau e Calcutá, que eu encontro Portugal em todo o lado e mesmo fugindo nunca saio de mim.
E se esse marinheiro, galã, aventureiro, esse, que já não há, pois que me saiba cumprir com coerência, nos limites decentes da demência, nos limites dementes da decência; e cumpramo-nos todos, já agora, até ao fim, no que fazemos, na diferença do que formos e dissermos!
E perguntando, criando rebeldias, conferindo aquilo que acreditamos e que ainda formos capazes de sonhar!
E se aquilo, aquilo que nos dão todos os dias não for coisa que se cheire ou nos deslumbre, que pelo menos nunca abdiquemos de pensar com direito à ironia, ao sonho, ao ser diferente.
E será talvez uma forma inteligente de, afinal, nunca...
nunca, nunca ser tarde demais para viver, nunca ser tarde demais para perceber, nunca ser tarde demais para exigir, nunca ser tarde demais para ACORDAR.
Com esta fotografia,que mudou a minha vida,fica aqui a minha homenagem,ao grande Herói de Abril...Obrigado Salgueiro Maia. Faz hoje quatro anos que publiquei esta fotografia, que tem uma história... eles pediram para ser fotografados com o Salgueiro Maia, eu disse que sim... mas, tinha que ser um beijo, eles responderam, OK. Como curiosidade, ficam aqui as dimensões 12m x 07m (grandita) https://www.facebook.com/alfredo.cunha.1291
Joe Diorio has long been a major musician, both as a soloing guitarist and as an educator. He has recorded extensively for the Italian Ram label, so Stateside, put out by his own private company, is his fist American release in some time. Teamed with bassist Bob Magnusson and drummer Jim Plank, Dioriostretches out on eight familiar standards. Although some listeners may feel that there is little new to be played on such tunes as "Alone Together," "Darn That Dream," and "I Thought About You," the trio's close interplay and the guitarist's adventurous musical personality frequently push the songs into fresh areas. The melodies are always kept in mind even as Diorio comes up with interesting new ideas. It is also quite instructive to hear how the three musicians frequently think as one, reacting instantly to any changes in direction and making the results sound logical and quite natural.
Joe DiorioStateside Joe Diorio - g Bob Magnusson - b Jim Plank - dr Recorded at the Sound Kitchen, San Diego, California September 3, 2000
1 Alone Together (Dietz, Schwartz) 0:00 2 Days of Wine and Roses (Mancini, Mercer) 7:43 3 Darn That Dream (DeLange, VanHeusen) 15:40 4 Corcovado (Jobim) 21:53 5 You and the Night and the Music (Dietz, Schwartz) 28:32 6 Beautiful Love (Gillespie, King, VanAlstyne) 35:02 7 I Thought About You (Mercer, VanHeusen ) 39:16 8 A Child Is Born (Jones) 46:57
Jim Hall and Bill Frisell are two great modern jazz guitarists who display disparate styles that mesh together beautifully on this double-CD set of duets and quartet recordings. As much as the acoustically oriented but amplified approach ofHallis a classic sound influential to all mainstream jazz guitarists, he is extremely open to new directions, particularly on an improvisational level.Frisellis one of those many disciples, but his utilization of effects and loops is a realmHalllikely would not explore on his own. Yet somehow the common ground these two find is remarkably attractive, brilliantly conceived, and well executed by any criteria. The duo sessions, recorded here and there over a six-month period, also have deep roots in old-school concepts, as it was produced atTony Scherr's home studio on an eight-track analog 12" reel-to-reel machine. The free pieces signify new beginnings for both guitarists, asFrisell's one-note electric pluckings during "Throughout" buoyHall's improvisations in a composition that was played once, then recorded inversely with a pulse.
A thematic virtual bassline on the lengthy "Migration" is identified by Frisell's backward spacy loops in another reverse psychology idea. A chatty conversational "Bimini" exemplifies Frisell's desire to provide a sonic backdrop for Hall to offer the sparse and lean lines he is renowned for. They do Milt Jackson's "Bags Groove" straight forward, mostly acoustic with no effects, tackle Bob Dylan's "Masters of War" led byFrisell's signature chiming chords, play Hall's famous "All Across the City" completely peacefully, and offer a composed bluesy tribute to their wives on "Monica Jane." Adding bassist Scott Colley and drummer Joey Baron for the second CD, the program is half-standards, including the shuffle beat modal bass underscored "I'll Remember April," and a bright, thoroughly made up extrapolation on "My Funny Valentine" provided by the genius of Hall and Frisell's plucky tones urging Hall back to rhythm guitar. A tribute to the great Count Basie guitarist on "Owed to Freddie Green" illuminates one of Hall's biggest influences, as he takes the choppy swinging role of rhythm beyond conventional while Frisell counters, and they both dig deep into the bop bag during the Sonny Rollins standard "Sonnymoon for Two," employing Thelonious Monk like off minor angularities. They do explore the dark side on "Hear & Now," a macabre underground improvisation, and evoke a futuristic train motif during "Barbaro" as the rhythm section eggs on both guitarists. Colley is completely in his element backing yet another group of masterful musicians, while Baron prefers brushes to stick work, shading and embellishing the music, never pushing or prodding. This is one of the Artist Share projects thankfully inspired and funded by fans, and as Hall has collaborated with several other fellow plectrists through the years, this hopefully is not a one shot with Frisell, for it is far from a one-note effort. If you are a guitar maven, this will rank high on your must have list.
CD1:
1. Throughout; 2. All Across the City; 3. Bag's Groove; 4. Migration; 5. Family; 6. Waiting to Dance; 7. Bimini; 8. Masters of War; 9. Beijing Blues; 10. Monica Jane.
CD2:
I'll Remember April; Barbaro; Chelsea Bridge; Owed to Freddie; Beija Flor; Here and Now; My Funny Valentine; Card Tricks; In a Sentimental Mood; Sonnymoon for Two.
Recorded in November 1995, saxophonist Archie Shepp's Blue Ballads is a counterpart to True Balladsand Something to Live For, which date from the same period. All three albums feature pianist John Hicks, bassist George Mraz, and drummer Idris Muhammad. These intimate studies in shared introspection, along with Black Ballads and True Blue, document Shepp's astute exploration of the ballad form during the 1990s. On Blue BalladsShepp mingled time-honored standards such as Rodgers & Hart's "Little Girl Blue," Arthur Schwartz's "Alone Together," and Vincent Youmans' "More Than You Know" with the Miles Davis-Bill Evans masterpiece "Blue in Green" and "Blue and Sentimental," which had served as the feature number for Count Basie's star tenor saxophonist Herschel Evans some 60 years earlier. Once again and in all the best ways, Shepp shines in parallel with his contemporary Pharoah Sanders. Both are skilled balladeers as well as free spirits who simply cannot be bottled or pigeonholed.
Archie Shepp Blue Ballads Piano – John Hicks Bass – George Mraz Drums – Idris Muhammad Tenor Saxophone, Soprano Saxophone, Vocals – Archie Shepp 1. Little Girl Blue (L. Hart - R. Rodgers) 2. More Than You Know (B.Rose, E. Eliscu, V. Youmans) 3. Blue In Green (B. Evans, M. Davis) 4. Blue And Sentimental (C. Basie) 5. Cry Me A River (A. Hamilton) 6. If I Should Lose You (L. Robin, R. Rainger) 7. Alone Together ( A. Schwartz - H. Dietz)
Versatile and inventive guitarist who skirts the edge of fusion and rock while remaining true to jazz. Read Full Biography
John Abercrombie Structures 2006
Bass – Eddie Gomez Drums – Gene Jackson Guitar – John Abercrombie
1. Jazz Folk 9:29 2. The Touch Of Your Lips 4:35 3. Moon And Sand 5:26 4. Walter Pigeon 5:17 5. Everything I Love 6:39 6. Embraceable You 6:05 7. 3 For Three 6:13 8. Turn Out The Stars 5:28 9. Missing You 4:45 10. How Deep Is The Ocean 5:47
Producer Carol Kaye's original intention for this recording was for use as an instructional tape, but its value to fans of the late guitar wizard Joe Pass is minimal. The release is plagued with a lot of inferior songs, dull 1970s jazz-pop arrangements, and way too many musicians (especially electric bassist Kaye) who weren't worthy of sharing a studio with Pass. In spite of the presence of Ray Brown and J.J. Johnson, plus songs like Jimmy Rowles' "After School" and Horace Silver's "The Preacher," it is clear that Pass had many better days in his long, productive career as a jazz musician.
Joe Pass Better Days 1971 Guitar – Joe Pass Piano – Joe Sample Double Bass, Electric Bass – Ray Brown Electric Bass – Carol Kaye (tracks: 1, 5, 7, 8) Drums – Earl Palmer, Paul Humphrey (tracks: 1, 2, 5, 6) Congas – Milt Holland Tenor Saxophone, Flute – Tom Scott Trombone – J.J. Johnson Trumpet, Flugelhorn – Conte Candoli Arranged By – J.J. Johnson (tracks: 1, 2, 5), Steve Huffsteter (tracks: B3, B4), Tom Scott (tracks: 3, 6)
1. Better Days (J.J. Johnson) 2. Free Sample (Joe Sample) 3. After School (Jimmy Rowles) 4. Balloons (Ralph Pena) 5. Burning Spear (Richard Evans) 6. Head Start (Tom Scott) 7. It's Too Late (Carole King, Toni Stern) 8. Gotcha! (Steve Huffsteter) 9. Alison (Joe Pass) 10. We'll Be Together Again (Carl Fischer, Frankie Laine)
Norwegian trumpeter/multi-instrumentalist Mathias Eick is a thoughtful, ambient-leaning jazz musician. Born in 1979, Eick has performed with a variety of name players and is a member of the Trondheim… Read Full Biography
Multi-instrumentalist Omar Sosa was born on April 10, 1965, in Camaguey, Cuba. At the age of five, Sosa began studying music at the Escuela Provincial de Musica in Camaguey, which led to his intense study… Read Full Biography
Omar Sosa Eggun, The Afri-Lectric Experience Omar Sosa - Piano Joo Kraus - trumpet Leandro Saint-Hill - alto saxophone and flute Peter Apfelbaum - tenor saxophone Marque Gilmore - drums Childo Tomas- electric bass Lionel Loueke -guitars Marvin Sewell - guitars Pedro Martinez - Afro-Cuban percussion John Santos - percussion Gustavo Ovalles - Afro-Venezuelan percussion
1. S'Inguldu 2. Inverno Grigio 3. No Trance 4. Alma 5. Angustia 6. Crepuscolo 7. Moon On The Sky 8. Old D Blues 9. Medley Part I: Niños 10. Medley Part II: Nenia 11. Under African Skies 12. Rimanere Grande!
Blue Camel is the pinnacle to date of Lebanese oud player Rabih Abou-Khalil's achievement as a jazzman. In both mood and scope, it can almost be characterized as a new Kind of Blue. Both tense and reflective, it is perfect for listening after midnight. Abou-Khalil brings back Charlie Mariano on alto sax andKenny Wheeler on flügelhorn and trumpet, and they generally alternate solos with Abou-Khalil himself. Rounding out the roster is Steve Swallow on bass, Milton Cardona on congos, Nabil Khaiat on frame drums, and Ramesh Shotham on South Indian drums and percussion. They form a tight ensemble and play comfortably with each other. The album opens with "Sahara," which contains both one of Abou-Khalil's tunes, a mesmerizing melody that could be either Arabic or jazz, and one of Abou-Khalil's best solos, a well-defined interlude that delightfully features the unique timbre of the oud. "Tsarka" begins with a fast break on the oud that turns out to be one of the two motifs on which everything is built. After it is elaborated for a few bars, the oud comes back with another building block. Then we get some stunning improvisations, especially from Abou-Khalil. "Ziriab" opens with a trumpet solo in which Kenny Wheeler tests the compass of his instrument, backed up with some atmospheric sounds from the udu drum; then Abou-Khalilenters with another great tune for everyone to build on. The title track is nothing but fun. Seductive percussion ushers in Wheeler and Mariano playing in unison for a tune that is somewhere between Duke Ellington and the court of Baghdad. As the percussion bubbles along, Milton Cardona's congos adding a Latin flavor to the proceedings, Abou-Khalil steps up with a very fast and rhythmic, if not very tuneful, solo. Midway through the track, Mariano blisters the paint with a screeching sax workout that bridges the Arabic and the Latin, while remaining all the while pure jazz. Even Steve Swallow gets a chance to feature his bass after which the ensemble brings it together and takes it home. Some of the other tracks are not as good as the ones mentioned above, but they are all listenable and very atmospheric. The aptly named "A Night in the Mountains" is a slow, thoughtful walk, perfect for silent contemplation. The album ends with "Beirut," named for the Lebanese city torn by civil war from which Abou-Khalil had to flee many years ago. The track begins with a quiet oud solo and then builds to something more chaotic and striving. Blue Camelmay not be a perfect album, but it demonstrates better than any other that a fusion between jazz and a musical form from another culture is possible and can work to the advantage of both. Plus, it's just great listening.
Rabih Abou Khalil
Blue Camel Alto Saxophone – Charlie "Sir Charles" Mariano Bass – Steve "Dr. Zvalov" Swallow Congas – Milton Cardona Frame Drums – Nabil Khaiat Drums [South Indian], Percussion – Ramesh Shotham Flugelhorn, Trumpet – Kenny Wheeler Oud, Producer, Composer, Artwork – Rabih Abou-Khalil 1. Sahara 2. Tsarka 3. Ziriab 4. Blue Camel 5. On Time 6. A Night In The Mountains 7. Rabou-Abou-Kabou 8. Beirut
Tenor saxophonist Archie Shepp, who was one of the enfant terribles of the free jazz generation in the 1960s, once said, seemingly uncharacteristically, "You can hear every minute of every hour of every day of every year a player puts into practicing his horn when he plays a ballad." He was being prophetic, of course, as this date from 1992 suggests. Teamed with pianist Horace Parlan -- with whom he recorded the magnificent duet of spirituals Goin' Home -- bassist Wayne Dockery, and drummer Steve McCraven,Shepp leads the quartet through an astonishing series of ballads that are as revelatory for their understatement as they are for their musical aplomb. Shepp takes the Ben Webster approach on these 11 sides and comes off as a singer of songs (he is not singing) rather than as a saxophone player. His readings of "Angel Eyes," "All Too Soon," and "Smoke Gets in Your Eyes," and his souled-out cover of "Georgia on My Mind," are stunning for the restraint and nuance they contain. Parlan's comping slips toward fills of uncommon texture and dimensionality in the bridges of these tunes, and on Shepp's own "I Know About the Life," he reinvents the tune itself. The high point of this glorious record is Shepp's own "Déjà Vu," as it comes out of an uncommonly long "Lush Life," where the lyric of both compositions becomes a kind of recitation on the blues in stretched time. Issued on the Timeless label, this is a must-have for all Shepp fans, but more importantly, it is for all followers of the development in harmonic thinking about the ballad form in jazz.
Archie Shepp Black Ballads Piano – Horace Parlan Tenor Saxophone, Alto Saxophone – Archie Shepp Bass – Wayne Dockery Drums – Steve McRaven
1. Do You Know What It Means To Miss New Orleans? 2. I Know About The Life 3. Georgia On My Mind 4. Embraceable You 5. Smoke Gets In Your Eyes 6. How Deep Is The Ocean 7. Lush Life 8. Déjà Vu 9. Angel Eyes 10. All Too Soon 11. Ain't Misbehavin'
