12 de abril de 2014 § Deja un comentario
YELLOWJACKETS… mi grupo favorito en activo, de jazz fusion: Rusell Ferrante, Jimmy Haslip, Bob Mintzer y Marcus Baylor. Fueron originalmente banda del guitarrista Robben Ford (Ferrante y Haslip) y comenzaron su andadura con un trabajo así titulado y unos músicos tremendos: Ricky Lawson, Lenny Castro, Paulino Da Costa, Bobby Lyle, Jerry Hey, Ernie Watts y Robben Ford por supuesto! Después siempre bien acompañados por saxos de altura aunq sin integración en el ADN del grupo hasta la llegada de Bob Mintzer… su música me acompaña en todos mi viajes en automóvil y activa diferentes modelos de recuerdo entrañable. Espero con anhelo y curiosidad adolescente su nuevo disco igual q lo hago con John Scofield, Brad Melhdau, Joshua Redman, Paolo Fresu o Richard Galliano.
Yellowjackets son buenos.. y más buenos en directo, en las distancias cortas donde se reconoce a los grandes. Me gusta muy especialmente su disco “Live Wires” (William Kennedy a la batería) grabado at The Roxy, Los Angeles, CA los días 15 y 16N del ’91… con Michael Franks, Take 6, Brenda Russell & Marilyn Scott, Paulino Da Costa, Steve Croes y Vince Mendoza. Otro discazo del mismo año con Mintzer como invitado fue “Greenhouse“… con una orquesta de 27 miembros detrás y acompañados por Alex Acuña, Steve Croes, Bill Bable, Judd Miller y Stuart Conin. Muy recomendado!
The Yellowjackets made a splash with their first record, an accessible mixture of jazz, rock, and funk bearing the unmistakable mark of the L.A. session scene that spawned them. In fact, The Yellowjackets had their roots in the sessions for Robben Ford‘s 1979 album The Inside Story. Russell Ferrante, Jimmy Haslip, and Ricky Lawson all appeared on that album and reenlisted Ford‘s help for their own debut, with the guitarist’s fluid soloing often taking the lead role. As fun an album as it is — and there are times when the melodies rise to a joyful exuberance that recallsWeather Report‘s “Birdland” — Yellowjackets isn’t a true fusion record. Ricky Lawson provides rock beats to the material, Haslip‘s bass work is as funky as it is jazzy, and the arrangements tend to stick with the same groove (as ingratiating as they may be) rather than explore the musical themes like an esoteric jazz band might. The opening “Matinee Idol” is as much the Jackson 5 (one of Lawson‘s previous gigs) as fusion, “Rush Hour” is jazzy in a Steely Dan sense, while “Sittin’ in It” actually borrows from the old funk classic “For the Love of Money.” There are some nice, chunky grooves that give the album a sense of substance (“The Hornet,” “Imperial Strut”), a wistful track in “It’s Almost Gone,” and a neat melody tucked into “Priscilla,” all of which contribute to the album’s charm. But compared to their GRP recordings, The Yellowjackets‘ debut does seem a little one-dimensional. If you enjoy the smooth, guitar-led jazz from this period (e.g., Earl Klugh, Lee Ritenour), Yellowjackets is worth checking out, both for the upbeat melodies and Ford‘s seemingly effortless solos (all music.com).
Although sometimes grouped with Spyro Gyra, Yellowjackets are actually one of the most creative regular groups in the “rhythm & jazz” genre. Founded in 1981 as an R&B-oriented band that starred guitarist Robben Ford, the group took a giant step forward when, after Ford‘s departure, altoist Marc Russo took his place. With original members Russell Ferrante on keyboards and electric bassist Jimmy Haslip, in addition to drummer William Kennedy, the band found its own R&B-ish sound, sometimes playing original compositions that sounded like Joe Zawinul at his most melodic. Starting out on Warner Bros. in the early ’80s, Yellowjackets moved to MCA/GRP in 1986, where they released a string of well-received albums. In the ’90s, Russochose to go out on his own, and his replacement, Bob Mintzer (on tenor and bass clarinet), added more jazz credibility to the group’s music. They moved back to Warner Bros. in 1995 for several albums before moving to the Heads Up label for the live two-CD set Mint Jam in 2002. Their first studio album in five years, Time Squared, was released in 2003. Three years later, the band celebrated its 25th anniversary as an ensemble with the release of the live album Twenty Five. The studio album Lifecycle followed in 2008. In 2011, the band marked its 30th year with the release of Timeline on Mack Avenue. In 2013 the band released A Rise in the Road, their first album to showcase new bassist Felix Pastorius (son of Jaco). Trumpeter Ambrose Akinmusire also guested on three tracks.
… un poco de historia fotográfica
11 de noviembre de 2013 § Deja un comentario
14 de enero de 2013 § Deja un comentario
The Bad Plus. Comenzamos año con grupo, este ya con rigor alfabético… impresionante el impacto q causó en mí este trio con la contundencia de su batería, la agilidad percusiva del piano y su aritmia consentida. Como viene sucediendo descubro nuevos discos de su producción que sumo a mi colección. Destacaré “flim“ LISTEN!
Are the Bad Plus a pop- and rock-influenced jazz trio? Or are they a power trio whose members like to play jazz? It’s really a bit of both. But in the brave new world of postmodern jazz, identity crises are encouraged. Reid Anderson (bass) and David King (drums) grew up in Minnesota, while pianist Ethan Iverson spent his formative years in Wisconsin. Eventually, after crossing paths in such unlikely places as high-school rock showcases and tentative free jazz performances inside Upper Midwestern diners, the three first performed as the Bad Plus in 1990, but they would spend the ’90s embracing separate influences, each musician developing a unique musical language that would gestate into the trio’s iconoclastic jazz template. Anderson released three albums on the Spanish indie Fresh Sound; Iversonwas music director of New York City’s prestigious Mark Morris Dance Group; and King worked with hisHappy Apple combo, as well as 12 Rods.
In August of 2001, the band members put aside their other projects and released The Bad Plus through Fresh Sound. It established that the Bad Plus were unafraid to stray from the confines of jazz, but confident enough in their forays to make them stimulating, and not simply novelties. The debut was a critical success, garnering best-of honors from The New York Times and Chicago Reader, among others. An “official” bootleg followed in 2002, eventually going out of print.
It was a particularly memorable performance at New York’s Village Vanguard that led Columbia Records to sign the Bad Plus; in February of 2003, the label released These Are the Vistas, which was produced by stranger-to-jazz and ex-Latin Playboy Tchad Blake. The album presented original compositions from each musician, as well as a few ringers from the musical world outside the borders of jazz. Their re-imaginations of “Smells Like Teen Spirit” (which Iverson had reportedly never heard before), Blondie’s “Heart of Glass,” and Aphex Twin’s “Flim” caused tails to wag, but it was the Bad Plus’ powerful mixture of personality and performance that really defined them.
the Bad Plus toured throughout spring and summer 2003 in support of their major-label debut. The band’s second album, Give, followed in spring 2004. For 2005’s Suspicious Activity?, the trio produced the album with Tchad Blake at RealWorld Studios in England. PROGfollowed in 2007. In 2009 the Bad Plus teamed up with vocalist Wendy Lewis, adding a new dimension to the sound of their sixth album, For All I Care. The following year they continued to shake things up, releasing Never Stop, the group’s first album of all original material. After extensive touring and other projects, they recorded another collection of all-original material, Made Possible; it was released in September of 2012.
31 de diciembre de 2012 § Deja un comentario
WEATHER REPORT… otra concesión para finalizar 2012, mi grupo favorito. Una revelación que me abrió las puertas de la música de fusión y del jazz en primera persona de la mano de uno de sus fundadores Wayne Shorter. Por otra parte el talante conciliador de estilos y la prioridad que Joe Zawinul concedía a los ritmos étnicos y percusivos me caló en lo más hondo y hasta la fecha nadie ha conseguido superarlo. La contribución de auténticos visionarios como Pastorius al bajo o Bradena a la percusión hicieron de este grupo un fenómeno extravagante e innovador que corre como polvora por el ADN de toda una generación de músicos en la actualidad. Destacaré “birdland“… LISTEN!
Weather Report started out as a jazz equivalent of what the rock world in 1970 was calling a “supergroup.” But unlike most of the rock supergroups, this one not only kept going for a good 15 years, it more than lived up to its billing, practically defining the state of the jazz-rock art throughout almost all of its run. Weather Report also anticipated and contributed to the North American interest in world music rhythms and structures, prodded by keyboardist/co-founder Joe Zawinul. AndWR, like many of jazz’s great long-lived groups, proved to be an incubator for several future leaders who passed in and out of the band in a never-ending series of revolving-door personnel changes. The original members of the band were Zawinul, Wayne Shorter (saxophones), Miroslav Vitous (electric bass), Airto Moreira (percussion) and Alphonse Mouzon (drums), with only Zawinul and (until 1985)Shorter remaining in place throughout the band’s lifespan. Zawinul, Shorter and Moreira all had experience playing in and influencing the studio and live electric bands of Miles Davis — and at first, WRwas a direct extension of Miles’ In a Silent Way/Bitches Brew period, with free-floating collective improvisation and interplay, combining elements of jazz, rock, funk, Latin and other ethnic musics.
With the release of Sweetnighter in 1972, Zawinul’s influence upon the band’s direction began to deepen; the groove became more important, structures were imposed upon the material (though the group continued its freewheeling interplay in live gigs). When the innovative bassist Jaco Pastorius replaced Alphonso Johnson in 1976, WR entered its most popular phase, with Pastorius becoming a flamboyant third lead voice, Shorter’s sax receding into more epigrammatic form, andZawinul rediscovering his commercial touch and sharpening his electronic sophistication. The best-selling Heavy Weather album (1977) actually served up a hit song that became a jazz standard (“Birdland”), and with the entry of Peter Erskine on drums (1978), the group finally had a stable lineup for awhile.
Contrary to accepted wisdom, the departures of Pastorius and Erskinein 1982 led to a recharging of WR’s batteries; their replacements Victor Bailey (bass), Omar Hakim (drums), Jose Rossy and later, Mino Cinelu(percussion) were more amenable to Zawinul’s deepening inclinations for Third World rhythms, sounds and textures. This edition of WRrattled off three more albums, including the outstanding Procession. But Shorter, who had gradually ceded nearly total artistic control toZawinul, was getting restless; he took a leave of absence in 1985 and later that year, left WR for good. This Is This (1985), in which Erskinereturns and Shorter plays only a limited role, was WR’s swan song.Zawinul would tour in 1986 with a revamped version called Weather Update (a prelude to the keyboardist’s own Zawinul Syndicate), and there was talk in 1996 about Zawinul and Shorter reuniting in the studio for a new edition of WR, but Zawinul later deflated the speculation.
14 de mayo de 2012 § 2 comentarios
ACOUSTIC ALCHEMY… para inaugurar la categoría de GRUPOS me obligo a responder al orden alfabético anunciado. Música contemporánea para adultos, un poco pastelera pero q reconozco me pareció interesante en su etapa con GRP. Fusion suave para despistados con buenas tablas guitarreras de sus fundadores Nick Webb y Greg Carmichael. El trabajo q menciono es resultado de una nueva etapa consecuencia de la pérdida de Webb. Frank Félix, los guitarristas John Parsons y Gilderdale Miles, y el teclista Terry Disley. Buena formación q fue nominada a los Grammy con su siguiente trabajo AArt en 2001. Mas tarde en 2007 Roseland se publicó con motivo de su 30 aniversario. Destacaré el tema “The Beautiful Game”… una especie de reggae sinfónico. LISTEN!
Otros discos de mi colección…