Paquito “BURN”

11 de febrero de 2017 § Deja un comentario

… vaya pedazo de grabación. Para “gosar” de su tremendo valor compositivo y musical. Gigantesco “a lo Tristano”, con George Coleman, John Hicks, Rufus Reid e Ignacio Berroa. COLUMBIA 1987. Sant Esperit Chapelle (Sierra Calderona)

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I fall in love too easily (ECM 2011)

7 de noviembre de 2016 § Deja un comentario

Chicago 1927. Saxo alto, club mítico neoyorkino, pianista revelación, bajo gigantesco y baterista aclamado. Konitz, Melhdau, Haden y Motian “Live at Birland”.

Demasiado tiempo sin escribir sobre mis músicos coleccionados y un momento ideal para retomar las buenas costumbres, la buena música en directo y los amigos más cercanos. Tal vez sea Konitz uno de esos pocos músicos que han grabado en tantos sellos diferentes y con tal variopinto elenco de artistas… y hoy soplará para nosotros en el Jimmy Glass de VLC.

El Jimmy Glass tiene el honor y el placer de presentar en su sexta edición del festival de otoño a la gran estrella internacional Lee Konitz (Chicago, 1927), una de las grandes leyendas del jazz de las últimas siete décadas, el gran protagonista de la era cool y uno de los más prolíficos y apasionados saxofonistas del jazz que ha dado la historia. El Jimmy Glass ha conseguido traer a este increíble músico a su festival, para lo que le ha preparado un trío acompañante perfecto para la ocasión, compuesto por el gran pianista Albert Sanz, el contrabajista japonés Masa Kamaguchi y el increíble baterista Jordi Rossy, internacionalmente reconocido, miembro del trío de Brad Melhdau durante diez años, colaborador habitual de Wayne Shorter, y al que pudimos ver este mismo año en el Jimmy Glass con su quinteto formado por Mark Turner, Peter Bernstein, Dough Weiss y Al Foster. Lee Konitz está considerado una de las fuerzas impulsoras del cool jazz, aunque el bebop y la vanguardia jazzística también son patrimonio de este increíble arquitecto del jazz moderno. 

… y unas fotografías de Jose Horna, siempre genial como nos tiene acostumbrados. Gracias, gracias!

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Getxo Jazz Festival 2007 Lee Konitz

Getxo Jazz Festival 2007
Lee Konitz

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Destacaré “I fall in love too easily” de su disco para ECM con Brad, Charlie y Paul. LISTEN!

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One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity that has led him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitzgained some attention for his solos with Claude Thornhill & His Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis’ Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano’s innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh’s tenor (their unisons on “Wow” are miraculous) and would have several reunions with both Tristano and Marshthrough the years, but he was also interested in finding his own way; by the early ’50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton & His Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo.

Konitz was primarily a leader from that point on. He almost retired from music in the early ’60s but re-emerged a few years later. His recordings have ranged from cool bop to thoughtful free improvisations, and his Milestone set of Duets(1967) is a classic. In the late ’70s Konitz led a notable nonet and in 1992 he won the prestigious Jazzpar Prize. He kept a busy release schedule throughout the ’90s and dabbled in the world of classical music with 2000’s French Impressionist Music from the Turn of the Twentieth Century. The Mark Masters Ensemble joined him for 2004’s One Day with Lee, and in 2007 he recorded Portology with the Ohad Talmor Big Band. He has recorded on soprano and tenor but has mostly stuck to his distinctive alto. Konitzhas led consistently stimulating sessions for many labels, including Prestige, Dragon, Pacific Jazz, Vogue, Storyville, Atlantic, Verve, Wave, Milestone, MPS, Polydor, Bellaphon, SteepleChase, Sonet, Groove Merchant, Roulette, Progressive, Choice, IAI, Chiaroscuro, Circle, Black Lion, Soul Note, Storyville, Evidence, and Philogy.

allmusic.com

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Voice in the Night (ECM 1999)

29 de mayo de 2016 § Deja un comentario

Sentimiento Lloyd, Charles Lloyd: saxofonista y compositor fecundo y transgresor, pareja de baile de los mejores clásicos de Blues y Jazz siempre ha sido para mi una referencia en el sello ECM aunq ya desde sus primeras grabaciones para Atlantic con Keith Jarret y DeJohnnette mostró sus dotes de sofisticación y señas de identidad muy marcadas y bien reconocibles. La lista de colaboraciones es larga, me quedaré con genios como Michel Petrucciani, John Abercrombie, Brad Mehldau, Zakir Hussain, Jason Moran, Reuben Rogers, Eric Harland, etc. Destacaré “Voice in the Night” del álbum del mismo nombre en formación con Billy Higgins, John Abercrombie y Dave Holland para ECM en el ’99 LISTEN!

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… play al video presentación para su disco con Blue Note después de 30 años, vale la pena verlo!

A continuación un pase de las portadas de los discos que nutren mi colección…

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Saxophonist Charles Lloyd is a forward-thinking musician’s musician whose supreme improvisational talents and interest in cross-pollinating jazz with rock as well as non-Western styles of music during the ’60s and ’70s established him as one of the key figures in the development of fusion and world music. Born in Memphis, Tennessee on March 15, 1938, Lloyd grew up surrounded by the vibrant blues and jazz scenes of his native city. Given a saxophone at age nine, Lloyd eventually studied with Memphis legend pianist Phineas Newborn as well as saxophonist Irvin Reason. By his teens, Lloyd was not only best friends with schoolmate trumpeter Booker Little, but was also gigging locally with such artists as saxophonist George Coleman and future blues icons including Bobby “Blue” Bland, Howlin’ Wolf,B.B. King, and others.

In 1956, Lloyd left Memphis and enrolled at the University of Southern California to study classical music, ultimately earning his master’s degree in music. During this time, he performed around Los Angeles with a veritable who’s who of avant-garde jazz including, among others, saxophonistOrnette Coleman, saxophonist Eric Dolphy, and vibraphonist Bobby Hutcherson. Also during this time, Lloydbecame a working member of Gerald Wilson’s big band. In 1960, Lloyd joined drummer Chico Hamilton’s ensemble as musical director; replacing Dolphy, who had left to play with bassist Charles Mingus. During his time with Hamilton,Lloyd was responsible for writing and arranging much of the music in the band and recorded several albums with Hamilton, including 1962’s Transfusion, 1963’s A Different Kind of Journey, 1963’s A Man from Two Worlds, and 1963’s Passin’ Through.

By the mid-’60s, Lloyd had developed into a highly adept writer/arranger as well as a virtuoso improviser, and regular sojourns to New York City brought him into contact with such luminaries as saxophonist John Coltrane, trumpeter Miles Davis, saxophonist Coleman Hawkins, Mingus, and saxophonist Cannonball Adderley, whose group he joined in 1964. Also during this time, Lloyd began recording as a leader and released several albums, including 1965’sDiscovery! The Charles Lloyd Quartet and 1965’s Of Course, Of Course. Lloyd continued recording as a leader after he left Adderley in 1965 and formed his own quartet, which featured future Miles Davis alum pianist Keith Jarrett, drummer Jack DeJohnette, and bassistCecil McBee. An extremely creative, intuitive, and adventurous ensemble, Lloyd’s quartet released several exceptional albums during this time, including 1966’s Dream Weaver, the 1966 live albumCharles Lloyd in Europe, and 1966’s Love-In.

However, this ensemble’s appearance at the Monterey Pop Festival in 1966, and the subsequent album Forest Flower: Charles Lloyd at Monterey, are what truly caught the public’s attention. An expansive, sophisticated, and genre-bending performance, Forest Flower found Lloyd and his group in peak creative form mixing his long burgeoning interest in Eastern music with modal and avant-garde jazz. The performance was a highlight at the festival and the album was one of the first jazz recordings to sell a million copies, gain heavy radio play, and garner a wide crossover audience during a time when rock was quickly superseding jazz in the popular mind set.
The success at Monterey buoyed Lloyd’s career, and he spent much of the late ’60s sharing billing at such famed rock venues as San Francisco’s Fillmore Auditorium alongside artists like guitarist Jimi Hendrix, Cream, and the Grateful Dead. Such was Lloyd’s popularity that in 1967 he was voted Jazz Artist of the Year by Down Beat and toured Europe, even playing in the U.S.S.R. during a time when the government was discouraging jazz performances. Lloyd’s genre-bending jazz dovetailed perfectly with the free-thinking experimentation of the late ’60s, and although his music was based in acoustic jazz, many artists took notice and went the extra step toward electrifying jazz, most notably Miles Davis, whose 1969 classic Bitches Brew drew upon many of the same rock and world music influences that Lloyd had experimented with.
In the early ’70s, with his career at its peak, Lloyd withdrew from the public eye and moved to Big Sur to focus on his interest in transcendental meditation and embark on what he has described as an inner journey. He remained out of sight until 1981, when he met the talented 18-year-old French pianist Michel Petrucciani. Inspired by Petrucciani’s immense skill, Lloyd toured with the young pianist throughout the early ’80s and released several albums, including the liveMontreux (1982) and 1983’s A Night in Copenhagen. In the late ’80s, Lloyd formed a quartet with Swedish pianist Bobo Stenson and released several albums on ECM, including 1989’s Fish Out of Water, 1991’s Notes from Big Sur, and 1996’s Canto.
His association with ECM continued throughout the next decade, a time of renewed public interest in Lloyd, and he built a steady body of work for the label, including 1999’sVoice in the Night with guitarist John Abercrombie, 2000’sThe Water Is Wide with pianist Brad Mehldau, 2001’sHyperion with Higgins, and 2004’s Which Way Is East. In 2006, Lloyd released the live album Sangam, featuring Indian tabla master Zakir Hussain. Two years later he returned with another live album, Rabo de Nube, this time with pianistJason Moran. In 2010, Lloyd released Mirror, his 13th album for ECM, once again featuring Moran along with bassistReuben Rogers and drummer Eric Harland. The live album Athens Concert, featuring vocalist Maria Farantouri, followed in 2011. Lloyd continued touring for most of 2012. His next studio effort was a duet offering with pianist Jason Moran entitled Hagar’s Song, which was issued in February of 2013. The same year, the saxophonist was commissioned to write and perform a work for Poland’s Jazztopad Festival in Wrocław. The festival also screened Arrows Into Infinity, a documentary that looked atLloyd’s life and career. It was directed by Jeffrey Morse and his life partner, manager, and co-producerDorothy Darr. The film made the festival and theater circuit before being released on disc by ECM in 2014.
After a nearly three-decade tenure with the label, Lloyd re-signed to Blue Note in early 2015. His debut for the label,Wild Man Dance, was commissioned by the Jazztopad Festival two years earlier. His band on the date included pianist Gerald Clayton, bassist Joe Sanders, and drummerGerald Cleaver, with guest appearance from Greek lyra player Sokratis Sinopoulos and Hungarian cimbalom masterMiklós Lukács. Wild Man Dance was released in April.
The saxophonist invited the guitarist to join him on-stage during a concert at UCLA’s Royce Hall. It resulted in a concert tape that Lloyd intended to use as his next Blue Note album. Darr convinced him to re-enter the studio with Frisellinstead. Along with drummer Harland, guitarist Greg Leisz, and bassist Reuben Rogers, they cut a set of traditional and folk tunes, and re-recorded some of Lloyd’s earlier compositions, including “Of Course, Of Course,” which was issued as a pre-release single. There were two guest vocal appearances: Norah Jones assisted on the pop nugget “You Are So Beautiful,” and Willie Nelson lent his voice to a reading of Ed McCurdy’s “Last Night I Had the Strangest Dream.” Attributed to Charles Lloyd & The Marvels, the finished album was titled I Long to See You and was released in early 2015.

Huellas (Cabra Road 2012)

7 de diciembre de 2013 § Deja un comentario

JORGE PARDO… saxo tenor y flauta travesera, flamenco y jazz. Padre absoluto de la fusión entre flamenco y jazz q bebió “a morro” de la fuente de Camarón y ha llevado su arte a lo más alto obteniendo el reconocimiento internacional de todo un colectivo experto y exigente. Comenzó tocando con grandes como Tete Montoliu, Lou Bennett, Pedro Yturralde o Slide Hampton. Después formó el grupo Dolores con el cantante Pedro Ruy Blas para seguir su camino con Paco de Lucía a quien acompañó en buena parte de sus giras mundiales. En 82 graba su primer disco a su nombre Jorge Pardo con Joan Babiloni y Carles Benavent… y así hasta “Huellas” un discazo enorme digno de todos los elogios. A su lado han estado Chano Dominguez, Chic Corea, Marcus Miller, Toninho Horta, Nana Caymmi, Javier Colina, Michael Brecker, Al Di Meola, Peter Erskine, Steve Khan… y tantos otros.

Recuerdo cuando conocí a Jorge, en persona, cenamos juntos en la boda de otro grande de nuestro jazz en España y uno de los guitarristas más innovadores y arriesgados en Europa, Ximo Tebar; buenos amigos q nos hicieron disfrutar de lo lindo en una jam entre amigos, junto a David Pastor, Roque Martínez, Julio Montalvo, Ricardo Belda, Ester Andujar… INOLVIDABLE!

Aquí algunas buenas tomas de Jose Horna

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Discos de mi colección particular…

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Jorge Pardo recibió  el 15 de Enero 2013 en el Théâtre du Châtelet de París el Premio a Mejor músico Europeo de Jazz, por parte de la prestigiosa Academia Francesa de Jazz. 
 
Como cualquier españolito de “a pie”, en esa época y de jovencito, empieza a tocar la guitarra, aunque enseguida se ve atraído por el mundo de los instrumentos de viento. Sus referencias musicales son de infinidad de artistas y diversos estilos, profesionalmente empieza a tocar en los “garitos” de la ciudad. Diego Carrasco, Jean Luc Vallet, Manuel Soler, Peer Wiborys, David Thomas, Ricardo Miralles, Pedro Iturralde, Vlady Bas entre otros son referencias y maestros de su entorno. “Las Grecas”, de la mano de Jhonny Galvao es su primera grabación profesional. En “Dolores” se agrupa en torno a Pedro Ruy Blas con varios músicos de la escena madrileña, se graban 3 LPs y en uno de ellos aparecePaco de Lucia, con el que colabora a traves del tiempo en multiples grabaciones y giras de ámbito mundial. También en la misma época conoce a Camarón, y graba en “La Leyenda del Tiempo” y otras producciones, además en los estudios de flamenco de “Amor de Dios” colabora con toda la nueva generación de artistas “Los jovenes flamencos” que se cuece en la ciudad en esa época. La flauta y el saxo quedan vinculados al mundo del flamenco desde entonces. “Las cigarras son quizá sordas”, “Veloz hacia su sino”, “Diez de Paco”, son algunos de los títulos de su discografía que grabados en los ’90 producidos por su hermano Jesús para Nuevos Medios, también “MIRA” premiado por la academia de la música como mejor Álbum de Jazz junto a A. Soteldo “Musiquita”.

Multitud de proyectos como “Vida en Catedrales” con varias referencias junto a Tomas San Miguel, “Zebra Coast” con Gil Goldstein, “Live in Montreaux” con Nana Caymi y Wagner Tizo, “Ur” con Michaell Bismut, “Jazzpaña” con arreglos de Ariff Mardin y Vince Mendoza. Ya en el nuevo siglo, las grabaciones con “D’3”, su colección de “Vientos Flamencos”, el trio con Carles Benavent y Tino di Geraldo premiado por su “Sin precedentes”, “Desvaríos” con “el Bola” para el sello RTVE, “Touchstone” con Chick Corea, el “homenaje a Miles Davis” en NY,o su reciente proyecto Huellas (2012) y su versión con Big Band Huellas XL estrenado en Etnosur (2013) son espectáculos con los que ha recorrido innumerables festivales, teatros y salas de los cinco continentes a lo largo de más de 30 años de trayectoria profesional.

Hay músicos que son maestros en lo suyo pero se entorpecen ante otras músicas, otros logran mezclar lenguajes con cierta facilidad, pero solo unos pocos son auténticos alquimistas, aquellos que conocen la naturaleza y propiedades de los metales que desean fundir y saben obtener a través de esa alquimia arte puro. (Faustino Nuñez, extraído de la web oficial de Jorge)

Destacaré un tema de su último disco “cometas”. LISTEN!

… y cerramos con la foto-aportación del bueno de Juan Carlos Lledó q lo tuvo muy cerca anoche 6 de diciembre 2013 en el Café Berlín de Madrid y con Javier Colina al bajo. Gracias amigo!

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present tense (Emarcy 2008)

19 de julio de 2013 § Deja un comentario

JAMES CARTER… compositor y absoluto monstruo del saxo q comenzó su andadura con 17 años de la mano de Wynton Marsalis y poco después se incorporó a la banda de Lester Bowie, es capaz de interpretar con maestría lo q sea con una energía indescriptible (si no le ves en directo no lo puedes entender)… un salvaje con buenas maneras, versátil en todas las direcciones del jazz, acercándose con autoridad al blues, al funk a la clásica… soplando sin fin clarinetes, flautas , barítono, soprano y tenor. Tengo “marcados” un par de sus discos por la excelencia de la grabación y por algunos sonidos incomprensibles consecuencia de gestos y posturas en su “tocar” extravagante. Destacaré pour que ma vie demure acompañado por Dwigt Adamas a la trompeta, Eli Fountain congas y percusión y James Genus al bajo. LISTEN!

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Algunas tomas exclusivas de Jose Horna en donde vemos a Carter… bien acompañadoJCarterHPL09_02 XXXIII Festival de Jazz de Vitoria-Gasteiz 2009Dee Dee Bridgewater JCarterVi09_03

Discos de mi colección particular…

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After Wynton Marsalis, no one caused more of an uproar than James Carter did when he appeared on the New York jazz scene from his native Detroit. Carter’s debut recording, JC on the Set, issued in Japan when he was only 23, and in the States a year later in 1993, was universally acclaimed as the finest debut by a saxophonist in decades. Critics lauded his ability to play in virtually any jazz style without appearing to ape anyone. Carter, who began playing at 11 and studied with trumpeter Marcus Belgrave, was a prodigy. He played and toured with Marsalis in 1986 at the age of 17 and became a member of Lester Bowie’s band upon relocating to New York in 1988. Carter issued no less than six recordings under his own name between 1993 and 2000, all of them with different focuses, from a set of standards, Conversin’ with the Elders in 1995, to an electric funk record, Layin’ in the Cut, to a simultaneously released set in tribute to Django Reinhardt, Chasin the Gypsy. Three years later, he honored the legendary Billie Holiday with Gardenias for Lady Day. Jumping ship from Columbia to Warner Bros., Carter’s Live at Baker’s Keyboard Lounge followed in spring 2004. Another live session, Out of Nowhere, was released in 2005 on the independent label Half Note. Carter has continued his whirlwind of activity, playing in sessions and on live settings with theLincoln Center Jazz Orchestra, Cyrus Chestnut, Rodney Whitaker, Frank Lowe, the late Julius Hemphill, pop-jazz singer Madeleine Peyroux, Ronald Shannon Jackson, Tough Young Tenors, and the Charles Mingus Big Band. In 2008, he released Present Tense on Universal Jazz. Carter followed that up a year later with the live album Heaven on Earth, featuring a jazz supergroup including, among others, organist John Medeski and bassist Christian McBride. In 2011, Carter delivered Caribbean Rhapsody, his collaboration with classical composer Roberto Sierra featuring the piece “Concerto for Saxophone and Orchestra.” He also reunited with his Organ Trio (with fellow Detroiters organist Gerard Gibbs and drummer Leonard King, Jr.) for a third album entitled At the Crossroads, which was released by Emarcy and produced by Michael Cuscuna.

http://www.allmusic.com

Further Definitions (impulse 1961)

27 de enero de 2013 § 1 comentario

Benny Carter… El Rey, el viento del jazz! tocaba el saxo alto, la trompeta, el clarinete… compositor, arreglista, director de big band y docente cuando en 1969 fue convencido para este menester por Morroe Berger, un profesor de sociología de la Universidad de Princeton que había hecho una tesis dedicada al jazz… también fue ese priviliegiado que actuó en 1958 con Billy Holiday en el legendario Festival de Jazz de Monterrey. Premio Grammy a la carrera artística en 1987 y Jazz at Lincoln Center Award for Artistic Excellence, su música fue interpretada por la Orquesta de Jazz del Lincoln Center con Wynton Marsalis y Diana Krall. Destacaré su composición “prohibido” por su sabor brasileño q tanto me conmueve. LISTEN!

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To say that Benny Carter had a remarkable and productive career would be an extreme understatement. As an altoist, arranger, composer, bandleader, and occasional trumpeter, Carter was at the top of his field since at least 1928, and in the late ’90s, Carter was as strong an altoist at the age of 90 as he was in 1936 (when he was merely 28). His gradually evolving style did not change much through the decades, but neither did it become at all stale or predictable except in its excellence. Benny Carter was a major figure in every decade of the 20th century since the 1920s, and his consistency and longevity were unprecedented.

Essentially self-taught, Benny Carter started on the trumpet and, after a period on C-melody sax, switched to alto. In 1927, he made his recording debut with Charlie Johnson’s Paradise Ten. The following year, he had his first big band (working at New York’s Arcadia Ballroom) and was contributing arrangements to Fletcher Henderson and even Duke Ellington. Carter was with Henderson during 1930-1931, briefly took over McKinney’s Cotton Pickers, and then went back to leading his own big band (1932-1934). Already at this stage he was considered one of the two top altoists in jazz (along with Johnny Hodges), a skilled arranger and composer (“Blues in My Heart” was an early hit and would be followed by “When Lights Are Low”), and his trumpet playing was excellent; Carter would also record on tenor, clarinet (an instrument he should have played more), and piano, although his rare vocals show that even he was human.

 In 1935, Benny Carter moved to Europe, where in London he was a staff arranger for the BBC dance orchestra (1936-1938); he also recorded in several European countries. Carter’s “Waltzing the Blues” was one of the very first jazz waltzes. He returned to the U.S. in 1938, led a classy but commercially unsuccessful big band (1939-1941), and then headed a sextet. In 1943, he relocated permanently to Los Angeles, appearing in the film Stormy Weather (as a trumpeter with Fats Waller) and getting lucrative work writing for the movie studios. He would lead a big band off and on during the next three years (among his sidemen were J.J. Johnson, Miles Davis, and Max Roach) before giving up on that effort.Carter wrote for the studios for over 50 years, but he continued recording as an altoist (and all-too-rare trumpeter) during the 1940s and ’50s, making a few tours with Jazz at the Philharmonic and participating on some of Norman Granz’s jam-session albums. By the mid-’60s, his writing chores led him to hardly playing alto at all, but he made a full “comeback” by the mid-’70s, and maintained a very busy playing and writing schedule even at his advanced age. Even after the rise of such stylists as Charlie Parker, Cannonball Adderley, Eric Dolphy, Ornette Coleman, and David Sanborn (in addition to their many followers), Benny Carter still ranks near the top of alto players. His concert and recording schedule remained active through the ’90s, slowing only at the end of the millenium. After eight amazing decades of writing and playing, Benny Carter passed away quietly on July 13, 2003 at a Los Angeles hospital. He was 95.

trouble shootin’ (blue note 2007)

22 de diciembre de 2012 § Deja un comentario

STEFANO DI BATTISTA… saxo italiano de primer nivel como demuestra el elenco de músicos involucrados en su proyecto… Elvin Jones, Jacky Terrasson, Russell Malone, Baptiste Trotignon. Destacaré una brillante composición de este nuevo emperador del jazz romano “under her spell” LISTEN!

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Italian saxophonist Stefano di Battista has released a trio of albums as a leader, two of which were never issued in the U.S. The third, a U.S. release in 2000 from Blue Note, is self-titled and mainly features di Battista‘s own compositions. In addition, it includes “Song for Flavia” by Rosario Bonaccorso and a pair of songs by Jacky Terrasson, “Chicago 1987” and “Little Red Ribbon.” Both bassist Bonaccorso and pianist Terrasson appear on the album, accompanied by former Coltrane drummer Elvin Jones and trumpeter Flavio Boltro.

http://www.allmusic.com

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