Smokey Mary (COLUMBIA 2013)

3 de febrero de 2017 § Deja un comentario

We are in Love de Harry Connick, Jr. en formato MiniDisc MAGIA digital… Todo tiene su explicación! Mi equipo musical SONY del histórico PATHFINDER v6 japonés de mi propiedad lee este estupendísimo soporte. Brutal!

Y ahora hablemos de Harry, actor, pianista y auténtico heredero de “La Voz” con un rico y prolífico número de grabaciones. Entró de lleno en el ámbito de la popularidad con su banda sonora de la película de 1989 When Harry Met Sally.  Ese mismo año, grabó dos discos simultáneamente orientados a públicos distintos: We Are in Love, un disco de estándares orientado al ámbito pop; el otro, Lofty’s Roach Souffle, completamente instrumental, orientado al mundo jazzístico. Continuó con su carrera de actor, con un papel protagonista en Copycat (1995) y se casó con la actriz Jill Goodacre.

Destacaré City Beneath The Sea de su disco “Smokey Mary”. LISTEN!

With very few exceptions, the career of Harry Connick, Jr., can be divided in half — his first two albums encompassed straight-ahead New Orleans jazz and stride piano while his later career (which paralleled his rising celebrity status) alternated between more contemporary New Orleans music and pop vocals with a debt to Frank Sinatra. Born in New Orleans on September 11, 1967, Connick grew up the son of two lawyers who owned a record store. After beginning on keyboards at the age of three, he first performed publicly at six and recorded with a local jazz band at ten. Connick attended the New Orleans Center for the Creative Arts and studied with Ellis Marsalis and James Booker. A move to New York to study at Hunter College and the Manhattan School of Music gave him the opportunity to look up a Columbia Records executive who had asked to see him, and Connick’s self-titled album debut — a set of mostly unaccompanied standards — appeared in 1987. Jazz critics praised Connick’s maturity and engaging style as well as his extended stays at New York hot spots during the year. His second album, named for his age in 1988, was the first to feature him on vocals.

Already well known within jazz circles, Connick entered the American consciousness with the soundtrack to 1989’s popular film When Harry Met Sally. Director Rob Reiner had asked Connick to compose a soundtrack, and he recorded several warm standards (“It Had to Be You,” “Let’s Call the Whole Thing Off,” “Don’t Get Around Much Anymore”) with a big-band backing. A world tour followed, and When Harry Met Sally eventually reached double-platinum status. With Connick a major celebrity, he diverged into an acting career, playing a tail gunner in 1990’s Memphis Belle. That same year, he released two albums simultaneously: one, We Are in Love, was another vocal outing with similar standards as had appeared on When Harry Met Sally, while Lofty’s Roach Souffle was all-instrumental. (Of course, the vocal album performed much better in the pop charts, hitting double platinum, while the instrumentals worked better with jazz audiences.) Connick toured again, this time with a big band, and recorded the group on 1991’s Blue Light, Red Light. Though his celebrity decreased slightly during the mid-’90s, Connick’s albums continued to reach platinum status, including 1992’s 25, a 1993 Christmas album, and 1994’s She. Connick continued his acting work with a starring role in 1995’s Copycat (where he played a serial killer), and he married actress Jill Goodacre. In 1996, he had a brief role in the year’s biggest blockbuster, Independence Day, but his album Star Turtle failed to connect with pop audiences. Come by Me, a return to big-band sounds, followed in 1999. In the new millennium, Connick cycled between albums exploring his jazz roots and those with songbook standards.

Interestingly, post-2001 Connick moved between two labels with albums getting released on both Columbia Records and saxophonist Branford Marsalis’ Marsalis Music label. Among these were the big-band album Only You, featuring popular music from the ’50s and ’60s, and the more intimate releases Other Hours: Connick on Piano, Vol. 1 (2003) and Occasion: Connick on Piano, Vol. 2 (2005), which focused on Connick’s instrumental abilities. As well as releasing albums, Connick continued to act, appearing regularly on the television sitcom Will & Grace before it ended in 2006. Ever devoted to his hometown, Connick was also heavily involved in the support and rebuilding of New Orleans post-Hurricane Katrina. In early September 2005, he organized the benefit telethon A Concert for Hurricane Relief on NBC to raise money for and draw attention to the beleaguered residents of New Orleans. Afterward, he worked closely with Habitat for Humanity in helping victims of Katrina. In 2007, Connick once again expressed his deep love for his hometown with the release of his New Orleans tribute album, Oh, My Nola, on Columbia Records. The similarly New Orleans-themed Chanson du Vieux Carré also appeared in 2007. A year later, Connick returned with his third holiday album, What a Night! A Christmas Album. He once again revisited a set of American popular song classics and contemporary pop standards with 2009’s Your Songs. In 2011, as part of WNET’s Great Performances series on PBS, Connick released the live album and DVD In Concert on Broadway. The concert featured Connick backed by his big band and orchestra performing at the Neil Simon Theater in New York City. In 2013, Connick returned with the funk-oriented album Smokey Mary. The album coincided with the 20th anniversary of the Krewe of Orpheus, the Mardi Gras super krewe that Connick co-founded in 1993. Included on the album was the song “Smokey Mary Boogie Woogie Choo Choo Train,” which Connick penned in homage to the krewe’s signature float. Also in 2013, Connick released the eclectic album of all-original songs, Every Man Should Know.

In 2014, Connick signed onto be a judge on the 13th season of American Idol. He stayed with the show through its final season — the one that ran from 2015-2016 — but he made plans to stay on television via a daytime variety show scheduled to appear in the autumn of 2016. While all these plans were being laid, Connick released the poppy album That Would Be Me in the fall of 2015.

allmusic.com

Felicidad y Prosperidad 2017

22 de diciembre de 2016 § Deja un comentario

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LISTEN! Felicidad y Prosperidad 2017

 

Jaco Pastorius… esencia del bajo eléctrico

3 de diciembre de 2016 § Deja un comentario

Sí, esto es un quinteto!

25 de noviembre de 2016 § Deja un comentario

What’s Wrong is Right (HighNote 2012)

21 de noviembre de 2016 § Deja un comentario

Jeremy Pelt, trompetista de jazz. Californiano del 76 e hijo “soplador” de Lee Morgan, pero con sello propio. Un grande de la trompeta actual q tenemos el placer de escuchar esta noche en VLC dentro del VI Festival de Jazz Contemporáneo en el Jimmy Glass Jazz Bar.

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Reconoceré q solo dispongo de un CD suyo “Soul” y destacaré un tema del mismo “What’s Wrong is Right“. LISTEN!

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Trumpeter Jeremy Pelt is a firebrand jazz artist in the tradition of Lee Morgan and Freddie Hubbard. Born on November 4, 1976 in Southern California, Pelt first began playing the trumpet in elementary school, focusing on classical studies. However, it was not until joining his high-school jazz band that he became strongly interested in changing directions and pursuing jazz full-time. This led to studying jazz improvisation and film scoring at Berklee College of Music in Boston, where he earned his B.A. in professional music. Since graduating from college, Pelt has performed and/or recorded with some of the jazz world’s most high-profile players, including Roy Hargrove, Ravi Coltrane, Greg Osby, Cassandra Wilson, and the Mingus Big Band, among others. He released his solo debut, Profile, for Fresh Sound in 2002. A year later, Pelt returned with Insight on Criss Cross. From 2003 to 2008, Pelt released several albums for Maxjazz, including Close to My Heart, Identity, Shock Value: Live at Smoke, and November, all of which showcased his growing facility on the trumpet and penchant for progressive, harmonically adventurous post-bop and modal jazz. In 2010, Pelt moved to High Note and released the mid-’60s Miles Davis-influenced Men of Honor. Sticking with the same ensemble, Pelt released the similarly inclined The Talented Mr. Pelt in 2011, followed by Soul in 2012. The album was celebrated by several magazines and music websites as one of the finest jazz albums of the year. Pelt then returned with two funk, Brazilian, and electronic-infused releases with 2013’s Water and Earth and 2014’s Face Forward, Jeremy. In 2015, Peltdelivered his 12th studio album, Tales, Musings, and Other Reveries, which featured his two-drummer quintet with percussionists Billy Drummond and Victor Lewis. For 2016’s #Jiveculture, Pelt returned to a more straight-ahead acoustic quartet format featuring Drummond, pianist Danny Grissett, and legendary bassist Ron Carter.

allmusic.com

Abrumado con la intensidad emocional de Serrat y Noa

11 de noviembre de 2016 § Deja un comentario

Esta mañana preparaba mis herramientas para una Master Class de la mano de un grande del diseño internacional; Mario Eskenazi.

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Hablaremos de la Comunicación Visual, especialidad compartida y gran honor al venir de la mano de un Premio Nacional de Diseño (año 2000) desde el verbo crítico de Ramón Pérez-Colomer y con la perspectiva de una ciudad en el análisis como lo es BCN.

No podía sino pensar en una música para esta letra y apareció Juan Manuel con “es caprichoso el azar” nada menos q en una versión acompañado de la cantante israelí Noa q cuelga de su último trabajo: Antología desordenada. Lágrimas de emoción y sentimiento humano, de desamor y magia conductual, de sabor a barrio y notas de jazz. LISTEN!

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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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