JAZZ

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Don Ellis - "Live" at Monterey ! (1966) [Pacific Jazz]


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Review

The first effort by the Don Ellis big band, as with all of his other orchestral projects, has yet to be reissued on CD. One of the most exciting new jazz big bands of the period, Ellis' ensemble became notorious for its ability to play coherently in odd time signatures. One of the four originals heard on this acclaimed outing from the 1966 Monterey Jazz Festival is titled "33 222 1 222" to show how the band manages to perform in 19/4 time. The other selections are Hank Levy's "Passacaglia and Fugue," "Concerto for Trumpet" (in 5/4), and "New Nine." In addition to the time signatures, Ellis enjoyed utilizing unusual combinations of instruments; the instrumentation on this date consists of five trumpets, three trombones, five saxes, piano, three bassists, two drummers, and a percussionist. Among the more notable sidemen are a young Tom Scott (who solos on alto) and tenor saxophonist Ira Schulman. Highly recommended but unfortunately this album will be difficult to find. [The 1998 reissue adds three tracks not found on the original release: "Crete Idea," "27/16," and "Beat Me Daddy, 7 to the Bar."]




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Ya que Bacor comentó que quería oir algo de una big-band nada mejor que oir a la de Don Ellis. Te recomiendo también sus primeros discos con formaciones más reducidas.
Un saludo.
 
Cecil Taylor - Air Above Mountains (1976) [Enja]

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Review

Following his successful live solo piano album Silent Tongues, Air Above Mountains is an improvement in that Taylor plays two extended pieces here (instead of the five shorter pieces that make up the former album). With two half-hour pieces (restored to their original length on the CD reissue), Taylor explores the audial possibilities of the piano in placid, yet often thunderous runs. Known for playing the piano like it was a drum set, Taylor here plays extended softer passages in his noted dissonant style. Is this jazz? Who cares. It's wonderful, challenging, calamitous music.

Tracks

1.- Air Above Mountains (Buildings Within) Part One
2.- Air Above Mountains (Buildings Within) Part Two

Personnel

Cecil Taylor - piano

Session

Recorded live on August 20, 1976 at Moosnam Castle, Open Air Festival, Austria


EAC
Separate Flac + Cue
Log
367 mb



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Thelonious Monk - Thelonious Monk (1952) [Prestige/OJC]

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Review

In between the first blush of genius represented by his maiden voyages for Blue Note and the veritable convulsion of creativity on Riverside, Monk recorded a handful of influential sessions for the Prestige label. THELONIOUS MONK gathers together most of Monk's trio performances onto one disc, presenting a stunning portrait of this American original as virtuoso improviser and composer--among the greatest trio performances in the history of jazz.

Monk was a craftsman of rhythmic contrast, a canny minimalist and musical architect who sustained the power of traditional jazz by expanding upon its primary virtues. Monk was also a master of texture and space who could make one chord suggest an orchestra and a few oddly stressed notes swing like crazy. His melodies were rhythmically conceived and accented, while his harmonies conferred extraordinary colors on his syncopated lines. Like Jelly Roll Morton and Duke Ellington, he conceived of the piano as a scaled down big band, which is what makes the music on THELONIOUS MONK so enduring.

"Blue Monk" is one of his most timeless, straight-forward themes, as the pianist engages Percy Heath and Art Blakey in an extended dialogue, making poetic use of space and rhythmic displacements to badger Blakey into one amen after another. "Little Rootie Tootie" is just as exciting; Monk's crashing tonal clusters evoke distant locomotives and train whistles, as his epic blues phrases and rhythmic intricacies inspire Blakey to antiphonal effects worthy of African talking drummers. And on "Bemsha Swing" and "Trinkle Tinkle" Monk takes this notion a step farther. He treats the drums as a thematic instrument, creating new harmonies and rhythms to match, as Max Roach responds with bristling melodic ideas.

As miraculous as his own tunes are, Monk's ability to distill the sucrose sentimentality of popular tunes into heady jazz moonshine is a wonder to behold. The rhythmic variations on "Sweet And Lovely," the stride asides and impressionist coda to "Just A Gigolo" the acerbic cubist chords introducing "These Foolish Things"--all betray Monk's obstreperous delight in these old songs, even as his witty transmutations illuminate the modern jazz attitude.


Tracks

1. Blue Monk
2. Just A Gigolo
3. Bemsha Swing
4. Reflections
5. Little Rootie Tootie
6. Sweet And Lovely
7. Bye-Ya
8. Monk's Dream
9. Trinkle Tinkle
10. These Foolish Things


Personnel

Thelonious Monk (piano); Percy Heath, Gary Mapp (bass); Max Roach, Art Blakey (drums).


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Thelonious gracias por los discos y el curro que te pegas. Estoy bajando algunas cosas pero iré poco a poco, hay demasiado información en este hilo como para asimilarla en un par de días.

Por cierto, el disco de Big Satan que subió YoHiceARoque, una maravilla.
 
Muchas gracias por el interés, la verdad que es un placer compartir música. Soy administrador de un foro de música que tiene la mayor y mejor sección de jazz de la red (www.dduniverse.net/music), así que si queréis podría ir poniendo una selección los discos que vaya subiendo la gente. Lo mismo esta noche cae otro...:1

Un saludo.
 
Jimmy Heath - The Gap Sealer (1972) [Jazz Beat]

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Review

Gap Sealer
Some of Heath's finest, most aggressive playing. He is a standout on soprano, flute, and tenor.

Love and Understanding
This is one of Jimmy Heath's more unusual and versatile records, and fortunately it has been reissued on CD. Heath switches between tenor, soprano and flute on a diverse program (five originals plus Duke Ellington's "In a Sentimental Mood") that ranges from hard bop to light funk and R&Bish jazz. Heath's sidemen (trombonist Curtis Fuller, cellist Bernard Fennell, keyboardist Stanley Cowell, electric bassist Bob Cranshaw and drummer Billy Higgins) sound quite inspired by the material and Heath plays at his most inventive throughout the underrated set.


Tracks

1.- Heritage Hum
2.- Invitation
3.- A Sound For Sore Ears
4.- Gap Sealer
5.- Angel Man
6.- Alkebu-lan ( Land Of The Blacks )

7.- One For Juan (*)
8.- Hands Up ! Feet Down ! (*)
9.- Far Away Lands (*)
10.- Smilin´ Billy (*)
11.- Gemini (*)

(*) Bonus Tracks
This release contains Jimmy Heath´s complete album " The Gap Sealer " plus five of the six tracks from his successive LP "Love & Understanding", included here as a bonus tracks.

Personnel & Sessions

Jimmy Heath (ts, sop, fl) on all tracks:
1-6: "The Gap Sealer"- Kenny Barron (p, el-p), Bob Cranshaw (b), Albert "Tootie" Heath (d), Mtume (perc). New York March 1, 1972.

7-11: from "Love & Understanding"- Curtis Fuller (tb), Stanley Cowell (el-p), Bernard Fennell (cello), Bob Cranshaw (b), Billy Higgins (d).
New York, June 11, 1973


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Hace mucho tiempo que estoy que no cago con este disco.

Niño Josele - Paz (2006)

1. Peace Piece
2. Waltz For Debby
3. Minha
4. I Do It For Your Love
5. My Foolish Heart
6. The Dolphin
7. Hullo Bolinas
8. The Peacocks
9. Never Let Me Go
10. Turn Out The Stars
11. When I Fall In Love When I Fall In Love

En su mayoría son versiones Bill Evans.
 
Lester Young Sextet / Septet - Complete Studio Master Takes ( 1955-8 ) [Lone Hill Jazz]

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Review

All the studio recordings made between 1955 and 1958 by Lester Young.
Tremendous later work from Lester Young - pulled from a flurry of excellent Verve albums of the late 50s! The format here is great - as it lays out the sessions in progression from 1955 through 1958 - showing Young in the company of players that include Harry Edison, Vic Dickenson, Oscar Peterson, Roy Eldridge, and Herb Ellis - all swinging in a gently spacious way that gives ample solo space to all key players. If you ever needed a definition of the Verve "swing" sound of the 50s, this 2CD package could well be it - as the 22 tracks on the set are a perfect example of the way the label could create a perfect setting for a player like Young.

4 LPs on 2 CDs
Contains complete LPs:
"Pres and Sweets" (Norgran-Verve, 1955)
"The Jazz Giants ‘56" (Verve, 1956)
"Going for Myself" (Verve, 1957)
"Laughin’ to Keep from Cryin’" ( Verve, 1958 )


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Max Roach - Percussion Bitter Sweet (1961) [Impulse!]

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Review

This CD reissue brings back a classic album, one of the finest of drummer Max Roach's very productive career. The illustrious sidemen (trumpeter Booker Little; trombonist Julian Priester; Eric Dolphy on alto, bass clarinet, and flute; tenorman Clifford Jordan; pianist Mal Waldron; and bassist Art Davis, in addition to some guest percussionists) all have opportunities to make strong contributions and Dolphy's pleading alto solo on "Mendacity" is particularly memorable. Abbey Lincoln has two emotional and very effective vocals, but it is the overall sound of the ensembles and the political nature of the music that make this set (along with Roach's Freedom Now Suite) quite unique in jazz history.

Tracks

1. Garvey's Ghost
2. Mama
3. Tender Warriors
4. Praise For A Martyr
5. Mendacity
6. Man From South Africa

Personnel

Max Roach (drums);
Eric Dolphy (alto saxophone, bass clarinet, flute);
Clifford Jordan (tenor saxophone);
Booker Little (trumpet);
Julian Priester (trombone);
Mal Waldron (piano);
Art Davis (bass);
Carlos Valdez (congas);
Carlos Eugenio (cowbell).
Abbey Lincoln (vocals);



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Jimmy Smith - Midnight Special (1960) [Blue Note] [RVG Edition]

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Review

The name Jimmy Smith is practically synonymous with jazz organ, and albums such as Midnight Special are part of the reason. Of course, there is Smith's legendary gospel- and blues-rooted style and brilliant bebop chops, present on Special in ample doses. Also, one could not ask for a better band: Donald Bailey, one of Smith's regular drummers; Kenny Burrell on guitar; and Stanley Turrentine on tenor sax. As great as Smith is, it's Turrentine's lusciously rich tenor tone and big bluesy honks that makes Midnight Special such a true joy. (Burrell's burr, elegant guitar isn't too shabby either.) In the end, this album is simply a party waiting to happen, for fans of Smith and soul-jazz alike.


Tracks

1. Midnight Special
2. A Subtle One
3. Jumpin' The Blues
4. Why Was I Born
5. One O'Clock Jump

Personnel

Jimmy Smith (organ)
Stanley Turrentine (tenor saxophone)
Kenny Burrell (guitar)
Donald Bailey (drums)



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Cecil Taylor Unit - One Too Many Salty Swift and Not Goodbye ( 1978 ) [hatHUT]

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Review

Originally released as a continuous two-LP set, the two-CD reissue of this two-and-a-half-hour performance by Cecil Taylor's 1978 sextet has been expanded with the addition of three earlier sections: duets by altoist Jimmy Lyons with trumpeter Raphe Malik, and one with violinist Ramsey Ameen and bassist Sirone, plus a drum solo from Ronald Shannon Jackson. Then Cecil Taylor enters the proceedings, and the full sextet (with occasional solo sections) performs the remainder of the typically fiery, dense, and passionate work "One Too Many Salty Swift and Not Goodbye." Fans of Cecil Taylor's unrelenting music will certainly enjoy this exuberant work. This is the best-recorded performance of the enlarged Cecil Taylor Unit at its creative and most unified peak. The new edition of this set as a double CD was completely remastered in 2004 and reissued by Hat in its Hatology series in a limited-edition of 3,000 copies.


Tracks

DISC 1:
1. Duet Jimmy Lyons/Raphé Malik
2. Duet Ramsey Ameen/Sirone
3. Solo Ronald Shannon Jackson
4. Cecil Taylor Unit
5. Cecil Taylor Unit

DISC 2:
1. Cecil Taylor Unit
2. Cecil Taylor Unit
3. Cecil Taylor Unit
4. Cecil Taylor Unit
5. Cecil Taylor Unit
6. Cecil Taylor Unit

Personnel

Cecil Taylor—piano
Jimmy Lyons—alto saxophone
Raphé Malik—trumpet
Ramsey Ameen—violin
Sirone—double bass
Ronald Shannon Jackson—drums

Session

Recorded live at Liederhall, Mozart-saal Stuttgart, Germany on June 14, 1978


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Recien sacado del horno os ofrezco este disco que recoge dos de las primeras sesiones del grandísimo saxo alto, Jackie McLean. En la primera de ella (temas 1 a 6) forma un quinteto de super estrellas junto al trompetista Donald Byrd y al pianista Mal Waldron entre otros. Hardbop muy avanzado para su época, con unas composiciones muy interesantes y unos standards muy bien interpretados. Altamente recomendable. Disfrutenlo 8-)


Jackie McLean - The Complete Jubilee Sessions (1955-7) [Lone Hill Jazz]

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Review

Incredible pre-Blue Note work from Jackie McLean -- proof that he was a budding genius even on his earliest dates as a leader! First up is the Jubilee album The Jackie McLean Quintet -- also issued on Ad Lib as Presenting Jackie McLean -- a great little set of hardbop tracks that has Jackie working with a quintet that includes Donald Byrd, Doug Watkins, Mal Waldron, and Ron Tucker. The feel here is similar to McLean's albums for Prestige at the same time -- a mixture of bop and some of the modernist themes that often surfaced in McLean's work, played in a seductively laidback manner, but with a razor-sharp intensity overall. Titles include "Mood Malody", "Lover Man", "Blue Doll", "It's You Or No One", and "Little Melonae" -- one of Jackie's greatest tunes ever! Fat Jazz is incredible too -- one of the few recordings to feature his sextet with Ray Draper! Draper was a real legend in late 50s jazz -- a tuba player, believe it or not, with a sound that was dark, brooding, and very modern -- very unlike you'd expect from the instrument. This album has the same rich quality as the session Draper recorded with Coltrane in the same period -- and it also features 2 of his amazing compositions, "Filide" and "Two Sons". As for the rest of the group, Webster Young plays coronet, Gil Coggins plays piano, and George Tucker's on drums -- and other titles include "Millie's Pad", "Tune Up", and "What Good Am I Without You".


Tracks

1. It's You Or No One
2. Blue Doll
3. Little Melonae
4. Way You Look Tonight
5. Mood Malody
6. Lover Man

7. Flide'
8. Millie's Pad
9. Two Sons
10. What Good Am I Without You
11. Tune Up



Personnel

Tracks 1-6 ["The Jackie McLean Quintet"]: Jackie McLean (alto sax); Donald Byrd (trumpet); Mal Waldron (piano); Douglas Watkins (bass); Ronald Tucker (drums)

Tracks 7-11 ["Fat Jazz"]: Jackie McLean (alto sax); Webster Young (cornet); Ray Draper (tuba); Gil Coggins (piano); George Tucker (bass); Larry Ritchie (drums)




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Hijo de puta, que yo no tengo instalada la mula, pon también algún disco en descarga directa que los pueda lurkear como dios manda :lol:
 
Sois unos cabrones. El mp3 se carga el jazz :sad:
¿Alguna petición en concreto? Pida por esa boquita. A ver si algún día hago un listado, que se me está yendo de las manos la colección :twisted:
 
Está muy bien que haya un hilo de jazz entre tanto piojoso y tanto gafapasta, la verdad. Estoy seguro que no soy el único aficionado al jazz de por aquí, y te felicito.

Estaría también muy bien que se colgasen discos más clásicos, autores de los grandes: Coltrane, Davis, Duke Ellington, Charlie Parker, Stachmo, etc, para que la gente que desconoce el jazz pueda aficionarse escuchando a los Maestros. Nada más, es como si uno empezase a aficionarse al cine viendo a Kaurismaki o a algún iraní... pues así chungo chungo... lo primero es lo primero, y es antes el Kind of Blue que otros, y hay que decir qué es el Kind of Blue y que supuso, o el Birth of the Cool, o el A Love Supreme. Algo de este palo, no sé, y no tanto por mí, que los tengo, como por los que a través de este magnífico hilo que llevas puedan adentrarse en este maravilloso género musical. Y que conste que no es orden ni imposición ni nada que se le parezca, que es diálogo de forero a forero, que es comentarte mi parecer, y tú verás lo que haces.

Saludos, y gracias por todos tus aportes pasados y futuros.
 
La verdad que llevaba tiempo con ganas de compartir la afición en un foro en castellano. El que uso habitualmente para colgar los discos es italiano y no hay sección para charlar con los usuarios (salvo msn, claro).

Se me acaba de ocurrir hacer una especie de top de discos imprescindibles. La mayoría de material que tengo es hardbop de los 50 y 60. De los grandes sellos (Blue Note, Prestige, Verve...) tengo muchísimo para compartir.

Ya he pensado el primero que pondré. Es un disco en trío del pianista Sonny Clark, uno de los estandartes del hardbop pese a morir jovencísimo. Ahora lo ripeo y ya voy organizando algo, que esta tarde la resaca no me permite estudiar :roll:
 
Unos pocos discos imprescindibles de entre los miles -davis- que hay para ser subidos en esa lista, bajo mi opinión, y por si te fuera de ayuda (ya me perdonarás, pero entre pitos y flautas -saxos y trombones :lol:- no tengo demasiado tiempo para hacerlo yo mismo :oops:)

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Por poner algo más o menos variado...
 
El Kind of Blue ya lo subió alguien hace poco. Veo que te tira mucho el jazz vocal. No tengo demasiado, aunque si te interesa tengo uno de Oscar Peterson con Louis Armstrong bastante curioso...
 
Me gusta mucho el jazz vocal, sí, pero no más que el instrumental. Si he puesto varios de jazz vocal es porque creo que para las masas es más digerible, porque se parece más a la música que se escucha normalmente que no el Bitches Brew, por ejemplo.

Tú cuelga, cuelga, a ver si desasnamos a más de uno y más de dos.
 
Por casualidades de la vida he topado con esto:

W.Haffner "Nordic Shapes" w/ Muthspiel Landgren Molvær Bang

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No estoy muy puesto en el tema, pero yo diría que es free jazz, ¿no? Bueno, para mi las etiquetas son lo de menos, me ha gustado bastante y estoy indagando a ver si me hago con algo del señor Molvær y con cositas por el estilo.

¿Recomendaciones?
 
No, free jazz no es. Llamémoslo jazz contemporáneo europeo. Busca cosas en el sello ECM que son especialistas en esa música. Ya te iré recomendando algo.
 
Donald Byrd & Gigi Gryce - Complete Jazz Lab Studio Sessions vol. 1 (1957) [Lone Hill Jazz]

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Review

Believe it or not, the 2006 three-volume Lone Hill Jazz reissue of the complete Donald Byrd/Gigi Gryce Jazz Lab studio recordings marks the first comprehensive appearance of this body of work on CD. Considering how many reissues, re-reissues and re-re-reissues some material has undergone, the fact that it took so long for this magnificent music to be made available to the public in its entirety is somewhat grueling. These recordings were made during the spring and early autumn of 1957. At 24 years old, Donald Byrd was already among the greatest trumpeters alive at that time. Alto saxophonist Gigi Gryce, who wrote the charts for everything heard on this disc aside from "I Remember Clifford," was an exceptionally talented arranger as well as a gifted composer. Unlike the rest of the Byrd/Gryce recordings from 1957, these have extra horns: Benny Powell's trombone, Julius Watkins' French horn, Don Butterfield's tuba, and Sahib Shihab's baritone sax. The rhythm section players were exceptionally solid: pianists Tommy Flanagan, Wade Legge, and Wynton Kelly; bassist Wendell Marshall; and master percussionist Art Taylor. Each track is a masterpiece of immaculately hip precision. Of the three installments in this label's Jazz Lab Project, this first volume is a glowing jewel nestled in the exact center of the lotus.


Tracks

1. Nica's Tempo
2. Smoke Signal
3. Speculation
4. Over the Rainbow
5. Sans Souci
6. I Remember Clifford
7. Little Niles
8. Blue Concept
9. Satellite
10. An Evening in Casablanca
11. Social Call
12. Stablemates
13. Steppin' Out

Personnel

Donald Byrd (tp) & Gigi Gryce (as) on all tracks featuring Tommy Flanagan, Wynton Kelly, Jimmy Cleveland, Wendell Marshall & Art Taylor.

Session

Tracks 1-8: "Jazz Lab"
Recorded in New York, February 4 & 5 and March 13, 1957.

Tracks 9-13: "Modern Jazz Perspective"
Recorded in New York, August 30 and September 5, 1957.


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En breve subiré los otros dos volúmenes...
 
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