The Very Best Of Latin Jazz [Flac]

Ritmo De La Noche, The Very Best Of Latin Jazz

 2002

Listado de Temas:

 01 - Mongo Santamaria - Watermelon Man - 03:14 min.

 02 - Ray Barretto - La Cuna - 05:12 min.

 03 - David Sánchez - Street Scenes - 04:52 min.

 04 - Astrud Gilberto - Ponteio - 03:40 min.

 05 - Hank Crawford - Corazon - 06:06 min.

 06 - Herbie Mann - Senor Blues - 03:51 min.

 07 - Gato Barbieri - Sweet Glenda - 03:46 min.

 08 - Antonio Carlos Jobim - Stone Flower - 03:19 min.

 09 - Arturo Sandoval - Stella By Starlight - 04:08 min.

 10 - Santana - Samba De Sausalito - 03:11 min.

 11 - Stanley Turrentine - Vera Cruz - 05:06 min.

 12 - Cachao - A Gozar Con Mi Combo - 06:21 min.

 13 - Al Di Meola - Ritmo De La Noche - 04:20 min.

 14 - Ed Calle - Autumn - 07:05 min.

 15 - Stan Getz - Eu Vim De Bahia - 03:54 min.

 16 - Paquito D'Rivera - Manteca - 05:37 min.

16 Temas - Tiempo Total: 01:13:42
Ritmo De La Noche, The Very Best Of Latin Jazz
Editado en 2002
flac @ 956 - 474,50 MB
Ripeado por: Napi#17


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Reviews:

AllMusic Review by Richie Unterberger

Release Date July 23, 2002

Genre Jazz
Styles Fusion Hard Bop Post-Bop Latin Jazz World Fusion
Recording Date March 25, 1965 – 2001

"The Very Best of Latin Jazz" es un concepto que podría llenar un conjunto de BoxCds, incluso si lo limitas solo a las bóvedas de Columbia, como lo hace esta antología de un solo disco. Esta recopilación tal vez no pretende abarcar todo,  aunqueo conlleva una cierta responsabilidad de ellos mismos al usar el título "Lo mejor de lo mejor en jazz latino" pese a que tiene algunas deficiencias para quienes buscan algo. Primero, aunque varios nombres importantes están representados en esta colección de 16 canciones, no todos son capturados en sus picos más altos. "Watermelon Man" de Mongo Santamaria fue seminal, pero esta es una versión de 1965, no su primera grabación de un solo hit de 1963. Astrud Gilberto es escuchada en un corte de un álbum de 1971 con Stanley Turrentine, en lugar de una muestra de su mejor momento en la década de 1960. "Eu Vim da Bahia" de Stan Getz es también una cosecha demasiado tardía, 1974. Sin embargo, también hay una serie de canciones de artistas que son más cruces del jazz latino que interpretaciones de artistas de jazz latino de pura sangre, incluidas selecciones de Hank Crawford, Stanley Turrentine, Al DiMeola y Santana (cuya "Samba de Sausalito" es una de las mejores canciones). Eso es algo que debería ser bienvenido como parte de esa antología, pero no cuando los pioneros del jazz latino anterior como Xavier Cugat y Machito (ambos, curiosamente, honrados con excelentes compilaciones de Columbia-Legacy contemporáneas de este lanzamiento) no aparece en este disco en absoluto. Quizá lo más importante es que gran parte de esto es poppy, fusión de jazz latino. Puede sonar como un viejo truco pero en general, cuanto más reciente es el año de la canción, tanto menos interesante es la actuación, y hay varias tomas posteriores de principios de los '70 aquí y muy pocos cortes de los de cómo debería ser lo mejor del jazz latino, como "Senor Blues" de Herbie Mann y "A Gozar Con Mi Combo" de Cachao.

Richie Unterberger  AMG            

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http://jazzars.blogspot.com/2007/09/latin-jazz.html

Jazz, arts and much more
This is a place
jazzars.blogspot.com
 where you can find out more about some useful things related to jazz music and everything related to jazz. This is for instrumentalists, vocalists, critics, and all who are at least curious about all that jazz...

What is Latin Jazz really? We know about Latin music and we know about Jazz, but the mix of the two? It's actually a wonderful mix of the two styles, as the name suggests it.
Latin jazz is the general term given to music that combines rhythms from African and Latin American countries with jazz and classical harmonies from Latin America, the Caribbean, Europe and United States.

The two main categories of Latin Jazz are Brazilian and Afro-Cuban.

Brazilian Latin Jazz includes bossa nova
Afro-Cuban Latin Jazz includes salsa, merengue, songo, son, mambo, Timba, bolero, charanga and cha cha cha.
One of the contribution of Latins (Latinos in Spanish) to America, Latin jazz was further popularized in the late 1940s. Dizzy Gillespie and Stan Kenton began to combine the rhythm section and structure of Afro-Cuban music, exemplified by Machito and His Afro-Cubans, whose musical director Mario Bauza created the first Latin jazz composition "Tanga" on May 31, 1943, with jazz instruments and solo improvisational ideas. On March 31, 1946, Stan Kenton recorded "Machito," written by his collaborator/ arranger Pete Rugalo, which is considered by many to be the first Latin jazz recording by American jazz musicians.The Kenton band was augmented by Ivan Lopez on bongos and Eugenio Reyes on maracas. Later, on December 6th of the same year, Stan Kenton recorded an arrangement of the Afro-Cuban tune The Peanut Vendor with members of Machito's rhythm section. In September of 1947, Dizzy Gillespie collaborated with Machito conga player Chano Pozo to perform the "Afro-Cuban Drums Suite" at Carnegie Hall. This was the first concert to feature an American band playing Afro-Cuban jazz and Pozo remained in Gillespie's Orchestra to produce "Cubana Be, Cubana Bop" among others.

In comparison with traditional jazz, Latin jazz employs straight rhythm, rather than swung rhythm. Latin jazz rarely employs a backbeat, using a form of the clave instead. The conga, timbale, güiro, and claves are percussion instruments which often contribute to a Latin sound.

Samba originated from nineteenth century Afro-Brazilian music such as the Lundu. It employs a modified form of the clave. Bossa Nova is a hybrid music based on the samba rhythm, but influenced by European and American music from Debussy to US jazz. Bossa Nova originated in the 1960s, largely from the efforts of Brazilians Antonio Carlos Jobim and João Gilberto, and American Stan Getz. Its most famous song is arguably The Girl from Ipanema sung by Gilberto and his wife, Astrud Gilberto.

Latin jazz music, like most types of jazz music, can be played in small or large groups. Small groups, or combos, often use the Be-bop format made popular in the 1950s in America, where the musicians play a standard melody, many of the musicians play an improvised solo, and then everyone plays the melody again. In Latin jazz bands, percussion often takes a center stage during a solo, and a conga or timbale can add a melodic line to any performance.

(resources used - wikipedia)

Learn more about Latin Jazz:

Latin Jazz Network

http://www.latinjazznet.com/

Latin Jazz Online Radio

http://www.icebergradio.com/latinjazz

Latin Jazz Club

http://www.latinjazzclub.com/LatinJazzClub-homepage.html