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21 junio 2019

Richard Stoltzman 2i1

Richard Stoltzman


Richard Leslie Stoltzman (nacido el 12 de junio de 1942) es un clarinetista estadounidense muy bien repudo en el campo de la música clásica. Nacido en Omaha, Nebraska, pasó sus primeros años en San Francisco, California, y Cincinnati, Ohio, graduándose en Woodward High School en 1960. Actualmente, Stoltzman es parte de la lista de la facultad del Conservatorio de Nueva Inglaterra de la Universidad de Boston.

https://es.wikipedia.org/wiki/Richard_Stoltzman

Stoltzman es quizá el clarinetista más famoso de los que interpretan música clásica europea. Ha tocado con más de 100 orquestas, con muchos grupos de cámara y en numerosos recitales como solista. Stoltzman ha recibido un sinfín premios y ha producido una extensa discografía. Su virtuosidad y musicalidad han hecho de él uno de los artista más codiciados.

Aparte del repertorio clásico, Stoltzman también toca jazz. Algunas de sus grabaciones, como el disco "New York Counterpoint", toca tanto jazz como música moderna. En 1983, Stoltzman le pidió al compositor y arreglista Clare Fischer que escribiera una sinfonía utilizando piezas de Duke Ellington y Billy Strayhorn. El resultado fue "The Duke, Swee'pea and Me", una pieza orquestal con una duración de once minutos, que Stoltzman llegó a presentar en todo el mundo.

Primeros años y educación

El padre de Stoltzman, trabajó para "Western Pacific Railroad" y se mudó con su familia a San Francisco, California, justo después de que naciera Richard. El primer acercamiento de Stoltzman hacia la música se debió a su padre, un ávido fan de la música de big bands. El padre de Stoltzman tocaba música de big bands de la década de 1940 en casa y en la radio, y actuaba en una banda de baile durante su tiempo libre. Stoltzman comenzó a estudiar clarinete a la edad de ocho años con un profesor en una escuela local, y empezó a tocar con su padre en la orquesta de la escuela presbiteriana "Sewart Memorial United" los domingos y en funciones de la comunidad. Cuando Stoltzman cursaba secundaria, empezó a desarrollar técnicas de improvisación de jazz y disfrutaba "jammeando" con su padre en casa. Benny Goodman fue su primer maestro de música y una gran influencia durante toda su carrera. Stoltzman le dijo a Allan Kozinn del periódico New York Times "Cuando tenía siete años... encontré este hermoso objeto cilíndrico guardado en un estuche de piel. Disfrutaba mucho tocándolo... y vagamente recuerdo verlo colgar desde la ventana del segundo piso de mi casa. Esto me causó un gran revuelo ya que pertenecía a mi padre. Pero en vez de castigarme, decidió que yo estaba interesado en ese instrumento y por lo tanto me alquiló un clarinete de metal, indestructible,  para comenzar".

Stoltzman se graduó en una licenciatura en música y matemáticas, de la Universidad del estado de Ohio. Después estudió con el profesor Keith Wilson en la Universidad de música de Yale, donde realizó la maestría en música. También hizo el doctorado en la Universidad de Columbia. Además, Stoltzman fue estudiante por mucho tiempo del maestro de pedagogía en clarinete, Kalmen Opperman, de Nueva York. Juntos fundaron Clarinet Summit, un encuentro internacional semi-regular de clarinetistas que ha existido desde la década de 1990. Stoltzman ha grabado también con el "Kalmen Opperman Clarinet Choir"



Datos generales
Nacimiento 12 de julio de 1942
Omaha (Estados Unidos)
Nacionalidad Estadounidense
Ocupación: Clarinetista, Profesor de música y músico de jazz
Información artística
Géneros Clásica, Jazz
Instrumento   Clarinete

Presentaciones y grabaciones
Stoltzman ha tocado como solista de numerosas sinfonías, en festivales de jazz internacionales y con músicos como Mel Tormé, George Shearing, Judy Collins, Woody Herman, Wayne Shorter, Chick Corea, Claude Bolling entre otros. Fue fundador del grupo de música de cámara TASHI en 1973. En 1993, se presentó en la serie de la BBC "Concerto!" Era el invitado especial con la Orquesta de la sociedad infantil en "Alice Tully Hall" del "Lincoln Center" en el 2004. También ha dado recitales importantes en el "Carnegie Hall" y en "Hollywood Bowl".

Su discografía incluye aproximadamente 40 lanzamientos, muchos de ellos con el grupo TASHI. El sonido de clarinete en Stoltzman se caracteriza por la embocadura de doble labio, amplio vibrato y su habilidad para imitar en sonido de la voz humana con el instrumento. Combina estilo de jazz con música clásica y tradicional, creando así un estilo único, con sus propias reglas.

En agosto de 1993, Stoltzman se presento en "Concerto!", una serie de televisión de seis partes llevado a cabo por el anfitrión Dudley Moore,bajo la dirección de Michael Tilson Thomas con la Orquesta sinfónica de Londres. "Concerto!" fue creada por los productores de la aclamada serie "Orquesta" con Moore y Sir Georg Solti, fue emitida por el canal "The Learning" y el canal 4 de Inglaterra, y continúa en antena a nivel mundial. El programa con Stoltzman ha sido elogiado por la crítica, al público le agrada, y fue el destinatario de un Premio Emmy en la categoría de Artes escénicas internacionales.




Richard Stoltzman - 1985 - Begin Sweet World


Personnel:
Bill Douglas, Bassoon, Piano, Piano Electric
Eddie Gomez, Bass
Richard Stoltzman, Clarinet
Jeremy Wall , Synthesizer
John Penzotti and Larry Swist, Engineering





CdEacRip by Fulcanelli - Flac @ 471 para
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Listado de Temas:


 01 - Begin Sweet World
Bill Douglas - 03:14 min.

 02 - Everywhere
Bill Douglas - 5:05 min.

 03 - Abide With Me - Blue Monk
Henry Francis Lyte, Thelonious Monk - 04:09 min.

 04 - Full Moon
Bill Douglas - 03:45 min.

 05 - Spiral
Jeremy Wall - 06:34 min.

 06 - Amazing Grace
John Newton - 03:35 min.

 07 - Air
Johann Sebastian Bach - 04:52 min.

 08 - Pie Jesu
Gabriel Fauré - 03:24 min.

 09 – Tara
Bill Douglas - 05:10 min.

 10 - La Fille aux Cheveux de Lin
Claude Debussy - 03:31 min.

 11 - Clouds
Bill Douglas - 05:00 min.

 12 - Morning Song
Bill Douglas - 02:36 min.



12 Temas - Tiempo Total: 00:50:55
Flac @ 471 - 180,29 MB 
CdEacRip by Fulcanelli  para
La Huerta de Fulcano



Reseñas:

http://www.cduniverse.com
AllMusic


El álbum Begin Sweet World fue lanzado por Richard Stoltzman el 28 de abril de 1986 con el sello RCA Victor. El programa, perfectamente ensamblado, incluye seis baladas originales escritas por su colaborador desde hace tiempo Bill Douglas, temas de Bach, Faure y Debussy, piezas teñidas por el jazz de Thelonius Monk y el productor y sintetista Jeremy Wall, además de la interpretación de Stoltzman del "Amazing Grace".  Begin Sweet World presenta música de CD con el toque refinado de Douglas al piano, teclados y fagot, junto al contrabajo de Eddie Gomez para completar un álbum sonoro y musicalmente superior que tiene un "algo" para casi todos. Begin Sweet World es uno de los grandes regalos de música de todos los tiempos.

Orig Year 1991
Discs 1
Release Date Apr 28, 1986
Studio/Live Studio
Mono/Stereo Stereo
Personnel: Eddie Gomez, Jeremy Wall, Bill Douglas




Richard Stoltzman - 1994 - Dreams


Formato: Cassette, Album 
País: US - Fecha: 1994
Género: Classical





 Notas
Recorded May 1993
Headings are used here instead of index tracks because the Suites do not represent a musical work, but rather a grouping of individual works.

Ensemble – Kalmen Opperman Clarinet Choir
Alto Clarinet [Kalmen Opperman Clarinet Choir] – Jim Forgey
Bass – Eddie Gomez
Bass Clarinet [Kalmen Opperman Clarinet Choir] – Dan Kelly (7)
Clarinet – Richard Stoltzman
Clarinet [Kalmen Opperman Clarinet Choir] – Adam Ebert, Margo McGowan, Steve Hartman
Contrabass Clarinet [Kalmen Opperman Clarinet Choir] – Dennis Smylie
Vibraphone, Marimba, Bells, Percussion – Dave Samuels





Listado de Temas:


Suite One: Day Dreams

1 Infant Dreams
Composed By – Bill Douglas


 02 - Open Sky - 04:32 min.
Composed By – Bill Douglas


 03 - Meditation on 'My Shepard Will Supply My Need' - 03:38 min.
Composed By – Robert Hebble


 04 – (Medley) - 04:12 min.
4a Blackbird 
Composed By – John Lennon, Paul McCartney
4b Bye Bye Blackbird
Composed By – Ray Henderson


 05 - Oasis - 04:45 min.
Composed By – Dave Samuels, David Friedman


 06 - Come Back as a Flower - 03:28 min.
Composed By – Stevie Wonder, Syreeta Wright


Suite Two: Azure Dreams

 07 - Brahms Dreams - 04:59 min.
7a - Lullaby
Composed By – Johannes Brahms
7b - Sleep Sweet Child
Composed By – Clare Fischer


 08 - Chorado - 03:54 min.
Composed By – Aldir Blanc, Guinga


 09 - Sicilana - 02:44 min.
Composed By – Johann Sebastian Bach


 10 - Adagio - 04:33 min.
Composed By – Samuel Barber


 11 - En Prière - 02:53 min.
Composed By – Gabriel Fauré


 12 - Azure - 04:35 min.
Composed By – Bill Douglas


Suite Three: Distant Dreams

 13 - The Snowman - 03:54 min.
Composed By – Howard Blake


 14 - Tears in Heaven - 03:52 min.
Composed By – Eric Clapton, Will Jennings


 15 - Lullaby - 03:13 min.
Composed By – Bill Douglas


 16 - Cinema Paradiso - 05:00 min.
Composed By – Ennio Morricone



16 Temas - Tiempo Total: 01:03:52
flac @ 501 - 250,92 MB
Rippeado Por: Napi#07




1PocodMusica
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Reseñas:

Richard Stoltzman ‎– Dreams

Sello: Las Nuevas Músicas ‎– NM020
Formato: CD, Album 
País: Spain Fecha: 1995
Género: Classical




Créditos
Art Direction – Scott Johnson
Directed By [Kalmen Opperman Clarinet Choir] – Kalmen Opperman
Engineer – Larry Swist
Engineer [Assistant] – Dave Cozzie
Keyboards – Bill Douglas, Jeremy Wall
Mastered By – Ted Jensen
Photography By [Cover] – John Pearson
Producer – Jeremy Wall


AllMusic Review 
by AllMusic

"Dreams" es una nueva colección crossover relajante y reflexiva a cargo del clarinetista más versátil de la música clásica, Richard Stoltzman. Este lanzamiento reúne a Stoltzman con los compañeros desde mucho tiempo atrás Eddie Gomez, Dave Samuels, Jeremy Wall y Bill Douglas en la tan esperada secuela de su gran éxito "Begin Sweet World". Dreams es una ecléctica mezcla de música de compositores con cortes tan diversos como Eric Clapton, Ennio Morricone, Stevie Wonder o Johann Sebastian Bach.



https://es.wikipedia.org/wiki/Richard_Stoltzman

http://freetexthost.com/r0rsluyto0

20 junio 2019

Mac Rebennack, Dr. John

- Agradecido a la madre naturaleza por haber podido disfrutar con su creatividad, descanse en paz,  Dr. John - Lisa'Napi

Mac Rebennack, más conocido como Dr. John y auténtica leyenda de la New Orleans Music, falleció el jueves 6 de junio de 2019, a los 77 años.

[. . .] "Estoy haciendo lo que hago para tratar de mantenerme limpio. Pero es lo del demonio de la droga, el adicto a la heroína, el drogadicto, la idea es que me estoy recuperando de eso. Y lo disfruté ”, dijo al entrevistador Stanley Moss. "Hay muchos aspectos hermosos de la vida que me faltaban cuando estaba por ahí de farra. Estoy realmente agradecido de estar limpio otra vez "[. . .]
Malcolm John Rebennack Jr. fue seis veces ganador de los Premios Grammy de la Música
Updated Jun 6, 2019; Posted Jun 6, 2019


Dr. John-ramentertainment.com
Dr. John-ramentertainment.com

NOLA.com
Times-Picayune

https://www.nola.com/entertainment/2019/06/dr-john-left-fans-one-last-record-to-remember-him-by-report.html

By Doug MacCash

Dr. John completó un último registro antes de su muerte el 6 de junio, según un artículo de Rolling Stone.

"En el transcurso del año anterior, en una serie de grabaciones en los Esplanade Studios de Nueva Orleans y en las casas de Rebennack y el productor Shane Theriot, el Dr. John completó su álbum final, una mezcla de nuevos originales, versiones teñidas de country y reelaboraciones de los clásicos del propio Mac  Rebennack grabados con una serie de seleccionados músicos de Nueva Orleans" dice la publicación.

El disco, por el momento sin título, incluirá una revisión "Trippy" de "I Walk On Guilded Splinters", con Rickie Lee Jones, según el avance en Rolling Stone, que no aclara una fecha para el lanzamiento del álbum.
Doug MacCash


https://www.nola.com/entertainment/2019/06/dr-john-a-true-new-orleans-music-legend-dies-at-age-77-report.html

NOLA.com 
The Times-Picayune

By Chelsea Brasted, columnist


Dr. John, the six-time Grammy Award winner whose gritty voodoo-inspired stage persona and whimsical way of speaking were as beloved in New Orleans as his piano-playing, has died. He was 77 years old.

 Towards the break of day June 6, iconic music legend Malcolm John Rebennack, Jr., known as Dr. John, passed away of a heart attack. The family thanks all whom shared his unique musical journey & requests privacy at this time. Memorial arrangements will be announced in due course.

A family statement released by his publicist says Dr. John died early Thursday (June 6) of a heart attack.


Dr. John, whose given name was Malcolm John Rebennack Jr. and who was also called Mac, was born in New Orleans, a place that schooled him in the jazz, R&B, rock and roll, jump blues, funk and Mardi Gras Indian sounds that would come to shape his music. Mr. Rebennack was a man whose style and outlook were shaped, too, by voodoo, that mysterious and mystical spiritualism that developed from the city’s Afro-Caribbean roots. And in New Orleans, that meant he stood out so much he fit right in.


Dr. John,’ funky New Orleans ‘night-tripper’ musician ...-wtop.com

Dr. John,’ funky New Orleans ‘night-tripper’ musician ...
wtop.com

Part of a New Orleans tricentennial series on the people and events that connect and inspire us.

Mr. Rebennack was born big and a month late — just before Thanksgiving 1941 — which gave his mother license to call the young tot her “Thanksgiving turkey,” according to “Under a Hoodoo Moon,” Mr. Rebennack’s autobiography (St. Martin’s Griffin, 1994). His earliest years were spent with his family shuffling from home to home until they landed in the 3rd Ward, and it was his grandfather who first introduced the would-be pianist to music.

(Note: As writer John Wirt reported for NOLA.com, contrary to the many sources that cite his birthdate as Nov. 21, 1940, Rebennack’s real birthday is Nov. 20, 1941. The Times-Picayune’s Records of the Day column, published Nov. 27, 1941, lists the birth of M.J. Rebennack, a boy, at Baptist Hospital.)

In an early memory recounted in “Under a Hoodoo Moon,” Mr. Rebennack writes that he would listen to his grandfather, who performed in minstrel shows as a younger man, sing: “I been hoodooed/ I been hoodooed / Somebody done put a jinx on me.”

His aunt Andre, who was tuned into what was hot at the time, became his first piano teacher, playing “St. James Infirmary” and “Everybody Loves My Baby.”

The music stayed with him, and a version of that song later landed on “In the Right Place.”

As he grew up, Mr. Rebennack would favor nightclubs, drugs and trouble-making over schooling, picking up a musical education instead as his ear turned to New Orleans’ natural teachers on stages and in barrooms around the city, like the Pepper Pot and the Cadillac Club. In those hazy venues and in local recording studios, he met Professor Longhair, Papa Celestin, Dave Bartholomew, the Basin Street Six, Walter “Papoose” Nelson, Roy Montrell and others.

“Yeah, I studied everybody that I could study,” he told music writer John Wirt in an April 2017 feature. “Hey, they was great pardners of mine. Back then, that was life.”

As helpful as that kind of studying was, Mr. Rebennack ended up getting kicked out of Jesuit High School, but he spent much of the 1950s recording and playing guitar with Professor Longhair, Art Neville and Frankie Ford, among others.

The switch of his focus to guitar in his adolescence after playing piano as a boy came because “every guitarist I knew could get work easy,” Mr. Rebennack told Smithsonian magazine in a 2009 interview. But strumming a guitar wouldn’t last.

“Around 1960, I got shot in my finger before a concert. A guy was pistol whipping Ronnie Barron, our vocalist. Ronnie was just a kid and his mother had told me, ‘You better look out for my son’. Oh god, that was all I was thinking about. I tried to stop the guy, I had my hand over the barrel and he shot”.

The next year, he was busted on drug charges and was sent to federal prison in Fort Worth, Texas, according to Mark Kemp’s “Dixie Lullaby: A Story of Music, Race and New Beginnings in a New South” (Simon and Schuster, 2007).

When he got out in 1965, he booked it to Los Angeles, where Mr. Rebennack became The Nite Tripper, cultivating his infatuation with voodoo and his own offbeat mysticism while also serving as a session musician for artists like Sonny & Cher and Frank Zappa.

A reluctant frontman, Mr. Rebennack was convinced to pick up that mantle by his conga player, according to the Smithsonian interview, and he borrowed the name “Dr. John” from the story of an 1800s “free man of color … and a gris gris man.”

His first album, 1968’s aptly-titled “Gris-Gris”, was intended “to keep New Orleans gris gris alive”, he told the magazine. The Mardi Gras, West African and psychadelic chanting sounds were a hit with the long-haired hippies Mr. Rebennack knew in California, and the album ranks on Rolling Stone magazine’s list of the 500 Greatest Albums of All Time.

The album launched a long career in which the Nite Tripper and Mr. Rebennack would converge, most obviously in the man’s New Orleans-centric patois that, when transcribed, may confound an English educator but would delight a listener.

When Wirt, the music writer who interviewed him for an April 2017 story, asked Mr. Rebennack what he hoped to still achieve in his career, he said, “"I’m tripping through the shortcuts of existment to feel it and that’s good".

But in the 1970s, Mr. Rebennack was taking no shortcuts. His musical oeuvre grew to include another handful of records like “Dr. John’s Gumbo,” a collection of covers of New Orleans standard that helped introduce the world to Mr. Rebennack’s hometown sounds and is also listed on Rolling Stone’s top 500 albums, and he worked with Allen Toussaint and The Meters to produce the funky “In the Right Place,” which gave him the Top 20 hit “Right Place Wrong Time.”

His work garnered no shortage of fans around the world, including his fellow musicians, which prompted opportunities like a performance at The Band’s final concert in 1976 and session work or collaborations with The Rolling Stones, Neil Diamond, James Taylor and Carly Simon, Lou Reed, Leon Redbone, Van Morrison, Christina Aguilera, B.B. King, Ringo Starr, The Black Keys and dozens of others. Mr. Rebennack’s work also been widely sampled, like on Beck’s “Loser” and P.M. Dawn’s 1991 “Comatose”, according to Rolling Stone.

The 1980s saw Mr. Rebennack come to a reckoning point with his addiction to heroin. He told Bomb Magazine in 1990 that he had been on methadone maintenance for about five years and that, in 1989, he’d entered rehab.

“I’m doin’ what I do to try to stay clean. But dope fiend, heroin addict, junkie, the idea’s that I’m recovering from it. And I enjoyed it,” he told interviewer Stanley Moss. “There’s a lot of beautiful sides to life I was missing when I was out there ripping and running. I’m real grateful to be clean again”.

His 2008 album, “City That Care Forgot,” offered his gritty meditations on Hurricane Katrina and the official response to the disaster that wreaked havoc on his hometown.

“None of my work has been as aggravated or disgusted as this record. I had never felt the way I do now, seeing New Orleans and the state of Louisiana disappearing”, he told Smithsonian magazine in the 2009 interview. “We've given the world jazz, our kind of blues, a lot of great food, a lot of great things. It's so confusing to look at things these days”.

In his most recent years, Mr. Rebennack partnered with trombonist Sarah Morrow, who served as the art director of his backing band, The Nite Trippers, after moving up from a role in his previous band since 2012, for about three years.

In honor of Mr. Rebennack’s deeply influential well of music, which over the years grew to include nearly three dozen of his own albums, the Saenger Theatre hosted the sold-out “The Musical Mojo of Dr. John: A Celebration of Mac and His Music,” a sold out tribute for and featuring the man himself. Guest artists that night included Bruce Springsteen, John Fogerty, Widespread Panic, Mavis Staples, Terence Blanchard and Jimmie Vaughan.

In 2016, Mr. Rebennack unveiled a new band, The Gris-Gris Krewe, which replaced Morrow as musical director with Roland Guerin and featured drummer Herlin Riley in its ranks.

Also in 2016, NOLA.com|Times-Picayune dining critic Brett Anderson dined on raccoon with Dr. John, and wrote about the experience. “His fridge is always filled with fascinating meat from friends”, said friend Karen Dalton-Beninato, who also handles Rebennack’s publicity.

Anderson wrote that Mr. Rebennack recalled childhood hunting trips to Barataria Bay with his father. Anderson wrote: “My daddy hunted for years and years,” he said, sounding, as he forever has, like a beatnik bullfrog with a speech impediment. “He would stop me from shooting ducks, gooses, speckled belly gooses, if he didn’t think my aim was right. And I thought I was a pretty good shot.”

In fall 2018, a two-story mural of Dr. John popped up on Toledano Street.

The artist MTO captured the good doctor at the height of his trippiness, decked out in furs, feathers and Mardi Gras Indian beadwork. Look for the painting at the corner of Toledano and Dryades streets.

A French artist known as MTO has produced a likeness of psychedelic r&b master Dr. John in an uptown neighborhood.

Funeral arrangements for Dr. John are pending.
By Chelsea Brasted


Dr. John’s second-line parade rambles through Treme

Updated Jun 8, 2019; Posted Jun 7, 2019

https://www.nola.com/entertainment/2019/06/dr-johns-second-line-parade-rambled-through-the-treme-friday.html


By Doug MacCash
NOLA.com | Times-Picayune

New Orleans’ great psychedelic rhythm and blues master Malcolm John Rebennack Jr., better known by his stage name Dr. John, died on Thursday (June 6) at age 77. On Friday afternoon (June 7), an army of the good doctor’s fans assembled outside of Kermit’s Treme Mother In Law Lounge for a steamy yet joyous second-line parade in his honor.

Trumpeter James Andrews prefaced the procession with a solo recitation of Dr. John’s classic “Such a Night,” as the crowd closed tightly around him. Andrews introduced Dr. John’s granddaughter Stephanie O’Quin who would be joining the memorial ramble.

With a drummer, Sousaphone player and phalanx of assorted horn men at his side, Andrews led the celebrants under the roaring highway I-10 overpass plying the “Hey Song” amidst the concrete columns.

Dr. John was known for many things: his keyboard dexterity, brilliant songwriting, voodoo priest persona, growling New Orleans inflection and playful fracturing and reassembly of standard English. If Dr. John described the second-line route, he might have said that it rambulated to Xplanade Avenue, ternt on North Robertson and circulated back. Or something like that.

Along the way, the parade passed within sight of huge mural portraits of other late New Orleans musicians Allen Toussaint, Travis “Trumpet Black” Hill and Ernie K-Doe, unintentionally symbolizing Dr. John’s varied musical influences.

Free-style dancers practiced their footwork at the periphery of the parade, Baby Doll costumers marched in a cluster, a woman waved a sign that read “Roll On Dr. John” and scores of photographer/videographers documented everything from every angle. At one time, second-line parades were only experienced by participants and neighborhood spectators. In the digital age, second line parades are like pebbles in a pond, rippling in every direction thanks to social media sharing.

Dr. John was like that. For six decades he used his immeasurable talent and eccentric vibe to spread the New Orleans vibe globally. Who else played with everyone from Irma Thomas to the Rolling Stones, from the Meters to The Band, from Frankie Ford to Ringo Starr?

The parade ended where it started with the band playing a sweaty, soulful version of “I’ll Fly Away,” as barbecue smoke wafted. In the dim cool of the Mother In Law lounge, Dr. John’s granddaughter explained that though she lives in Atlanta, she’d made her way to New Orleans when she hear he’d died. The parade, she said was “pretty incredible, really hot, really nice.”

“It makes me so happy to see all these people here for him.”
By Doug MacCash,

Arista All Stars - 1978 - Blue Montreux

Arista All Stars - 1978 - Blue Montreux


Recording Date July 21 and 22, 1978
at Montreux Jazz Festival
Remixed At – Power Station



Créditos
Bass, Chapman Stick – Tony Levin (tracks: 1 to 6)
Drums – Steve Jordan (tracks: 1 to 6)
Guitar – Steve Khan (tracks: 1 to 6)
Guitar [Solo] – Larry Coryell (tracks: 2)
Piano, Electric Piano [Fender Rhodes], Keyboards – Warren Bernhardt
Tenor Saxophone – Michael Brecker (tracks: 1 to 3, 5, 6)
Trumpet – Randy Brecker (tracks: 1, 2, 5 to 7)
Vibraphone, Synthesizer [Oberheim] – Mike Mainieri

Recorded By – Dave Richards (11), Martin Pearson
Mixed By – Neil Dorfsman
Mixed By [Assistant] – Ray Willhard
Producer – Mike Mainieri




Listado de Temas:


 101 - Blue Montreux - 08:50  min. 
Arista All Stars – Autor: Mike Mainieri 

 102 - Rocks - 07:57  min. 
Arista All Stars - Autor: Randy Brecker

 103 - I'm Sorry - 08:42  min. 
Arista All Stars - Autor: Mike Mainieri

 104 - Magic Carpet - 05:37  min. 
Arista All Stars - Autor: 

 105 - Buds - 05:02  min. 
Arista All Stars - Autor: Randy Brecker

 106 - Floating - 07:57  min. 
Arista All Stars – Autor: Warren Bernhardt

 107 - The Virgin and the Gypsy - 08:25  min. 
Arista All Stars - Autor: Mike Mainieri 




 201 - A Funky Waltz - 05:57  min. 
Arista All Stars – Autor: Alphonse Mouzon

 202 - Uptown Ed - 06:36  min. 
Arista All Stars – Autor: Michael Brecker

 203 - Cloud Motion - 09:29  min. 
Arista All Stars - Autor: Steve Khan

 204 - Love Play - 10:53  min. 
Arista All Stars – Autor: Mike Mainieri



11 Temas. Tiempo Total: 01:25:25
flac @ 980 - 567,61 MB
Rippeado Por: Crimhead420



1PocodMusica
https://1PocodMusica.com/


Reseñas:

Recorded live, July 21 & 22, 1978
at Montreux Jazz Festival 


AllMusic Review 
by Scott Yanow

En el Festival de Jazz de Montreux de 1978, una variedad de artistas (incluido el teclista Warren Bernhardt, el saxofonista Michael Brecker, los guitarristas Steve Khan y Larry Coryell, el trompetista Randy Brecker y el vibrafonista Mike Mainieri) grabaron una docena de temas que se lanzaron originalmente en dos LP's de Arista. Este Cd tiene las ocho mejores actuaciones de estos importantes estilistas de fusión; Michael Brecker en particular está en buenísima forma. Los resultados no son esenciales, pero ofrecen a los oyentes una cápsula del tiempo en donde se encontraba la fusión R&B en 1978.

Recording Date  July 21, 1978 - July 22, 1978
Release Date 1978
Duration 01:06:02
Genre R&B Jazz Styles Crossover Jazz Funk Fusion



Coordinator – Christian Martin
Design, Art Direction – Ron Kellum
Executive-Producer – Steve Backer
Liner Notes – 熊谷美広
Photography By [Back Cover] – Robert Dibue
Photography By [Front Cover] – Jim Noon




http://freetexthost.com/sooajtbrzn

18 junio 2019

Al Foster

Al Foster


Aloysius Tyrone Foster , Al Foster (nacido el 18 de enero de 1943) es un baterista de jazz estadounidense. Foster tocó junto a Miles Davis durante la década de 1970 y fue una de las pocas personas que tuvo contacto con Davis durante su retiro de 1975 a 1981. Foster también participó en el álbum de regreso de Davis, The Man with the Horn. Fue el único músico que tocó en la banda de Davis antes y después de su retiro. Además,  ha realizado numerosas giras con Herbie Hancock, Sonny Rollins y Joe Henderson.

Foster nació en Richmond, Virginia, y creció en Nueva York. Comenzó a tocar la batería a la edad de 13 años y debutó como intérprete de grabación en "The Thing to Do de Blue", de Mitchell, a los 20 años.


http://www.aloysiusfoster.com/gallery.php?gallery=1

Al Foster, maestro baterista, ha sido un gran innovador en el mundo del jazz durante cinco décadas. Se unió al grupo de Miles Davis cuando Jack DeJohnette salió de la banda en 1972, y tocó con Davis durante más de trece años, hasta 1985. En su autobiografía de 1989, Davis describió la primera vez que escuchó a Foster tocar en vivo en 1972 en el Cellar Club en Manhattan:
"Él [Foster] me noqueó porque tenía un ritmo muy fuerte y simplemente lo dejaba allí. Ese era el tipo de cosa que yo estaba buscando. Al podría hacer que todo el mundo disputara los play-offs por mantener el groove para siempre".
Foster comenzó a componer en la década de 1970, y realizó una gira con su propia banda, que incuía a músicos como el bajista Doug Weiss, la saxofonista Dayna Stephens y el pianista Adam Birnbaum.


Al Foster - 1997 - Brandyn


Studio 44, Monster, Netherlands, October 14, 1996
Released Apr 8, 1997



Al Foster Quartet:

Chris Potter, sax;
Dave Kikoski, piano;
Doug Weiss, bass;
Al Foster, drums.







Listado de Temas:


 01 - The Chief - 07:40  min.
Al Foster

 02 - Brandyn - 05:25  min. 
Al Foster

 03 - Monk Up And Down - 09:15  min. 
Al Foster

 04 - Barney Rose - 07:34  min.
Al Foster

 05 - Amsterdam Blues - 06:36  min.
Chris Potter

 06 - Hope - 07:29  min.
Dave Kikoski

 07 - No Title - 05:58  min.
Al Foster

 08 - Black Nile - 05:53  min.
Wayne Shorter


8 Temas. Tiempo Total: 00:55:50
flac @ 855 - 346,38 MB
RipBy: Crimhead420



1PocodMusica.com
https://1PocodMusica.com/

Reseñas:

Al Foster 1996 (at 53) Brandyn
Studio 44, Monster, Netherlands,
October 14, 1996





Aloysius Tyrone Foster nació en Richmond, Virginia, el 18 de enero de 1943. Su familia se mudó a Harlem, Nueva York cuando él era un niño. Esto le brindó la oportunidad de sentir el jazz de cerca y estudiar a los maestros que vivían en su vecindario. El batero de jazz Art Taylor vivía en el mismo edificio que la tía de Al, y la madre de Art se interesó especialmente en Al, sintiendo su amor por la música que su hijo tocaba.

Crecer en Harlem le dio a Foster la oportunidad de escuchar muchos grandes espectáculos en el teatro Apollo. Escucho a Miles Davis en vivo en 1958, con su sexteto que incluía a Coltrane, Cannonball Adderly, Bill Evans, Paul Chambers y Jimmy Cobb. Otras experiencias memorables incluyen escuchar la batalla de bateristas entre Buddy Rich y Philly Joe Jones, Art Blakey’s Jazz Messengers con Lee Morgan, el Cuarteto de Dave Brubeck y el cuarteto de John Coltrane. Estas experiencias lo engancharon a la música. Su padre, que era bajista aficionado, le compró un juego de tambores y practicaba todos los días después de la escuela.

Su primera gran oportunidad en la profesión se produjo en 1964 cuando se unió al grupo de Blue Mitchell en la grabación clásica de "The Thing To Do" para Blue Note. Grabado en el estudio de Rudy Van Gelder, con la producción de Alfred Lion, este disco se ha convertido en un clásico, presentando a Blue Mitchell, trompeta, Junior Cook, Tenor, Chick Corea, Piano y Gene Taylor, bajo.

Al se convirtió rápidamente en músico habitual en la escena del jazz en Nueva York. También tocó en el club Playboy durante varios años, apoyando a sus 4 hijas como músico colaborador.

A lo largo de los años, Foster ha realizado numerosas giras con Herbie Hancock, Sonny Rollins, Joe Henderson, McCoy Tyner, Stan Getz y Bobby Hutcherson, convirtiéndose en una atracción importante en las seis bandas, en una parte integral de ellas. Respetado y admirado por su gran sensibilidad, Foster es conocido por su capacidad única para escuchar e interpretar a los demás de una manera casi telepática, respondiéndoles con un estilo que es a la vez carismático y discreto. Foster es un gran creyente en la pureza de la música, un artista genuino que continúa superando los límites de la creatividad una y otra vez, dedicado a preservar y perpetuar los más altos estándares en el jazz actual.






Uno de los mayores placeres de Al es componer música al piano. Es único entre otros bateristas en el campo del jazz, ya que sus composiciones han sido notadas por algunos de los mejores artistas del jazz. El pianista Hank Jones grabó tres de las composiciones de Al, "Papa Joe", "Just Before Dawn", y "Pauletta", para su álbum "For My Father". Eric Reed ha grabado la composición de Al "Brandyn", y el saxofonista Chris Potter grabó "Bonnie Rose" para su álbum en Verve, Pure. Eddie Henderson, trompetista, grabó la composición de Al "Missing Miles" en For All We Know. El saxofonista israelí Eli DeGibri grabó la canción de Al "Ooh, What You Do To Me" con una banda de estrellas que contaba con la presencia de Ron Carter y Brad Mehldau.

Foster hizo su primera grabación como líder, "Mixed Roots" en 1977. Producido por Tao Macero, este álbum presentó las composiciones originales de Al, así como los talentos de saxofón de Michael Brecker, Bob Mintzer y los bajistas TM Stevens y Jeff Berlin.

En 1995, Al decidió formar su propio grupo, El Al Foster Quartet. La primera edición del grupo incluyó al bajista Larry Grenadier, al pianista Dave Kikoski y al saxofonista Chris Potter.

En 1996, con Doug Weiss reemplazando a Grenadier en el bajo, el Al Foster Quartet actuó por Europa y grabó "Brandyn" para Laika Records, donde  se incluían cinco composiciones originales de Foster.





En 2005 la banda grabó un disco en vivo en el Village Vanguard titulado "Love, Peace and Jazz". Este álbum presentó composiciones de Al, así como el pianista Kevin Hays y el saxofonista Eli DeGibri, y fue aclamado por la crítica en la revista Downbeat.

En 1999, el guitarrista John Scofield formó un grupo con el saxofonista Joe Lovano, el bajista Dave Holland y Al Forster Llamaron a su esfuerzo colaborativo "ScoLoHoFo". El grupo realizó gira y grabó un álbum titulado "¡Oh!" para Blue Note, que incluyó composiciones de cada uno de los miembros del grupo.

Actualmente, Al está de gira por toda Europa con su banda The Al Foster Quartet con la saxofonista, Dayna Stephens, el pianista Adam Birnbaum. y el bajista Douglas Weiss. Durante los últimos 19 años, la banda de Al se ha presentado en festivales y clubes de todo el mundo.

Otros artistas con los que Foster ha tocado y  grabado incluyen: Hugh Masakela, Ted Curson, Dexter Gordon, Pepper Adams, Cannonball Adderley, Lou Donaldson, Sonny Stitt, Michael Brecker, Blue Mitchell, Freddie Hubbard, Donald Byrd, Donald Byrd, Kenny Dorham, Randy Brecker, Mulgrew Miller, Thelonious Monk, Chick Corea, Kenny Barron, Cedar Walton, Hank Jones, Horace Silver, Buster Williams, Ron Carter, Paul Chambers, Stanley Clarke, George Mraz, Dave Holland, Charlie Haden, Eddie Gomez, Mike Stern Jim Hall, Carmen McRae, Shirley Horn, Abbey Lincoln, Betty Carter y Bobby McFerrin. Y la lista sigue y sigue...



References
Dave, Uncle (January 18, 1943). "Al Foster". AllMusic. Retrieved 2011-10-15.
http://www.allmusic.com/artist/al-foster-p77092/biography

Lewis, Dave. "Al Foster: Biography". Allmusic. Retrieved 2010-03-25.
https://www.allmusic.com/artist/p77092

All Music
https://www.allmusic.com/album/dreaming-of-your-love-mw0000175932

Official site
http://www.aloysiusfoster.com/



https://1fichier.com/?zouprobc5szw72igq17g


Art Farmer Benny Golson Jazztet

Art Farmer Benny Golson Jazztet

Here And Now + Another Git Together

 - 1962 - 

Temas 1 a 8 (Here And Now)
grabados los días 28 de Febrero y 2 de Marzo de 1962, en New York City. 
Temas 9 a 14 (Another Git Together
grabados los días 28 de Mayo y 21 de Junio de 1962, en New York City. 

Ambos álbumes publicados en Verve en 1962.




Contrabajo – Herbie Lewis
Batería – Roy McCurdy
Piano – Harold Mabern
Saxo Tenor – Benny Golson
Trombón – Grachan Moncur III (temas: 1 a 6, 8, 9 a 14)
Trompeta, Fiscorno– Art Farmer

Ingeniero de sonido – Tommy Nola
Productor – Kay Norton
Notas – Jack Tracy


Listado de Temas:


"Here And Now" (1962)

01 - Tonk - 06:50 min.
Composición de: Ray Bryant

02 - Rue Prevail - 04:25 min.
Composición de: Art Farmer

03 - Richie's Dilemma - 05:13 min.
Composición de: Harold Mabern

04 - Whisper Not - 05:22 min.
Composición de: Benny Golson

05 - Just In Time - 05:25 min.
Composición de: Betty Comden, Adolph Green, Jule Styne

06 - Ruby, My Dear - 05:11 min.
Composición de: Thelonious Monk

07 - In Love In Vain - 07:16 min.
Composición de: Jerome Kern, Leo Robin

08 - Sonny's Back - 04:06 min.
Composición de: Grachan Moncur III




"Another Git Together" ( 1962 )

09 - Space Station - 05:15 min.
Composición de: Grachan Moncur III

10 - Domino - 07:04 min.
Composición de: Louis Ferrari, Jacques Plante, Don Raye

11 - Another Git Together - 06:16 min.
Composición de: Jon Hendricks, Pony Poindexter

12 - Along Came Betty - 05:30 min.
Composición de: Benny Golson

13 - This Nearly Was Mine - 06:27 min.
Composición de: Oscar Hammerstein II, Richard Rodgers

14 - Reggie - 04:32 min.
Composición de: Benny Golson


14 Temas - Tiempo Total: 01:18:52
flac @ 951 - 515,19 MB




Art Farmer Benny Golson Jazztet
"Here And Now" ( 1962 )
"Another Git Together" ( 1962 )
País: Europa Fecha: 2012

1PocodMusica.com
https://www.1PocodMusica.com/

Reseñas:
Sello: Mercury ‎– 06007 5340166, Universal Music Group ‎– 06007 5340166
Serie: Jazzplus
Formato: CD, Album, Compilation, Reissue, Remastered 
Género: Jazz Estilo: Hard Bop
Release Date 2002 Duration 43:58
Genre Jazz Styles Bop Cool Hard Bop


El Jazztet de Art Farmer y Benny Golson ya existía desde dos años antes cuando grabaron lo que serían sus Lp's finales, Here and Now y Another Git Together. El personal, aparte de los dos co-líderes,  Art Farmer y Benny Golson, había cambiado por completo desde 1960, pero el sonido del grupo era el mismo. La versión de 1962 del Jazztet incluía al trombonista Grachan Moncur III, al pianista Harold Mabern, al bajista Herbie Lewis y al baterista Roy McCurdy. Es notable pensar que este grupo lleno de talentos, por alguna razón, no fue preparado para grabar aún más álbumes juntos. Los aspectos más destacados de este excelente Lp agotado incluyen "Tonk" de Ray Bryant, "Whisper Not", "Just in Time" y "Ruby My Dear" de Thelonious Monk. Un clásico grupo de hard bop, aunque de corta duración. Y es este el problema original ya que no incluye pistas extras.




The Art Farmer Benny Golson Jazztet, Another Git Together
(A. K. A. Art Farmer, Benny Golson, The Jazztet, Another Git Together)
Recording Date February 28, 1962 & March 2, 1962
Release Date 1962  Duration 35:04
Genre Jazz - Styles Cool, Hard Bop



AllMusic Review 

por Scott Yanow

Grabado en las mismas sesiones que resultaron en Here and Now, este LP de Mercury fue el sexto y último que documentó el Jazztet antes de su separación. El grupo duró menos de tres años, lo que es sorprendente teniendo en cuenta el talento que reunía. Esta edición de 1962 del Jazztet reunió a Art Farmer, Benny Golson, el trombonista Grachan Moncur III, el pianista Harold Mabern, el bajista Herbie Lewis y el baterista Albert "Tootle" Heath. 

El álbum es un set muy animado y swingueante, con seis fuertes selecciones, incluyendo "Space Station" (la más memorable de Moncur III,)  el "Along Came Betty" de Golson y el estándar "This Nearly Was Mine". Junto con las otras citas del Jazztet, este Lp hace mucho tiempo que se reeditó íntegramente en CD




AFBGJ62HANAGT.1906.rar
https://1fichier.com/?qctppgs83mp6oklu0kkh

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