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26 julio 2019

George Benson GBB0X03.1907

George Benson GBB0X03.1907




The Other Side Of Abbey Road

1969




Recorded October 22, 23; November 4,5, 1969
at Van Gelder Studios, Englewood Cliffs, NJ



Créditos

Arreglos de Don Sebesky


  • Guitarra – George Benson





  • Sección rítmica:

Contrabajo – Jerry Jemmott, Ron Carter
Batería – Ed Shaughnessy, Idris Muhammad
Piano, Órgano, Clavicordio – Bob James, Ernie Hayes, Herbie Hancock

Sección de Viento

  • Madera:

Clarinete – Jerome Richardson
Clarinete bajo – Don Ashworth
Flauta – Hubert Laws, Jerome Richardson
Flauta, Oboe – Phil Bodner
Saxo alto – Sonny Fortune
Saxo Barítono – Don Ashworth
Saxo Tenor – Jerome Richardson

  • Metal

Trombón, bombardino – Wayne Andre
Trompeta – Freddie Hubbard
Trompeta, Fliscornio – Bernie Glow, Marvin Stamm, Mel Davis


  • Sección de cuerda

Cello – George Ricci
Viola – Emanuel Vardi
Violín – Max Pollikoff, Raoul Poliakin

  1. Percusión
Andy Gonzalez, Ray Barretto



Listado de Temas:


Lp Side A

 01 - A1 Golden Slumbers,   A2 You Never Give Me Your Money - 04:46  min.
Autoría: John Lennon, Paul McCarney

 02 - A3 Because, Come Together - 07:25  min.
Autoría: John Lennon, Paul McCarney

 03 - A4 Oh! Darling - 04:00  min.
Autoría: John Lennon, Paul McCarney


Lp Side B

 04 - B1 Here Comes The Sun -  B2 I Want You (She's So Heavy) - 08:59  min.
Autoría: B1 George Harrison - B2 John Lennon, Paul McCarney

05 -  B3a Something -   B3b    Octopus's Garden - B4 The End - 06:21  min.
Autoría:  B3a George Harrison -  B3b Richard Starkey - B4 John Lennon - Paul McCarney



The Other Side Of Abbey Road ¬ Editado en 1969
5 Temas. Tiempo Total: 00:31:31
flac @ 764 - 227,35 MB

1PocodMusica
https://1PocodMusica.com/



Because, Come Together - George Benson



Reseñas:

Genre Jazz – Styles Crossover Jazz, Jazz-Pop, Smooth Jazz, Guitar Jazz, Jazz Instrument
Recording Date
October 22, 1969 - November 5, 1969
Recording Location
Van Gelder Studios, Englewood Cliffs, NJ
Release Date June, 1970
Duration 22:29




AllMusic Review
by Richard S. Ginell


Solo tres semanas después del lanzamiento en Estados Unidos del disco de los Beatles, Abbey Road, Creed Taylor acompañó a George Benson al estudio para comenzar una exitosa traducción del disco al pop-jazz (completada con una parodia de la famosa portada, mostrando a Benson con guitarra cruzando una calle urbana del este de EU). Es un álbum lírico, con indicios de misterio y gran parte del concepto cohesivo del original de los Beatles, a pesar del orden enigmático que se presentan las canciones aqui. A Benson se le da un espacio para estirarse con la guitarra, a veces en ritmo de blues, y hay más muestras de sus melodías vocales que nunca (curiosamente, su voz no volvería a ser escuchada por los compradores de discos hasta que firmó con Warner Bros). Los arreglos de Don Sebesky deambulan libremente desde los arreglos barrocos de cuerda, hasta la profundidad de la Big Band, y Freddie Hubbard, Sonny Fortune y Hubert Laws obtienen un espacio digno para sus solos. Sin embargo, a pesar de toda su diversidad, el registro encaja en conjunto más estrechamente que cualquier otro proyecto de George Benson, gracias a sus talentos versátiles y la unidad milagrosa de las canciones de los Beatles. Uno se pregunta si a los Fab Four también les gustó.

Design [Album] – Sam Antupit
Engineer – Rudy Van Gelder
Photography By – Eric Meola
Producer – Creed Taylor


White Rabbit

1971


Grabado en Noviembre de 1971 en los Van Gelder Studios
Ingeniero de sonido Rudy Van Gelder

Don Sebesky – arreglos




Formación

George Benson - guitar
Jay Berliner - Spanish guitar
Earl Klugh - acoustic guitar (only on 5)
Ron Carter - double bass, electric bass (on 1 and 3)
Herbie Hancock - electric piano
Billy Cobham - drums
Airto Moreira - percussion, vocals
Phil Kraus - vibes, percussion
Gloria Agostini - harp

Secciones de viento:

  • Madera

Phil Bodner - flute, alto flute, oboe, English horn
Hubert Laws - flute, alto flute, piccolo. (Flute solo on 1)
George Marge - flute, alto flute, clarinet, oboe, English horn
Romeo Penque - English horn, oboe, alto flute, clarinet, bass clarinet
Jane Taylor - bassoon

  • Metal

Wayne Andre - trombone, baritone horn
Jim Buffington - French horn
John Frosk - trumpet, fliscornio. (Trumpet solo on 1 and 5)
Alan Rubin - trumpet, fliscornio.

Production
Creed Taylor - producer
Didier C. Deutsch - producer (CD 1987)
Frank Decker - engineer (CD 1987)
Pete Turner - cover photography
Bob Ciano - album design

Recording Date November, 1971, At Van Gelder Studios

Comentario:

La portada original del LP de 1971 fue diseñada por Bob Ciano y muestra la foto de Pete Turner de la tribu de Pondo que fotografió en Sudáfrica en 1970. George Benson reconoció en su autobiografía de 2014 que el hecho de que Creed Taylor no pusiera su foto en el la portada «fue un factor que jugó en el éxito de este álbum».



Listado de Temas:



Lp Side A

01 - White Rabbit - 06:57 min.
Composición de: Grace Slick

02 - Theme From ''Summer Of '42'' - 05:08 min.
Composición de: Michel Legrand

03 - Little Train (from Bachianas Brasileiras No.2) - 05:49 min.
Composición de: Heitor Villa-Lobos


Lp Side B

04 - California Dreamin' - 07:23 min.
Composición de: John Phillips

05 - El Mar - 10:52 min.
Composición de: George Benson


5 Temas. Tiempo Total: 00:36:09
flac @ 864 - 202,05 MB
RipPor:


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




Reseñas:


White Rabbit es un álbum de George Benson, el segundo proyecto en CTI Records de George  producido por Creed Taylor, que se grabó nueve meses después de Beyond the Blue Horizon. La canción principal es una versión de la famosa canción de Great Society/Jefferson Airplane, compuesta por Grace Slick.
El disco fue descrito en Billboard como «un dinámico LP de jazz repleto de pop con dos obras extraordinarias" California Dreaming "y" White rabbit "». Para este proyecto, Creed Taylor y Don Sebesky usaron la fórmula que les dio tan buenos resultados en otras grabaciones con Verve Records y A & amp; M Records: dos exitosas versiones de canciones de rock/pop, esta vez de los The Mamas and the Papas y de Jefferson Airplane, música de banda sonora de una película conocida, "The Summer know" ("Tema de Verano de 42 ') de Michel Legrand, una versión de jazz de una canción clásica brasileña, las "Brachianas Basileiras No.2 - Little train"de Heitor Villa-Lobos y un tema original de George Benson, "El Mar". Todas las canciones con Herbie Hancock, Ron Carter, Billy Cobham, Airto Moreira, Jay Berliner, Hubert Laws, además de nueve músicos de estudio tocando en diferentes instrumentos de viento y cuerda. Este álbum fue el debut de grabación de un joven guitarrista, Earl Klugh, quien por entonces solo tenía diecisiete años, con su contribución en el tema  "El Mar".

Entrevistado por Jeff Tamarkin en "Music & Musicians", respondiendo una pregunta sobre la elección de la canción de Jefferson Airplane para este álbum, Benson dijo: «Nunca había oído hablar de ellos antes. ¡Nunca había oído hablar del grupo! El tema sonaba extraño, totalmente  opuesto a lo que yo quería hacer. Pero nunca he rehuido un desafío». La canción que dio nombre al álbum fue iniciativa de Don Sebesky cuando reconoció a Marc Myers en una entrevista en "JazzWax" que, después de escuchar el disco Surrealistic Pillow de Jefferson Airplane, lanzado por RCA Records en 1967, le trajo la propuesta del tema a Creed Taylor: «Sugerí que hiciéramos White Rabbit en modo español. Él comentó que George Benson no leía música, pero al escuchar la canción, automáticamente cayó en el groove, y eso demuestra que la música no está en la página, sino en el aire».

Benson dijo en la entrevista con Tamarkin que «el álbum The White Rabbit fue muy emocionante, fue una aventura. Realmente disfruté haciendo esas cosas», sin embargo Didier C. Deutsch citado en el folleto del CD remasterizado digitalmente, lanzado en 1987 por Epic (EPC 450555 2), comentó  que a Benson no le gustó el proceso de"seguimiento" por parte de CTI para este álbum, mediante técnicas de estudio en la que los ingredientes del solista, la sección de ritmo y el fondo se graban por separado con la sobre-grabación realizada posteriormente.





Recepcion y criticas

La reseña de este "White Rabbit" en Jazz Musical Archives califica al disco como de cuatro estrellas, y lo considera como "Un álbum ingenioso, aunque interesante de un gran guitarrista" donde se "domina el sonido de la guitarra, tanto acústico como eléctrico". En opinión de John Kelman en All About Jazz, este álbum «fue (y sigue siendo) una anomalía en el prodigioso catálogo de Benson» y para él, “White Rabbit¨ es“ una curiosidad que hace transición entre sus grabaciones más importantes y la popularísima estrella del jazz/pop que estaba a punto de convertirse ».

"White Rabbit" fue la primera nominación a los premios Grammy a George Benson en 1972 en la categoría de "Mejor interpretación de jazz de un grupo".


AllMusic Review
by Richard S. Ginell

Para el segundo proyecto en CTI de George Benson, el productor Creed Taylor y el arreglista Don Sebesky colocan con éxito al guitarrista en un ambiente con sabor a español lleno de adornos flamencos, fanfarrias de metales, vientos caprichosos . . . La idea funciona mejor en "California Dreamin' " (cuyos acordes se basan en armonías andaluzas) donde, impulsada por la emocionante guitarra rítmica española de Jay Berliner, Benson se presenta con una interpretación tremendamente inspirada. En "El Mar", Berliner es reemplazado por el protegido de Benson, Earl Klugh (entonces solo con solo 17 años) en un debut poco prometedor, aunque en ese momento, ampliamente anunciado. La pista del título es otro ganador, estropeado solo por los latidos desafinados al final, y en un buen ejemplo de la fórmula clásica/jazz de CTI. En este trabajo se ofrece "Little Train of the Caipira" de Heitor Villa-Lobos, con un atractivo lifting de principios de los 70s. Herbie Hancock tiene un montón de espacio ágil para solista con su piano eléctrico Rhodes, Airto Moreira aporta voces sin palabras y percusión atmosférica, mientras que Ron Carter y Billy Cobham completan una sección de ritmo de alto voltaje. En esta muestra principal del lenguaje CTI, todos ganan.



GBB0X03.1907.rar
https://1fichier.com/?vvzys94taesda71vfi24




25 julio 2019

Timeless Classic Albums Sonny Rollins - Vinylogy VinylReplica Cd Collection 5d's.2018

Sonny Rollins

Timeless Classic Albums - 2018 - Sonny Rollins [5d's Flac]


DOL - Vinylogy VinylReplica Cd Collection





  • 1958-Freedom Suite [Vinylogy.Cd.Flac]

https://elcieloyeldedo.blogspot.com/2019/07/oscar-pettiford-trail.html


  • 1956-Saxophone Colossus [Vinylogy.Cd.Flac]



  • 1956-Sonny Boy [Vinylogy.Cd.Flac]

  • 1962-The Bridge [Vinylogy.Cd.Flac]





  • 1956-Thelonious Monk-Brilliant Corners [Vinylogy.Cd.Flac]
https://elcieloyeldedo.blogspot.com/2019/07/oscar-pettiford-trail.html





*  *  *

Sonny Rollins  Saxophone Colossus

 - 1956 - 



Timeless Classic Albums
Sonny Rollins 5d's [Flac]

DOL - Vinylogy - 2018
Vinyl Replica Cd Collection
www.vinylogy.ru

Recorded June 22, 1956 by Rudy Van Gelder at the latter's studio in Hackensack, New Jersey
1st pressing with West 50th Street address on both labels and back cover

Bass – Doug Watkins
Drums – Max Roach
Piano – Tommy Flanagan
Tenor Saxophone – Sonny Rollins

Recorded By – Van Gelder
Liner Notes – Ira Gitler
Mastered By – RVG
Supervised By [Supervision] – Bob Weinstock
Cover – Hannan

Comentario:

En The Guardian - "Their Favourite Albums"
por John Fordham
https://www.theguardian.com/music/musicblog/2011/aug/30/brilliant-corners-thelonious-monk

First published on Tue 30 Aug 2011 16.00

[. . .] When I was discovering jazz as a student, Thelonious Monk seemed to epitomise the artistic originality, indifference to rules and guileless eccentricity (he liked weird hats, and was given to shuffling dances onstage) that I loved about the music. Monk's piano solos clanged with dissonance, bumped along in hopping runs or glowered with baleful silences, and his astonishing compositions (now recognised as modern musical landmarks, regardless of genre) had a strange, inelegant beauty that brusquely reinvented what melody, harmony and rhythm could mean. [. . .]


Listado de Temas:


Lp Side A

01 - St. Thomas - 07:19 min.
Composición de: Sonny Rollins 


02 - You Don't Know What Love Is - 07:00 min.
Composición de: Gene de Paul, Don Raye 


03 - Strode Rode - 05:39 min.
Composición de: Sonny Rollins 


Lp Side B

04 - Moritat - 10:49 min.
Composición de: Kurt Weill, Bertolt Brecht 


05 - Blue 7 - 12:11 min.
Composición de: Sonny Rollins


5 Temas. Tiempo Total: 00:42:58
flac @ 624 - 188,53 MB
RipPor: Napi#19
1PocodMusica.com
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Reseñas: 

Saxophone Colossus is a studio album by American jazz saxophonist Sonny Rollins. It was recorded on June 22, 1956, with producers Bob Weinstock and Rudy Van Gelder at the latter's studio in Hackensack, New Jersey. Rollins led a quartet on the album that included pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach. Saxophone Colossus was released by Prestige Records to critical success and helped establish Rollins as a prominent jazz artist.


Portada edición francesa

In 2017, Saxophone Colossus was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant.


Diversas portadas en europa

Studio album by Sonny Rollins
Recorded June 22, 1956
Studio Van Gelder Studio in Hackensack
Released 1956/1957
Length 39:58
Genre Hard bop
Label Prestige
Producer Bob Weinstock, Rudy Van Gelder

There are five tracks on the album, three of which are credited to Rollins. "St. Thomas" is a calypso-inspired piece named after Saint Thomas in the Virgin Islands. The tune is traditional and had already been recorded by Randy Weston in 1955 under the title "Fire Down There". (In the booklet provided with the boxed set, The Complete Prestige Recordings, Rollins makes it clear that it was the record company that insisted on his taking credit.) In any case, the piece has since become a jazz standard, and this is its most famous recorded version.

The final track, "Blue 7," is a blues piece, over eleven minutes long. Its main, rather disjunct melody was spontaneously composed. The performance is among Rollins' most acclaimed, and is the subject of an article by Gunther Schuller entitled "Sonny Rollins and the Challenge of Thematic Improvisation". Schuller praises Rollins on "Blue 7" for the use of motivic development exploring and developing melodic themes throughout his three solos, so that the piece is unified, rather than being composed of unrelated ideas.

The original 22 June 1956 session was recorded by Rudy Van Gelder. A CD version, mastered by Steve Hoffman, was released in May 1995 by DCC Compact Classics; no additional performances were included. Another remastered version, this time by Van Gelder, was released on 21 March 2006. The album's title was devised by Prestige Records' in-house publicity director Robert "Bob" Altshuler.

Independent sources have differed in their reporting of the album's release date. According to The Mojo Collection, it was released in the autumn of 1956, and AllMusic also lists that year as the one of its release, while an August 1957 issue of Billboard magazine listed the album among records released in the period between March 16 and July of that same year. Reviewing in April 1957, Billboard said "Rollins' latest effort should really start musicians buzzing", as "the tenorman is one of the most vigorous, dynamic and inventine of modern jazzmen", and "everytrack is packed with surprises, tho Rollins develops each solo with great architectural logic". Ralph J. Gleason reviewed the album later in June for DownBeat, writing: "Almost as if in answer to the charge that there is a lack of grace and beauty in the work of the New York hard-swingers comes this album in which Rollins displays humor, gentleness, a delicate feeling for beauty in line, and a puckish sense of humor. And all done with the uncompromising swinging that has characterized them all along."

In a retrospective review for AllMusic, Scott Yanow called Saxophone Colossus "arguably his finest all-around set", while German musicologist Peter Niklas Wilson deemed it "another milestone of the Rollins discography, a recording repeatedly cited as Rollins' chef d'oeuvre, and one of the classic jazz albums of all time".

The Guardian
https://www.theguardian.com/music/musicblog/2011/aug/30/brilliant-corners-thelonious-monk

My favourite album: Brilliant Corners by Thelonious Monk
Guardian and Observer writers are picking their favourite albums – with a view that you might do the same. Here, John Fordham examines the brilliant corners of Thelonious Monk

First published on Tue 30 Aug 2011 16.00 
John Fordham

When I was discovering jazz as a student, Thelonious Monk seemed to epitomise the artistic originality, indifference to rules and guileless eccentricity (he liked weird hats, and was given to shuffling dances onstage) that I loved about the music. Monk's piano solos clanged with dissonance, bumped along in hopping runs or glowered with baleful silences, and his astonishing compositions (now recognised as modern musical landmarks, regardless of genre) had a strange, inelegant beauty that brusquely reinvented what melody, harmony and rhythm could mean.

Brilliant Corners, recorded for the Riverside label in 1956 with an A-list band including saxophonist Sonny Rollins and former Charlie Parker drummer Max Roach, was the most compositionally ambitious session in the former church pianist's decade-long jazz career thus far. In a legendarily fractious session, the title track's growling theme was so treacherous in its lurching phrasing and abrupt time changes that a band this good still spent 25 takes on it, and the final version was only possible by splicing two takes together. But Brilliant Corners was no calculated technical highwire act, but a piece of audaciously adventurous composing that has never lost its power to startle and seduce over the decades.

From Monk's opening stabbed chords (as if he were chipping rock) to the bone-shaking notes, guttural horn harmonies and sudden thematic gallops, Brilliant Corners is gripping – as are the composer's jangling improvisations, and Rollins's lazily unfolding and huge-toned tenor solo. The session's full of captivating variety too – from the urban graininess of Hornin' In to the relaxed groove of Let's Cool One, the surreal mix of Monk's chordal bluntness and the coyness of a glockenspiel on Pannonica to the bleary rootsiness of the wonderful blues Ba Lue Bolivar Ba Lues Are. Arriving just before the late-50s free-jazz upheavals of Ornette Coleman, John Coltrane and Cecil Taylor, this was music that showed just how powerfully song-form harmonies and the tempered scale could be wrenched into new shapes.


Discogs

https://www.discogs.com/Sonny-Rollins-Saxophone-Colossus/release/3934932

Sonny Rollins ‎– Saxophone Colossus

Label Prestige ‎– LP 7079, Prestige ‎– PRLP 7079
Format: Vinyl, LP, Album, Mono 
Land: US Veröffentlicht: Apr 1957
Genre: Jazz Stil: Bop
Trackliste Verberge Mitwirkende

Unternehmen usw.
Record Company – Prestige Records Inc.
Pressed By – Abbey Record Manufacturing Co., Inc.
Printed By – GEM Albums, Inc.
Published By – Prestige Music
Recorded At – Van Gelder Studio, Hackensack, New Jersey


Sonny Rollins   Sonny Boy
1956


Timeless Classic Albums
Sonny Rollins 5d's [Flac]

DOL - Vinylogy - 2018
Vinyl Replica Cd Collection
www.vinylogy.ru




Recorded at Van Gelder Studio in Hackensack, New Jersey on
Track 4 October 5, 1956.
All other selections Recorded December 7, 1956.
Originally released in 1961.

Comentario:
AllMusic critic Scott Yanow states: "Tour de Force is a more logical purchase, although the music on this CD does feature the immortal tenor saxophonist in fine form". 

Personnel:

Sonny Rollins – tenor saxophone
Kenny Dorham – trumpet (backgrounds track 4)
Kenny Drew (tracks 1-3 & 5), Wade Legge (track 4) – piano
George Morrow – bass
Max Roach – drums


Listado de Temas:


01 - Ee-Ah - 06:57 min.
Composición de: Sonny Rollins 


02 - B. Quick - 09:14 min.
Composición de: Sonny Rollins 


03 - B. Swift - 05:19 min.
Composición de: Sonny Rollins 


04 - The House I Live In - 09:25 min.
Composición de: Earl Robinson, Lewis Allen 
Comentario: Piano – Wade Legge
Trumpet – Kenny Dorham 


05 - Sonny Boy - 08:23 min.
Composición de: Al Jolson, Buddy G. De Sylva, Lew Brown, Ray Henderson



5 Temas. Tiempo Total: 00:39:18
flac @ 881 - 246,37 MB
RipPor: Napi#19


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




Reseñas: 

Sonny Rollins ‎– Sonny Boy
Label: Original Jazz Classics ‎– OJCCD-348-2, Prestige ‎– P-7207
Format: CD, Album, Reissue, Remastered 
Land: Germany
Veröffentlicht: 1989 Genre: Jazz - Stil: Bop, Hard Bop

Unternehmen usw.
Copyright (c) – Fantasy, Inc.
Manufactured By – ZYX-MUSIC GMBH
Recorded At – Van Gelder Studio, Hackensack, New Jersey
Remastered At – Fantasy Studios
Mitwirkende
Bass – George Morrow
Design – Don Schlitten
Drums – Max Roach
Liner Notes – Joe Goldberg
Piano – Kenny Drew (tracks: 1 to 3, 5)
Recorded By – Rudy Van Gelder
Remastered By – Phil De Lancie
Supervised By [Supervision] – Bob Weinstock
Tenor Saxophone – Sonny Rollins

AllMusic Review
by AllMusic

Recorded in 1956 but issued in 1960, Sonny Boy combines three tracks previously heard on Rollins' 1957 release Tour de Force, omitting two ballads sung by Earl Coleman) with the title track, popularized by Al Jolson in the '20s, and an instrumental version of "The House I Live In" from the Frank Sinatra film of the same title.

The blues "Ee-Ah" features a laid-back introduction by pianist Kenny Drew and a remarkable extended solo by Rollins. The aptly titled "B. Quick" and "B. Swift" are lightning-fast improvs spotlighting exceptional solos by all members, especially drummer Max Roach. Of the previously unissued tracks, "Sonny Boy" has a bounciness unusual in '50s jazz, and "The House I Live In" (featuring trumpeter Kenny Dorham and pianist Wade Legge) manages to be simultaneously stately and swinging. They're hardly mere leftovers, and should have been issued long before they were.

https://www.allmusic.com/album/sonny-boy-mw0000203974


Release Date 1957
Duration39:03
Recording DateOctober 5, 1956
Recording Location
Hackensack, NJ
New Jersey





1962-The Bridge [Vinylogy.Cd.Flac]


Timeless Classic Albums
Sonny Rollins 5d's [Flac]

DOL - Vinylogy - 2018
Vinyl Replica Cd Collection
www.vinylogy.ru



Comentario:
Recorded at RCA Victor's Studio B, New York City on January 30, 196 (B2), February 13, 1962 (A2,A3,B3), February 14, 1962 (A1,B1)

Performance

Sonny Rollins – tenor saxophone
Jim Hall – guitar
Bob Cranshaw – bass
Ben Riley – drums

Harry "H.T." Saunders – drums (replaces Riley on "God Bless the Child")
"God Bless the Child" recorded on January 30, 1962
"Where Are You?", "John S." and "You Do Something to Me" recorded on February 13,
"Without a Song" and "The Bridge" on February 14, 1962




Production
Bob Prince – original session producer
Ray Hall – engineer
Chuck Stewart – cover photography
George Avakian – liner notes
Production of the first CD Reissue, 1992
John Snyder – digital producer
Steve Backer – executive producer
Joe Lopes and Jay Newland – engineers
Ira Gitler – liner notes (in addition to the original text by Avakian)



Listado de Temas:


Lp Side A



01 - Without A Song - 07:30 min.
Composición de: Rose, Eliscu, Youmans


02 - Where Are You - 05:11 min.
Composición de: Adamson, McHugh


03 - John S. - 07:46 min.
Composición de: Sonny Rollins


Lp Side B




04 - The Bridge - 05:59 min.
Composición de: Sonny Rollins 


05 - God Bless The Child - 07:29 min.
Composición de: Herzog, Holiday , 1962 (A1,B1) 


06 - You Do Something To Me - 06:51 min.
Composición de: Cole Porter



6 Temas. Tiempo Total: 00:40:46
flac @ 804 - 245,90 MB
RipPor: Napi#19

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





Reseñas: 

The Bridge is a studio album by jazz saxophonist Sonny Rollins, recorded in 1962. It was Rollins' first release following a three-year sabbatical and was his first album for RCA Victor. The saxophonist was joined by the musicians with whom he recorded for the next segment of his career: Jim Hall on guitar, Bob Cranshaw on double bass and Ben Riley on drums.

Studio album by Sonny Rollins
Recorded January 30 and February 13-14, 1962
At RCA Victor Studio B, New York City
Released 1962
Genre Jazz, hard bop
Length 40:36
Label RCA Victor LPM-2527
Producer Bob Prince

History
In 1959, feeling pressured by the unexpected swiftness of his rise to fame, Rollins took a three-year hiatus to focus on perfecting his craft. A resident of the Lower East Side of Manhattan with no private space to practice, he took his saxophone up to the Williamsburg Bridge to practice alone: "I would be up there 15 or 16 hours at a time spring, summer, fall and winter". His first recording after his return to performance took its name from those solo sessions. Critical reception to the album, which was not the revolutionary new jazz approach many expected, was mixed. Rollins, who had been considered groundbreaking in his thematic improvisations, was supplanted in critical buzz by the growing popularity of Ornette Coleman's free jazz.

Reception
If not a tremendous departure from Rollins' earlier style, the album was nevertheless quite successful. Tagged by AllMusic as "a near-classic", the recording was declared by Inkblot Magazine to be "one of the greatest albums from one of jazz's greatest musicians". It is one of the albums for which the long-active and prolific Rollins receives his greatest praise.

The album was inducted into the Grammy Hall of Fame in 2015.

Re-releases
The album was re-released in 1976 in Japan and 1977 in the U.S. It was relaunched in 1992 on CD by Bluebird/RCA/BMG and remastered from the original master tapes for CD in 2003 for the Bluebird First Editions series. It has also been issued many times in other formats, for example as an audiophile LP with 45 rpm (Classic Records, 2000). It is also part of The Complete RCA Victor Recordings (1997).

https://www.allmusic.com/album/the-bridge-mw0000678485



AllMusic Review
by Scott Yanow

Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including "Without a Song" and "God Bless the Child") plus two fiery originals, highlighted by the title cut. The interplay between Rollins and Hall is consistently impressive, making this set a near-classic and a very successful comeback.

AllMusic User Reviews
The Ranting Recluse - January 8, 2016

After a meteoric rise to fame in the 1950s, legendary tenor sax man Sonny Rollins had walked away from it all by the decade's end, embarking on an introspective, almost monastic three-year quest to improve his technique, during which time he would spend up to 16 hours a day playing his sax, alone, on New York City's Williamsburg bridge, and that solitary period of time spent practicing on the bridge is what gives this album its title. Although critical reception to the album was initially mixed, as many had hoped Rollins would have re-emerged from his sabbatical having developed some revolutionary new technique or with a markedly evolved style that differed more strongly from his earlier work, it was nonetheless a commercial success, and has since become regarded as one of his finest albums, even being inducted into the Grammy Hall of Fame in 2015. Featuring Rollins in a new quartet that also included Jim Hall on guitar, Bob Cranshaw on bass and Ben Riley on the drums, the album has a spare, subdued sound, which might be why the ballads are generally more evocative and memorable than the uptempo numbers, with Rollins' haunting take on the standard "God Bless the Child" being my pick for the standout track, as well as the one that probably best reflects what it must have been like to spend all that time playing alone on that bridge.

https://www.discogs.com/Sonny-Rollins-The-Bridge/release/3176600

Label: RCA Victor ‎– LPM/LSP-2527, RCA Victor ‎– LPM 2527
Format: Vinyl, LP, Album, Mono 
Land: US Veröffentlicht: 1962
Genre: Jazz - Stil: Hard Bop

Unternehmen usw.
Recorded At – RCA's Studio B
Copyright (c) – Radio Corporation Of America
Pressed By – RCA Records Pressing Plant, Rockaway

Mitwirkende
Bass – Bob Cranshaw
Drums – Ben Riley, H. T. Saunders
Engineer [Recording] – Ray Hall
Guitar – Jim Hall
Liner Notes – George Avakian
Producer – Bob Prince
Anmerkungen
Recorded at RCA Victor's Studio B, New York City on January 30, 196 (B2), February 13, 1962 (A2,A3,B3), February 14, 1962 (A1,B1).


*
    Timeless Classic Albums - 2018 - Sonny Rollins [5d's Flac]
    DOL - Vinylogy VinylReplica Cd Collection

  1. 1956-Saxophone Colossus [Vinylogy.Cd.Flac] SR56SC.1907.rar - 256 MB
  2. 1956-Sonny Boy [Vinylogy.Cd.Flac] SR56SB.1907.rar - 217 MB
  3. 1962-The Bridge [Vinylogy.Cd.Flac] SR62TB.1907.rar - 259 MB



757 MB
https://1fichier.com/?lzn4xrw9iidfrdueuogi







24 julio 2019

George Benson GBB0X02.1907

George Benson

GBB0X02.1907

 George Benson  Shape Of Things To Come

1968




Notas
Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey
August 27, 1968: Tracks A1 & A4
September 5, 1968: Track A3
October 5, 1968: Track B1
October 22, 1968: Tracks A2, B2 & B3


Don Sebesky – Arranger, Conductor

Personnel

George Benson – Guitar, Vocals
Ron Carter – Bass (tracks 2, 6-7)
Richard Davis – Bass
Herbie Hancock – Piano
Hank Jones – Piano
Idris Muhammad (as Leo Morris) – Drums
Dave Mankovitz – Viola (tracks 1, 3-4)
George Marge – Flute, Cello (tracks 1, 3-4)
Romeo Penque – Flute, Cello (tracks 1, 3-4)
Alan Raph – Trombone, Sound Effects, Valve Trombone, Tuba (all Tracks Except 3)
George Ricci – Cello (tracks 1, 3-4)
Stanley Webb – Flute
Joe Shepley – Trumpet, Flugelhorn (all Tracks Except 3)
Wayne Andre – Trombone, Baritone Saxophone (all Tracks Except 3)
Burt Collins – Trumpet
Charles Covington – Organ
Bernard Eichen – Violin (tracks 1, 3-4)
Jack Jennings – Percussion, Vibraphone (tracks 1, 3-4)
Charles Libove – Violin (tracks 1, 3-4)
Buddy Lucas – Harmonica, Tenor Saxophone, Amplified Harmonica (all Tracks Except 3)
Johnny Pacheco – Percussion, Conga
Marvin Stamm – Trumpet, Flugelhorn, Piccolo (all Tracks Except 3)

Technical
Creed Taylor – producer
Rudy Van Gelder – engineer
Sam Antupit – artwork
Pete Turner - photography




Listado de Temas:



Lp Side A

01 - Footin' It - 04:24 min.
Composición de: George Benson, Don Sebesky
Comentario: Flute – Stan Webb
Piano – Herbie Hancock


02 - Face It Boy, It's Over - 04:07 min.
Composición de: Andy Badale, Frank Stanton


03 - Shape Of Things To Come - 05:20 min.
Composición de: Barry Mann, Cynthia Weil


04 - Chatanooga Choo Choo - 03:37 min.
Composición de: Mack Gordon, Harry Warren
Comentario: Flute – Stan Webb
Piano – Herbie Hancock


Lp Side B

05 - Don't Let Me Lose This Dream - 04:43 min.
Composición de: Aretha Franklin, Ted White
Comentario: Bass – Richard Davis


06 - Shape Of Things That Are And Were - 05:49 min.
Composición de: George Bensone
Comentario: Bass – Richard Davis
Piano – Hank Jones


07 - Last Train To Clarksville - 05:36 min.
Composición de: Tommy Boyce, Bobby Hart



7 Temas. Tiempo Total: 00:33:36
flac @ 796 - 199,12 MB


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Reseñas:

Wikipedia


https://en.wikipedia.org/wiki/Shape_of_Things_to_Come_(George_Benson_album)

Shape of Things to Come es el quinto álbum de estudio del guitarrista estadounidense George Benson, lanzado en 1968 y arreglado por Don Sebesky. Fue su primer álbum para A & amp; M Records y su primer álbum producido por Creed Taylor, quien seguiría siendo su productor hasta 1976.

Después de cuatro años y tres sellos diferentes, Benson firmó con el sello A & amp; M / CTI en 1968. Sería el reemplazo de su estrella Wes Montgomery, quien había muerto a principios de año. Para su primer álbum con el sello, el productor Taylor incorporó todos los pesos pesados de las etiquetas, el arreglista Sebesky, el ingeniero Rudy Van Gelder y los artistas invitados Herbie Hancock y Ron Carter. El álbum es en su mayoría canciones de artistas tan diversos como Aretha Franklin, The Monkees y Glenn Miller. También contiene un par de composiciones originales y algunos reelaboraciones de bandas sonoras de películas.
.

AllMusic Review
https://www.allmusic.com/album/shape-of-things-to-come-mw0000197309
by Thom Jurek

Este álbum de George Benson, debut en A & amp; M / CTI, señaló la llegada de una verdadera estrella en la escena del jazz. Creed Taylor firmó con Benson inmediatamente después del fallecimiento de Wes Montgomery en 1968; el productor de Verve, Esmond Edwards, y el arreglista, Tom McIntosh, lo estaban preparando antes de que llegara a CTI. Taylor emparejó a Benson con el arreglista Don Sebesky (que había trabajado mucho en las grabaciones en A & amp; M de Montgomery) y el ingeniero Rudy Van Gelder. Herbie Hancock y Ron Carter (ambos miembros del Miles Davis Quintet con quien Benson había colaborado a principios de año) el bajista Richard Davis y el pianista Hank Jones fueron invitados. La banda principal de Benson para estas fechas incluía al organista Charlie Covington, al baterista Leo Morris y al conguero Johnny Pacheco. Las cuerdas habituales, los vientos suplementarios y las voces secundarias en ciertos lugares (todas con el sello personal de Sebesky) también están en su lugar. Todo está aquí para que Benson encaje perfectamente en el molde de Montgomery, excepto por una cosa: Benson es un artista de voluntad fuerte. No iba a ninguna parte, no quería ir e insistió en un cierto control sobre la sesión, y todo para mejor. Este es un pequeño álbum lleno de vapor que comienza inocentemente con una melodía de jazz soul llamada "Footin 'It", escrita por Benson y Sebesky. Las flautas y los violoncelos responden a la cabecera de Benson. Las cuerdas caen exóticamente cuando Benson comienza a estirarse y Covington responde con funk. La guitarra de Benson no es tan suave como la de Montgomery, hay un borde definido en él y es un profundo corte. Otro movimiento interesante fue un experimento de Benson para usar el dispositivo Varitone con sobregrabaciones de velocidad variable como las de Les Paul en su guitarra.

Covington, alternativamente, responde y zumba, mientras Davis profundiza en los cambios y  lo mantiene todo simple pero acentuado. Pacheco, como Benson, simplemente se vuelve loco. En el momento en que las cuerdas y la flauta entran cerca del final, tu mente ya estará llena. Barry Mann escribió el corte como tema principal de una película para la adolescentes llamada Wild in the Streets, y fue interpretada por Davie Allan & the Arrows. Benson lo convierte en un sólido número de soul-jazz psicodélico: no se pierden los ritmos ¡se meten bajo la piel!

Este disco deambula desde la revisión radical de "Chattanooga Choo Choo" hasta el  "Don't Let Me Lose This Dream", de Teddy White y Aretha Franklin, un número de soul poco latinizante, aunque  con todo el tratamiento jazzístico; es la única concesión de facsímil que Benson hace a la memoria de Montgomery en el disco. Los enormes arreglos de metales de Sebesky bombean la melodía hacia algo realmente progresivo y ajustado. Covington también se eleva en él, pero deja mucho espacio para el solo de Benson, quien aporta su propio jazzy blues nocturno con "Shape of Things Are Are Were", como si dijera "No soy Wes; eso fue el ayer". La sección de viento madera de Sebesky es contundente y subraya el blues en la melodía, mientras el guitarrista toca un solo asesino de una manera relajada y abierta, seduciendo al oyente para el cerrar. Introducido por una solista solitaria, llena de blues y tocando solo, como si estuviera en un patio de carga, Benson y Sebesky convierten en un rave-up de jazz funky de Boyce & amp; El hit de Hart "Last Train to Clarksville".

Aparte de la línea de melodía demasiado familiar, este corte despega, con grandes y brillantes  metales, Morris sincroniza dos veces la banda, Carter la mide a la mitad y Benson profundiza en los hilos de acordes de múltiples cuerdas y en los de cuerdas simples que duplica con el órgano de Covington a mitad de su descanso, esta es la salida que merece este brillante álbum. Shape of Things to Come es la verdadera señal de llegada de Benson, no solo como un gran solista, sino como un artista que se niega a ser inmovilizado cuatro décadas después. Es una estrella del pop, un genio de la guitarra, un cantante, un compositor, e incluso ahora un hombre hecho a sí mismo. Este es un álbum que merece su estado de "clásico" y lo lleva bien muchos años después.


 George Benson  Tell It Like It Is

1969

Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey, April 29; May 16, 20, 1969:
[A6, B1, B3] April 29, 1969
[A1 to A5] May 16, 1969
[B2, B4, B5] May 20, 1969




Personnel:

Bass – Bob Bushnell (tracks: A1 to A5), Gerry Jemmott (tracks: A1 to A6, B1, B3), Jim Fielder (tracks: B2, B4, B5)
Drums – Leo Morris
Guitar George Benson
Percussion – Angel Allende, Johnny Pacheco, Paul Alicea
Piano – Richard Tee (tracks: A1 to A5, B2, B4, B5), Rodgers Grant (tracks: A6, B1, B3)
Saxophone – Arthur Clarke (tracks: A1 to A5), Bob Porcelli, Hubert Laws (tracks: A6, B1, B3), Jerome Richardson (tracks: A1 to A5, B2, B4, B5), Joe Farrell, Joe Henderson (tracks: B2, B4, B5), Sonny Fortune (tracks: A6, B1, B3)
Trumpet – Lew Soloff



Listado de Temas:



Lp Side A

01 - Soul Limbo - 03:26 min.
Composición de: Jackson, Jones, Dunn, Cropper
Comentario: Soloist [Alto Solo] – Bob Porcelli
Recorded May 16, 1969


02 - Are You Happy¿ - 02:31 min.
Composición de: Butler, Gamble, Bell
Comentario: Recorded May 16, 1969


03 - Tell It Like It Is - 02:58 min.
Composición de: Davis, Diamond
Comentario: Recorded May 16, 1969


04 - Land Of 1000 Dances - 02:51 min.
Composición de: Kenner
Comentario: Recorded May 16, 1969


05 - Jackie, All - 02:17 min.
Composición de: Eumir Deodato
Comentario: Flute – Bob Porcelli, Jerome Richardson, Jerry Dodgion
Recorded May 16, 1969


06 - Dontcha Hear Me Callin' To Ya - 03:22 min.
Composición de: Rudy Stevenson
Comentario: Soloist [Alto Solos] – Sonny Fortune
Recorded April 29, 1969


Lp Side B

07 - Water Brother - 02:13 min.
Composición de: Don Sebesky
Comentario: Soloist [Alto Solos] – Sonny Fortune
Recorded April 29, 1969


08 - My Woman's Good To Me - 03:16 min.
Composición de: Sherrill, Sutton
Comentario: Recorded May 20, 1969


09 - Jama Joe - 03:52 min.
Composición de: George Benson
Comentario: Recorded April 29, 1969


10 - My Cherie Amour - 03:31 min.
Composición de: Cosby, Wonder, May
Comentario: Recorded May 20, 1969


11 - Out In The Cold Again - 02:46 min.
Composición de: Bloom, Koehler
Comentario: Recorded May 20, 1969



11 Temas. Tiempo Total: 00:33:03
flac @ 1018 - 232,00 MB



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Reseñas:

Sello: A&M Records ‎– SP 3020, CTI Records ‎– SP 3020
Formato: Vinyl, LP, Album, Stereo, Gatefold
País: US - Fecha: 1969
Género: Jazz, Funk / Soul – Estilo: Soul

Créditos
Arranged By, Conductor – Marty Sheller
Design [Album] – Sam Antupit
Engineer – Rudy Van Gelder
Photography By [Cover] – Pete Turner
Producer – Creed Taylor


AllMusic Review
by Richard S. Ginell

Tratando de sacudir las cosas, el productor Creed Taylor trajo al arreglista Marty Sheller de la banda afrocubana de Mongo Santamaria, redujo el tamaño de los temas (ninguna pista es más larga que 3:45) elevó los decibelios a un nivel estridente y presentó Benson en lo que él esperaba que fuera un ambiente amigable para la radio. La maravilla es que Benson logra trascender la explosión de la producción con especias de percusión latina y límites de tiempo ajustados con rellenos de guitarra, a menudo brillantemente sabrosos, solos breves en muchos estilos y tres voces pesadas de reverberación. La pista más atractiva, y la más frustrante, es la encantadora "Jackie, All" de Eumir Deodato; George dice la melodía dos veces y justo cuando comienza un hermoso solo ¡los faders bajan a las 2:15. Maldita sea! Vale la pena escucharlo a pesar de los largos cuchillos de producción.



GBB0X02.1907.rar
https://1fichier.com/?kjkulzlcw0u2h8u3qwbw




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