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21 julio 2019

Laura Nyro

Laura Nyro


Laura Nyro (/ ˈnɪəroʊ / NEER-oh; nacida Laura Nigro,  el 18 de octubre de 1947 -fallecida el día  8 de abril de 1997) fue una compositora, cantante y pianista estadounidense. Logró éxito de crítica con sus propias grabaciones, especialmente con los álbumes Eli y The Thirteenth Confession (1968) y New York Tendaberry (1969), y sus composiciones obtuvieron gran éxito comercial en las voces de otros artistas. Su estilo era un híbrido de pop neoyorquino de estilo Brill Building, con influencias jazz, rhythm and blues, rock, pop, soul . . .


A photograph of Laura Nyro, c. 1968

A photograph of Laura Nyro, c. 1968
By Source, Fair use,
https://en.wikipedia.org/w/index.php?curid=22667756


https://en.wikipedia.org/wiki/Laura_Nyro

Entre 1968 y 1970, varios artistas tuvieron éxitos con sus canciones: The 5th Dimension con "Blowing Away", "Wedding Bell Blues", "Stoned Soul Picnic", "Sweet Blindness" y "Save the Country"; Blood, Sweat & Tears y Peter, Paul and Mary, con "And When I Die"; Three Dog Night y Maynard Ferguson, con "Eli's Comin '"; y Barbra Streisand con "Stoney End", "Time and Love" y "Hands off the Man (Flim Flam Man)". El single más vendido de Nyro fue su grabación de "Up on the Roof" de Carole King y Gerry Goffin.

En 2012, Nyro fue incluida póstumamente en el Salón de la Fam del Rock and Roll.

 Laura era de origen judío ruso, judío polaco, con ascendencia italiana de su abuelo paterno. Nyro nació en el Bronx, era hija de Gilda (Mirsky) Nigro y Louis Nigro, un afinador de piano y trompetista de jazz. Laura tenía un hermano menor, Jan Nigro, que ahora es un reconocido músico infantil.

"He creado mi propio pequeño mundo de música, desde mis cinco años", dijo Nyro a la revista Billboard en 1970, agregando que la música le proporcionaba un medio para hacer frente a una infancia difícil: "Nunca fui una niña brillante y feliz". Desde muy pequeña, Laura aprendió piano, leía poesía y escuchaba los discos que su madre tenía de Leontyne Price, Nina Simone, Judy Garland, Billie Holiday y de compositores clásicos, como Debussy o Ravel. Con su familia, pasaba los veranos en Catskills, donde su padre tocaba la trompeta en los centros turísticos. Compuso sus primeras canciones a los ocho años. 
 [. . .]
Mientras estaba en la escuela secundaria, cantaba con un grupo de amigos en estaciones de metro y en las esquinas de la calle. En una ocasión, Laura comentó: "Cuando era adolescente, salía a cantar a una fiesta o a la calle, porque allí habían formaciones de armonías, y esa era una de las alegrías de mi juventud". Y añadió: "Por otro lado, siempre me interesó mostrar los temas de conciencia social en algunas canciones. Mi madre y mi abuelo eran pensadores progresistas, así que me sentí como en casa en los movimientos por la paz y por la no discriminación de las mujeres. Obviamente, todo eso ha influido en mi música".
 [. . .]
A fines de 1996, a Nyro, tal como a su madre antes, le diagnosticaron cáncer de ovario. Después del diagnóstico, Columbia Records, con la participación y aprobación de Nyro, preparó una retrospectiva de 2 Cd's con el material de sus años en el sello. Aún pudo ver en vida el lanzamiento de Stoned Soul Picnic: The Best of Laura Nyro (1997) y, según se dice, quedó muy satisfecha con el resultado.

Fallecería en Danbury, Connecticut, a consecuencia del cáncer de ovario, el 8 de abril de 1997, con 49 años, la misma edad en que la enfermedad se había cobrado la vida de su madre. Sus cenizas fueron enterradas debajo de un arce en los terrenos de su casa en Danbury.
 [. . .]
La influencia de Nyro en músicos populares ha sido ampliamente reconocida por artistas como Joni Mitchell, Carole King, Tori Amos, Patti Smith, Kate Bush, Diamanda Galas, Bette Midler, Rickie Lee Jones, Elton John, Jackson Browne, Alice Cooper, Elvis Costello, Cyndi Lauper, Todd Rundgren, Steely Dan, Sarah Cracknell, Melissa Manchester, Lisa Germano y Rosanne Cash. Cyndi Lauper reconoció que su interpretación de la canción "Walk On By", en su álbum At Last, de 2003 y nominado al Grammy, estuvo inspirada en Nyro. Elton John y Elvis Costello hablaron sobre la influencia de Nyro en ambos durante el estreno del episodio de la entrevista de Costello, Spectacle. Alice Cooper ha mencionado en su programa de radio que Laura Nyro es una de sus compositoras favoritas.  [. . .]
https://en.wikipedia.org/wiki/Laura_Nyro


Laura Nyro - 1968 - Eli And The Thirteenth Confession
[Expanded Edition] 


Fotografía del álbum – Bob Cato



Eli and the Thirteenth Confession es el segundo álbum de la newyorkina cantautora y pianista Laura Nyro, lanzado en 1968

Los cortes #1  a #13 fueron grabadas entre enero y febrero de 1968 y originalmente lanzados en la edición de 1968. Los cortes #14 a #16 fueron grabadas el 29 de noviembre de 1967, y son temas inéditos que fueron mezcladas con nueva ingeniería de sonido y master, efectuados en Sony Music Studios, de New York.

Fotografía del álbum – Bob Cato

Personnel

Laura Nyro - piano, vocal, harmonies
Ralph Casale, Chet Amsterdam - acoustic guitar
Hugh McCracken - electric guitar
Chuck Rainey, Chet Amsterdam - bass
Artie Schroeck - drums, vibes
Buddy Saltzman - drums
Dave Carey - percussion
Bernie Glow, Pat Calello, Ernie Royal - trumpet
George Young, Zoot Sims - saxophone
Wayne Andre, Jimmy Cleveland, Ray DeSio - trombone
Joe Farrell - saxophone, flute
Paul Griffin - piano on "Eli's Comin'" and "Once It Was Alright Now (Farmer Joe)"


Technical
Charlie Calello - producer, arrangements
Roy Segal, Stan Tonkel - engineer




Listado de Temas:

Tracks 1 to 13 recorded January to February, 1968

Cara A

 01 - Luckie - 03:03 min.
Written-By, Composed By – Laura Nyro

 02 - Lu - 02:47 min.
Written-By, Composed By – Laura Nyro

 03 - Sweet Blindness - 02:41 min.
Written-By, Composed By – Laura Nyro 

 04 - Poverty Train - 04:18 min.
Written-By, Composed By – Laura Nyro 

 05 - Lonely Women - 03:36 min.
Written-By, Composed By – Laura Nyro 

 06 - Eli's Comin' - 03:58 min.
Written-By, Composed By – Laura Nyro 

Cara A - 6 Temas
Tiempo Total: 00:20:23


Cara B

 07 - Timer - 03:26 min.
Written-By, Composed By – Laura Nyro 

 08 - Stoned Soul Picnic - 03:50 min.
Written-By, Composed By – Laura Nyro

 09 - Emmie - 04:24 min.
Written-By, Composed By – Laura Nyro

 10 - Woman's Blues - 03:48 min.
Written-By, Composed By – Laura Nyro

 11 - Once It Was Alright Now (Farmer Joe) - 03:01 min.
Written-By, Composed By – Laura Nyro

 12 - December's Boudoir - 05:09 min.
Written-By, Composed By – Laura Nyro

 13 - The Confession - 02:50 min.
Written-By, Composed By – Laura Nyro

Cara B - 7 Temas
Tiempo Total: 00:26:28

2002 reissue bonus tracks
 recorded on November 29, 1967,
and previously unreleased.

 14 - Lu (Demo) - 02:40 min.
Written-By, Composed By – Laura Nyro

 15 - Stoned Soul Picnic (Demo) - 03:40 min.
Written-By, Composed By – Laura Nyro

 16 - Emmie (Demo) - 04:25 min.
Written-By, Composed By – Laura Nyro

Bonus Tracks - 3 Temas
Tiempo Total: 00:10:45



16 Temas - Tiempo Total: 00:57:36
flac @ 893 - 330,94 MB
Rippeado Por: Aldoux
aldouxmusicalbox
https://aldouxmusicalbox.blogspot.com/
https://aldouxisback.blogspot.com/
http://jazzvariations.wordpress.com/




Reseñas:

AllMusic Review
by Richie Unterberger


Nyro llegó a su punto más alto muy pronto, y Eli and the Thirteenth Confession, su segundo álbum, permanece como su mejor trabajo. No es solo porque contiene las versiones originales de no menos de tres canciones que fueron grandes éxitos para otros artistas: "Sweet Blindness"  y "Stoned Soul Picnic" por los 5th Dimension y "Eli's Comin' " por Three Dog Night. Ni siquiera porque esas tres canciones sean tan excepcionales, es porque el álbum en su conjunto resulta extraordinario, con su vigorizante mezcla de soul de ojos azules, pop de Nueva York y cantautora militante. Nyro canta sobre el amor, los inescrutables y enigmáticos demonios románticos. El disco habla sobre borracheras, mujeres solitarias, el deseo sensual junto a una infame alegría de vivir .  . . Los arreglos complementaron magníficamente todo el material con vívidos latidos, voces y coros de contrapunto que se lamentan y el exuberante piano de Laura Nyro.





Eli and the Thirteenth Confession fue remasterizado y reeditado en edición expandida el verano de 2002. Fue producida por Al Quaglieri, con Laura Grover como directora del proyecto. Incluyó tres demos inéditas grabadas el 29 de noviembre de 1967. Nyro, con 20 años de edad, realizó las demos en solitario de "Lu", "Stoned Soul Picnic" y "Emmie" en el piano, y varias otras pistas suyas con voces para añadir armonías. El folleto adjunto en esta edición expandida,  incluye fotografías y detalles de la grabación, así como notas de Rick Petreycik y un recuerdo de Phoebe Snow en la contraportada. La versión remasterizada se publicó junto con la edición expandida.




En agosto de 2011, el álbum fue reeditado en vinilo para audiófilos por la etiqueta "Music on Viny", utilizando audio digital de alta resolución a 96 kHz / 24 bits.

En junio de 2016, Audio Fidelity reeditó el álbum en un Super Audio CD híbrido. Contiene la versión estéreo original en audio digital de alta resolución, así como una mezcla cuadrafónica de 4 canales inédita, que se creó en 1971. Antes de este lanzamiento, solo una pista, "Eli's Comin' ", se había lanzado en un raro LP Columbia Records Sampler.



https://en.wikipedia.org/wiki/Eli_and_the_Thirteenth_Confession 




http://freetexthost.com/syypvyicxy

20 julio 2019

Carla Bley - 1977 - Dinner Music

Carla Bley




Carla Bley - 1977 - Dinner Music


Grabado de julio a septiembre y mezclado en octubre de 1976
en Grog Kill Studio, Willow, Nueva York

  


Músicos

Roswell Rudd: trombón
Carlos Ward: saxofón alto / tenor, flauta
Michael Mantler: trompeta
Bob Stewart: tuba
Richard Tee: piano, piano eléctrico
Eric Gale: guitarra (en 2,4,6)
Cornell Dupree: guitarra (en 1,7)
Carla Bley: órgano, piano (introducción en 1), voz (en 4) piano y saxofón tenor (en 6)
Gordon Edwards: bajo
Steve Gadd: batería




Todas las composiciones de Carla Bley, excepto
* "Dining Alone" John Hunt y Carla Bley
* "Funnybird Song" Carla Bley y Paul Haines

Producción de Carla Bley y George James
Productor ejecutivo: Michael Mantler
Diseño de fotografía y álbum: Paul McDonough
Arte de portada: Jean Brousseau



Listado de Temas:



 01 - Sing Me Softly of the Blues - 07:42 min.
Autora: Carla Bley 
Comentario: con Cornell Dupree, Gordon Edwards, Steve Gadd, Michael Mantler, Roswell Rudd, Bob Stewart, Richard Tee, Carlos Ward


 02 - Dreams So Real - 05:35 min.
Autora: Carla Bley
Comentario: con Gordon Edwards, Steve Gadd, Eric Gale, Michael Mantler, Roswell Rudd, Bob Stewart, Richard Tee, Carlos Ward


 03 - Ad Infinitum - 05:52 min.
Autora: Carla Bley
Comentario: con Gordon Edwards, Steve Gadd, Michael Mantler, Roswell Rudd, Bob Stewart, Richard Tee, Carlos Ward


 04 - Dining Alone - 04:33 min.
Autores: Carla Bley, John Hunt
Comentario: con Gordon Edwards, Steve Gadd, Eric Gale, Michael Mantler, Roswell Rudd, Bob Stewart, Richard Tee, Carlos Ward


 05 - Song Sung Long - 06:02 min.
Autora: Carla Bley 
 Comentario: con Gordon Edwards, Steve Gadd, Michael Mantler, Roswell Rudd, Bob Stewart, Richard Tee, Carlos Ward


 06 - Ida Lupino - 07:57 min.
Autora: Carla Bley
Comentario: con Gordon Edwards, Steve Gadd, Eric Gale, Michael Mantler, Roswell Rudd, Bob Stewart, Richard Tee, Carlos Ward


 07 - Funnybird Song - 03:04 min.
Autores: Carla Bley, Paul Haines
Comentario: con Cornell Dupree, Gordon Edwards, Steve Gadd, Michael Mantler, Roswell Rudd, Bob Stewart, Richard Tee, Carlos Ward


 08 - A New Hymn - 07:25 min.
Autora: Carla Bley
Comentario: con Gordon Edwards, Steve Gadd, Michael Mantler, Roswell Rudd, Bob Stewart, Richard Tee, Carlos Ward



8 Temas. Tiempo Total: 00:48:10
flac @ 737 - 245.30 MB
RipPor ¿?¿? ¿?¿? ¿?¿? ¿?¿?
(thanks a lot and best regards)


1PocodMusica
https://1PocodMusica.com/





Reseñas:

Duration 48:14
Género Jazz - Estilos Post-Bop, Experimental Big Band
Grabado en Grog Kill Studio, Willow NY
Publicado en el año1977
Editor  - Miroslav Černý
Diseño, Portada - Aleš Svoboda
Coproductor - George James
Notas - Antonín Matzner
Fotografía de, Diseño [Álbum] - Paul McDonough






Publicado el 17 oct. 2008
OrchestraJazz
https://youtu.be/WEZlRaeyrwA

Orchestra Jazz della Sardegna
con Carla Bley, Steve Swallow, Andy Sheppard - ("Dinner music" - Abno JazzOp 2006)

Carla Bley: piano, directora, arr / comp.
G. Agostino Frassetto: flauta, hammond B3
Luca Lanza: saxo soprano, flauta
Massimo Carboni, Dante Casu: saxo alto
Andy Sheppard, Teodoro Ruzzettu: saxo tenor
Marco Maiore: saxo barítono
Raffaele Polcino, Enrica Palla, Luca Uras, Pietro Pilo, Giovanni Sanna Passino: trompeta
Gavino Mele, Roberto Chelo: trompa
Salvatore Moraccini, Emiliano Desole: trombón
Maurizio Ligas: trombón bajo
Mariano Tedde: hammond B3
Roberto Tola: guitarra
Steve Swallow: bajo
Luca Piana: batería
Sebastiano Pacifico: percusión 


Wikipedia

Dinner Music es un álbum de la compositora, líder de orquesta y teclista estadounidense Carla Bley, grabado en 1976 y lanzado en 1977 por el sello Watt / ECM.

La reseña de Michael G. Nastos en Allmusic otorgó al álbum 4½ estrellas sobre 5,  y el escueto comentario fue "Primera excursión en un sendero funky, ejecutado de manera impecable. Casi esencial"
En The Penguin Guide to Jazz, fue galardonado con 3 estrellas.





Fuentes Consultadas:
Allmusic
https://www.allmusic.com/album/dinner-music-mw0000199506
Discogs
https://www.discogs.com/de/Carla-Bley-Dinner-Music/release/366549
Wikipedia
https://en.wikipedia.org/wiki/Dinner_Music
Sudo3
http://sudo.3.pro.tok2.com/Quest/cards/C/CarlaBley/DinnerMusic_x.html





Pass
1PocodMusica

CB77DM.1907.rar
https://1fichier.com/?segdxi2n5rwanb3u7ksx


19 julio 2019

Betty Carter BC.02.bis

Betty Carter

https://commons.wikimedia.org/w/index.php?curid=4150632
Jazz singer Betty Carter in
Lucerna Hall, Prague, 25 october 1986
De Gampe - Trabajo propio, CC0,
https://commons.wikimedia.org/w/index.php?curid=4150632
https://en.wikipedia.org/wiki/Betty_Carter


Carmen McRae & Betty Carter

1987 - 1996

Duets, Live at the Great American Music Hall
 The Carmen MCrae Betty Carter Duets




Recorded January 30 - February 1, 1987,
at the Great American Music Hall, San Francisco, CA
Released 1987
Length 61:33 (re-issue)
Genre Vocal jazzLabel American Music Hall Records
Producer Tom Bradshaw

Official cover (1987)

Official cover (1987)

Carmen McRae Betty Carter Duets 01 - Fair use,
https://en.wikipedia.org/w/index.php?curid=4061235


Alternative cover (1996 Verve reissue)

Cover of the 1996 Verve reissue
Carmen McRae Betty Carter Duets 02 Reissue - Fair use,
https://en.wikipedia.org/w/index.php?curid=10959329

Personnel

Betty Carter - vocals
Carmen McRae - vocals, piano
Eric Gunnison - piano
Jim Hughart - double bass
Winard Harper - drums




Listado de Temas:


01 - What's New? - 04:22 min.
Composición de: Johnny Burke, Bob Haggart
Comentario: 


02 - Stolen Moments - 03:39 min.
Composición de: Oliver Nelson
Comentario: 


03 - But Beautiful - 05:55 min.
Composición de: Burke, Jimmy Van Heusen
Comentario: 


04 - Am I Blue? - 06:46 min.
Composición de: Harry Akst, Grant Clarke
Comentario: 


05 - Glad To Be Unhappy / where Or When - 05:34 min.
Composición de: Richard Rodgers, Lorenz Hart / Rodgers, Hart
Comentario: 


06 - Sometimes I'm Happy - 07:56 min.
Composición de: Irving Caesar, Clifford Grey, Vincent Youmans
Comentario: 


07 - Isn't It Romantic? - 02:58 min.
Composición de: Rodgers, Hart
Comentario: 


08 - Sophisticated Lady - 03:36 min.
Composición de: Duke Ellington, Irving Mills, Mitchell Parish
Comentario: 


09 - It Don't Mean A Thing (If It Ain't Got That Swing) - 06:13 min.
Composición de: Ellington, Mills
Comentario: 


 Bonus Tracks ( #10  to #12, Verve Reed. 1996)


10 - I Hear Music (Carmen McRae) - 02:52 min.
Composición de: Burton Lane, Frank Loesser
Comentario: not included on original LP release.


11 - Love Dance (Carmen McRae) - 08:08 min.
Composición de: Ivan Lins, Vitor Martins, Paul Williams
Comentario: not included on original LP release.



12 - That Old Devil Moon (Carmen McRae) - 03:49 min.
Composición de: Yip Harburg, Lane
Comentario: not included on original LP release.



12 Temas. Tiempo Total: 01:01:48
flac @ 669 - 286,63 MB
RipPor: Areafiles.org





Reseñas:

https://en.wikipedia.org/wiki/The_Carmen_McRae_%E2%80%93_Betty_Carter_Duets

The Carmen McRae-Betty Carter Duets es un álbum en vivo de dúos de las cantantes de jazz estadounidenses Betty Carter y Carmen McRae, lanzado en 1987 por American Music Hall Records. Fue reeditado en 1996 por Verve bajo el título Duets: Live at the Great American Music Hall, con tres temas inéditos de McRae sola.


AllMusic Review
https://www.allmusic.com/album/the-duets-live-at-the-great-american-music-hall-san-francisco-mw0000179715
by Scott Yanow


Este proyecto es un enfrentamiento inusual entre dos vocalistas muy individuales, y eso generalmente funciona. Es como si ahora, alguien hubiera unido a Ella Fitzgerald y Sarah Vaughan para un álbum completo.

En estas sesiones, tanto Carmen McRae como Betty Carter muestran mucho y muy buen humor en sus dúos, haciendo chistes ocasionales y, a menudo, improvisando de forma espontánea. Con el apoyo adecuado del pianista Eric Gunnison, el bajista Jim Hughart y el baterista Winard Harper, junto a una audiencia muy entusiasta en el Great American Music Hall de San Francisco, Carter generalmente obtiene los honores vocales, mientras que McRae presenta las líneas más humorísticas. Algunos de los temas son desiguales, pero este encuentro es en general bastante exitoso. La reedición en Cd agrega tres selecciones inéditas que cuentan con McRae sin Carter. 






Betty Carter  Feed The Fire
1994 




Recording Date October 30, 1993
At The Royal Festival Hall, London, England
Release Date October 30, 1993
Duration   01:13:07
Genre Vocal, Jazz - Styles Bop, Vocal Jazz

Personnel in Performance

Betty Carter - vocals, executive producer
Geri Allen - piano
Dave Holland - double bass
Jack DeJohnette – drums

Personnel in  Production

Patricia Lie - art direction
James Birtwhistle - engineer
McDavid Hendersen - illustrations
Rich Cook - liner notes
Andrew Pothecary - photography
Camille Tominaro - post production coordinator
Richard Seidel - producer
Ben Mundy - product manager





Listado de Temas:



01 - Feed The Fire - 11:20 min.
Composición de: Geri Allen


02 - Love Notes - 07:10 min.
Composición de: Betty Carter, Mark Zubek


03 - Sometimes I'm Happy - 03:33 min.
Composición de: Irving Caesar, Clifford Grey, Vincent Youmans


04 - Lover Man (Oh Where Can You Be?) - 09:13 min.
Composición de: Jimmy Davis, Ram Ramirez, Jimmy Sherman


05 - I'm All Smiles - 05:25 min.
Composición de: Michael Leonard, Herbert Martin 


06 - If I Should Lose You - 06:24 min.
Composición de: Ralph Rainger, Leo Robin 


07 - All Or Nothing At All - 08:11 min.
Composición de: Arthur Altman, Jack Lawrence


08 - What Is This Tune? - 07:19 min.
Composición de: Betty Carter, Jack DeJohnette


09 - Day Dream - 12:08 min.
Composición de: Duke Ellington, John Latouche, Billy Strayhorn


10 - B's Blues - 02:21 min.
Composición de: Betty Carter




10 Temas. Tiempo Total: 01:13:04
flac @ 749 - 378,82 MB
RipPor: Demonoid
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Reseñas:

https://en.wikipedia.org/wiki/Feed_the_Fire_(Betty_Carter_album)

https://wiki2.org/en/Feed_the_Fire_(Betty_Carter_album)

Feed the Fire es un álbum en vivo de 1994 de la cantante de jazz estadounidense Betty Carter. Fue grabado en el Royal Festival Hall de Londres durante la gira europea de Carter. Fue el primer álbum en vivo de la artista desde Droppin' Things, de 1990, y su único disco grabado fuera de los Estados Unidos.

Carter, quien trabajó predominantemente con jóvenes músicos en esta etapa de su carrera, estuvo acompañada por un trío estable formado por la pianista y profesora de música Geri Allen, el bajista Dave Holland y el baterista Jack DeJohnette. El trío se reuniría un año más tarde con la Carter para una actuación en el Festival de Jazz de San Francisco, y después de la muerte de Betty, para el álbum de Allen de 2004, The Life of a Song.

El audio del concierto fue grabado por la BBC, y registraron 105 minutos. Carter solo eligió lanzar diez de las catorce melodías interpretadas, de modo que en el lanzamiento del disco del concierto solamente aparece una hora, escasa, de música.




Recepción

En su reseña en Allmusic.com, Daniel Gioffre le dio al álbum dos estrellas y media de cinco. Gioffre elogió a los acompañantes de Carter, describiendo "... ... infalible sentido de la melodía y el tono", de Jack DeJohnette como "... nada menos que explosivo, puntuando las declaraciones en solitario de sus compañeros de banda con poderosas ráfagas" y comparó a Geri Allen con su colega el pianista Keith Jarrett, alabando su solo en "Love Notes". Gioffre escribió que Carter en "... las improvisaciones vocales están a la par de cualquier instrumentista", y la describió "... bailando alrededor de la música con frases impecables, bajando en su registro musical" en "Lover Man" como ". . . embriagadora, hipnotizante". Aunque Gioffre se reservó la parte más crítica para la duración de algunas pistas y porque la "... calidad de la música en sí tiende a divagar un poco".

La revista New York Magazine describió el álbum como "un discurso en vivo con voces de jazz" y a Betty Carter como "probablemente, la cantante de jazz más ágil del mundo".



AllMusic Review
by Daniel Gioffre

Tomado de una actuación en vivo de 1993 en Londres, Feed the Fire es un álbum lleno de sorpresas. Betty Carter es conocida por su práctica de presentar nuevos y prometedores músicos en sus bandas, pero en esta grabación su acompañamiento es un trío de talento ya establecido y de clase mundial: Geri Allen, Dave Holland y Jack DeJohnette. Dave Holland demuestra por qué es uno de los mejores bajistas vivos con su infalible sentido de la melodía y el tono. Jack DeJohnette, un reconocido maestro de las baquetas a lo largo de 30 años, es nada menos que explosivo y acentúa las declaraciones en solitario de sus compañeros de banda con poderosas ráfagas. El toque de Allen recuerda a Keith Jarrett a veces, como en su excelente solo en "Love Notes". Aunque la Carter comparte el protagonismo de manera desinteresada, sus propias contribuciones son claramente el punto focal de Feed the Fire. En la fantástica canción que presta título, Allen establece una figura rítmica muy filtrada y perfectamente cosida por Holland y DeJohnette. Luego entra Carter, abriéndose camino a través de cambios, evitando cantar en el sentido más previsible y tradicional. Sus improvisaciones vocales están a la par de cualquier instrumentista, lo cual es una afirmación que no se puede hacer acerca de muchos cantantes. En baladas, como la exquisita "Lover Man", Carter se eleva, acariciando la melodía con un toque de satén, bailando alrededor de la música con frases impecables y fluyendo con los bajos de su registro vocal. Es algo embriagador, hipnotizante. Feed the Fire es un álbum muy interesante y con multitud de maravillosos momentos, como las figuras ascendentes al unísono de "Sometimes I'm Happy" o el dúo Carter  DeJohnette de "What Is This Tune?" Sin embargo, no es perfecto, y tiende a ser árduo hacia el final. Las pistas duran demasiado tiempo, y, por más maravilloso que sea el canto de Carter, y a pesar de lo convincente que es escuchar la interacción de estos cuatro grandes músicos, la calidad de la música en sí tiende a divagar un poco. A pesar de ello, es un álbum fuerte, vale la pena tenerlo.



http://freetexthost.com/65llooodb4




18 julio 2019

Vidal y el Fillmore

Tengo un amigo que, 

cuando se encuentra adormecido, siempre comenta:
"Mi hermana vino a verme después de 10 años, y me trajo una cuerda larga. Pa' ir tirando dijo, así que, vamos a darle Rock'N Roll" y se planta el "Performance Rockin' The Fillmore" a todo volumen (¡ahora no hay que darle la vuelta ni cambiar el Lp!)

Agradecido a la Vida por Vidal, y a Aldoux (http://aldouxmusicalbox.blogspot.com) por su ripeo,
me dispongo a seguir molestando a los vecinos a esta tan española hora de comer.
¡Buen provecho, buenas tardes y feliz siesta a todos!


Publicity photo - Humble Pie.

Publicity photo of the music group Humble Pie.
De Premier Talent Associates (management)
 eBay itemphoto frontphoto back, Dominio público,
ttps://commons.wikimedia.org/w/index.php?curid=16893262


Humble Pie - 1971 - Performance,  Rockin' The Fillmore

[Japan Mini LP]



Live recording by FEDCO
Re-mixed at Electric Lady Studios, New York City
Release Date November, 1971

Fe de erratas:
SONGWRITING CREDITS. On track A2, back album cover credits "Humble Pie; Words by Willie Dixon" but label credits only Willie Dixon. On track A2 back album cover credits "Humble Pie" but label credits each member individually. On track C, back album album cover correctly credits "Waters" but label erroneously credits Chester Burnett.


Credits

Steve Marriott : guitar, vocals, harmonica
Peter Frampton : guitar, vocals
Greg Ridley : bass, vocals
Jerry Shirley : drums


Live Recording by Fedco Audio Labs
Engineer : Eddie Kramer
Assistant Engineer : David Palmer
Re-mixed at Electric Lady Studios, New York
Engineer : Eddie Kramer
Ably assisted by John Jansen, Andy Edlen, Buzzy and Tom
Produced by The Pie



Youtube, "I Don't Need No Doctor"


Listado de temas:


Lp Side A

 01 - Four Day Creep - 03:46 min. 
Written-By – Ida Cox


 02 - I'm Ready - 08:30 min. 
Lyrics By – Willie Dixon
Written-By – Humble Pie


 03 - Stone Cold Fever -  06:21 min. 
Written-By – Ridley, Shirley, Frampton, Marriott


Lp Side B

 04 - I Walk On Gilded Splinters -  23:27 min. 
Written-By – Dr. John Creaux


Lp Side C

 05 - Rolling Stone - 16:10 min. 
Arranged By – Humble Pie
Written-By – Waters


Lp Side D

 06 - Hallelujah (I Love Her So) - 05:07 min. 
Written-By – Ray Charles


 07 - I Don't Need No Doctor -  09:17 min. 
Written-By – J. Armstead, N. Ashford, V. Simpson



2 Lp's, 1 Cd, 7 Temas - Tiempo Total: 01:12:38 
flac @ 933
Rippeado Por: Aldoux
http://aldouxmusicalbox.blogspot.com

Notas

 Aldoux en http://aldouxmusicalbox.blogspot.com
Problemas al leer el track #7 del CD con Exact Audio Copy me forzaron a hacer el rip con otra herramienta. Utilicé BonkEnc Audio Encoder v1.0.14 en formato Flac, se generó un Cue Sheet para quemar a CD y una lista de reproducción m3u. Si alguno considera que el presente rip no tiene la calidad mínima adecuada le agradezco hacérmelo saber...
Troubles while reading CD track #7 with Exact Audio Copy have forced to rip with an alternative tool. I used BonkEnc Audio Encoder v1.0.14 in Flac format, a Cue Sheet for burning purposes and a m3u list were generated. If anybody thinks that this rip doesn't meet the minimal standards please let me know...



Catalog number appears as SP 3506 on spine,
back cover and side 1 and side 2 labels. Appears as SP-3506 on side 3 and side 4 labels.

November 9, 2013

https://www.allaboutjazz.com/humble-pie-performance-rockin-the-fillmore-by-doug-collette.php

By DOUG COLLETTE
Humble Pie's Performance: Rockin' the Fillmore: The Complete Recordings will only solidify the British quartet's position as the point of convergence for the major strains of British rock of the Sixties and Seventies. The four- disc box set documenting their two night four-show run at the late Bill Graham's historic New York venue confirms The Pie as the nexus of the British beat group movement initiated by The Beatles, the English blues campaign that evolved from that movement and the heavy rock style that predated metal. 

To say these recordings capture Humble Pie in their natural element is an understatement, but nevertheless in keeping with the original concept of a lineup dubbed a supergroup when the four men agreed to bond in late 1968. Guitarist Peter Frampton had achieved some celebrity with a teenybopper group called The Herd, but was anxious to be taken seriously as a musician, so his alliance with vocalist/guitarist Steve Marriott seemed perfectly natural: the latter had tasted his share of success in the pop market with The Small Faces, who subsequently struggled to evolve artistically from their commercial base. Bassist Greg Ridley had much less of a name than that pair, but his musicianship and singing voice had distinguished Spooky Tooth whose hard rock roots grew in a progressive direction, their number including keyboardist Gary Wright, who wrought mega-success later in the decade with The Dream Weaver, (Warner Bros., 1975). Drummer Jerry Shirley could rightly be deemed the anonymous odd man out, except that the pedigree of his bandmates meant little in the United States. 

The earliest Humble Pie recordings mixed folk-rock textures with r&b proclivities Marriott favored, so their initial concerts featured the group playing acoustic sets before they offered electric rock. The impact of the latter element convinced their manager at the time, Dee Anthony, to dictate the group record a live album as a means of consolidating the following Pie had built by constant touring in America: as such Performance: Rockin' the Fillmore (A&M, 1971), in its original double vinyl LP format, was one of the seminal releases of its kind, following closely the groundbreaking likes of The Allman Brothers Band's At Fillmore East (Capricorn, 1971). 




As the only surviving members of Humble Pie, Frampton and Shirley oversaw this project in its exhumation of all four concerts as originally recorded by Eddie Kramer, who was known in his own right by 1971 having worked side-by-side with Jimi Hendrix (his Electric Lady studios was the site of the original mixing). Each show in this set is contained in full, virtually unedited as it happened and, unlike many live albums to come, features no overdubbing to either polish or correct the playing and singing. 

Humble Pie's setlist is almost but not quite identical for each performance, the half-dozen staples of their repertoire, most notably Mac Rebennack's "I Walk On Gilded Splinters," nevertheless open-ended enough to allow the two guitarists room to solo, harmonize in tandem and engage in call and response. Meanwhile, the rhythm section dug into grooves like the one at the bottom of "Four Day Creep," imperceptibly but noticeably generating suspense via a tension and release approach made even more dynamic by Marriott's lead vocals as well as his harp playing. For a diminutive man with a giant voice, he remained largely restrained and likewise, instead of the self-indulgence that marred live rock later in the decade, there's genuine drama within the musicianship here: derived from carefully-devised and executed dynamics, each set is populated with subtle teases defining the concept "from a whisper to a scream" (and back again). 

At approximately thirty-minutes in duration, the aforementioned Dr. John tune is the centerpiece of each of these Humble Pie shows, surrounded by the band's reworkings of songs written by blues icons Muddy Waters ("Rolling Stone"), Willie Dixon ("I'm Ready") and Ray Charles ("Hallelujah (I Love Her So)". As with the latter, a bonecrushing guitar riff forms a foundation upon which Marriott, Ridley and Frampton take turns singing in their distinctly different tones, while the solo sections generally feature the latter offering fluid jazz-tinged guitar, keening with more melody than pyrotechnical flash. Humble Pie blended intelligence and emotion with such combustible results, the Fillmore East audiences came for the group (who were second on a triple bill) and called for encores with the same joyful relish with which the group itself performed its roughly hour-long concerts. 

Humble Pie transform Nick Ashford and Valerie Simpson's well-crafted Motown number "I Don't Need No Doctor" into an exercise in cacophony, as raucous a workout in its own way as the group's original "Stone Cold Fever;" both riff-based numbers find the band bouncing through the chord progressions, largely because no matter how hard he pummeled his drums, Jerry Shirley swung. With Ridley confining himself to lower registers, the notes he plays fuse with Shirley's drumwork, rendering the guitars distinct even at the mostly high-volume, but it's nevertheless a tribute to Bob Ludwig's mastering of Ashley Shepherd's remix on Kramer's forty-year plus recordings that so much of the ambience remains from this mecca of rock venues (which would close its doors about a month later). Their technical work on this box set proves a truly booming sound can resonate with clarity . 

As so carefully recounted in Tim Cohan's accompanying essay, Peter Frampton had departed the band by the time Rockin' the Fillmore was released, going on to a solo career notable for its own similarly-conceived concert pinnacle in the form of Frampton Comes Alive (A&M, 1976). Yet his fond remembrances of shared experiences combine with Shirley's, their comments chiming with comparably enthusiastic praise for their departed bandmates, thus elevating their membership in Humble Pie to its proper perspective in their respective timelines. Likewise, Performance The Complete Recordings cements a similarly esteemed placement for the band in rock history at large.


DiscoGs

Title: Humble Pie: Performance - Rockin' the Fillmore
Year Released: 2013
Record Label: Omnivore Records




Catalog number appears as SP 3506 on spine, back cover and side 1 and side 2 labels. Appears as SP-3506 on side 3 and side 4 labels.

Live recording by FEDCO
Re-mixed at Electric Lady Studios, New York City

A1 published by Ryerson Music Publishers, Inc. BMI
A2, A3 published by Unart Music Corp. BMI
B published by Marzique Music BMI
C published by Arc Music Corp. BMI
D1 published by Hill & Range Songs, Inc. BMI
D2 published by Renleigh Music, Inc./Baby Monica Music, Inc. BMI

SONGWRITING CREDITS - On track A2, back album cover credits "Humble Pie; Words by Willie Dixon" but label credits only Willie Dixon. On track A2 back album cover credits "Humble Pie" but label credits each member individually. On track C, back album album cover correctly credits "Waters" but label erroneously credits Chester Burnett.

AllMusic Review
by Stephen Thomas Erlewine

Recorded while Peter Frampton was still in the band, Performance: Rockin' the Fillmore captures an early performance by Humble Pie where Steve Marriot's lyricism and ideas where balanced by Frampton's searing lead guitar. This is hardly as engaging as As Safe Yesterday Is, which had studiocraft along with songcraft, but as a document of a band at a pivotal point in their existence, this is valuable and at times insightful.


http://freetexthost.com/gyafi6g1yw

17 julio 2019

Betty Carter BC.01.bis

Betty Carter


https://commons.wikimedia.org/w/index.php?curid=4150632
Jazz singer Betty Carter in
Lucerna Hall, Prague, 25 october 1986
De Gampe - Trabajo propio, CC0,
https://commons.wikimedia.org/w/index.php?curid=4150632


https://en.wikipedia.org/wiki/Betty_Carter

Lorraine Carter (Flint, 16 de mayo de 1929 - Brooklyn, 26 de septiembre de 1998), cantante estadounidense de jazz. Se trata probablemente de la vocalista más innovadora de la historia del jazz, vinculada casi permanentemente a la vanguardia jazzística y con una tendencia constante a la improvisación y a la transgresión de los límites armónicos y melódicos de las canciones.

Información personal
Nacimiento 16 de mayo de ¿? 1929 o de 1930 ¿?,
en Flint (Estados Unidos)
Fallecimiento 26 de septiembre de 1998, en Brooklyn (Estados Unidos) Causa Cáncer de páncreas
Nacionalidad Estadounidense
Información profesional
Ocupación: Compositora, cantautora, música y cantante de jazz 
Área Composición e interpretación musical
Años activa desde 1948
Género Jazz  - Instrumento Piano y voz
Discográficas Peacock Records, ABC Records, Columbia Records
Distinciones Medalla Nacional de las Artes (1997) 


Vocalist Betty Carter performing at the
Pori Jazz Festival in Finland, July 1978.
By Kotivalo - Own work, CC BY-SA 3.0,
https://commons.wikimedia.org/w/index.php?curid=22547717


Sitio web
http://bettycarter.org/
Fuentes a consultar
https://commons.wikimedia.org/wiki/Category:Betty_Carter
https://musicbrainz.org/artist/ce407e9f-de68-4c8e-b966-43a1b335619


Betty Carter   I'm Yours, You're Mine

1996







Recording Date January 14, 1996 - January 25, 1996
At Power Station, NY

Personnel

Betty Carter – vocals, producer
Mark Shim – tenor saxophone
Andre Hayward – trombone
Xavier Davis – piano
Curtis Lundy – double bass
Matt Hughes
Gregory Hutchinson – drums



Listado de Temas:



 01 - This time - 07:57 min.
Autor: Jule Styne 

 02 - I'm yours, you're mine - 09:42 min.
Autor: Betty Carter, Curtis Lundy 

 03 - Lonely house - 06:30 min.
Autor: Langston Hughes, Kurt Weill 

 04 - Close your eyes - 07:46 min.
Autor: Bernice Petkere 

 05 - Useless landscape - 07:20 min.
Autor: Ray Gilbert, Antônio Carlos Jobim, Aloysio de Oliveira 

 06 - East of the sun - 04:52 min.
Autor: Brooks Bowman 

 07 - September song - 10:19 min.
Autor: Maxwell Anderson, Kurt Weill 



7 Temas. Tiempo Total: 00:54:26
flac @ 796 - 308.04 MB



Betty Carter at the Great American Music Hall,
San Francisco, California, 1979.
By Brianmcmillen - Own work, CC BY-SA 3.0,
https://commons.wikimedia.org/w/index.php?curid=11431805

Release Date 1996
Duration 53:56

Production
Joe Ferla – engineer
Rory Romano – assistant engineer
Ted Wohlsen
Greg Calbi – mastering
Anthony Barboza – photographer


I'm Yours, You're Mine es un álbum de estudio de 1997 de la cantante de jazz estadounidense Betty Carter. Grabado en enero de 1996, fue el último álbum que Carter grabó antes de su fallecimiento en febrero de 1998, y alcanzó los 25 puntos en la lista de álbumes de Billboard Top Jazz.

La canción del título, escrita por Carter y el bajista Curtis Lundy consiste en vocablos "scat", hasta el final de la melodía, donde Carter cita las líneas finales de la canción "What's New?"

Recepción

Allmusic.com otorgó al disco, cuatro de sus cinco estrellas, pero no reseñó el álbum. Billboard revisó positivamente el álbum tras su lanzamiento, describiéndolo como un "conjunto tonificado y malhumorado evocador" y agregó que "la voz de Carter demuestra que puede convertir frases en meditación sin palabras como ninguna otra, suavemente tímida y encantadora".

Howard Reich, escribió en el Chicago Tribune que "Sin duda, el canto de Betty Carter es un gusto adquirido, y para aquellos que ya lo han hecho, es una artista excepcionalmente atractiva. Las líneas alargadas, los colores exóticos y los ornamentos inusuales que trae a cada corte en esta grabación . . . atestiguan la naturaleza singular del canto de la Carter ".

Escribiendo para All About Jazz, Tom Storer describió las canciones de I'm Yours, You're Mine como "tratamientos típicos de Carter ... de alguna manera logran ser exuberantes y magros. No puedo o no estoy dispuesto a probar los explosivos contrastes dinámicos y tempos diabólicos que una vez fueron su fuerte, ella ha simplificado su fraseo, tomando su forma lúdica con trucos rítmicos a un nivel más tranquilo y demostrando una vez más su falta de voluntad para cantar las melodías estándar de cualquiera, excepto las suyas". Storer reservó la parte más crítica para el canto de Carter de las originales letras brasileñas de "Useless Landscape". Storer concluyó su reseña describiendo la versión de Carter de "What's New?" como "diferente, sorprendentemente conmovedora, pero completamente vacío de sentimentalismos. Eso es Betty para ti".









Ray Charles And Betty Carter

 - 1961 -

Recorded at United Studios,
Hollywood, on June 13–14, 1961
Original release: LP-385, ABC-Paramount, 1961

Notas
Tracks #1 to #12 recorded June 13, 14, 1961 in Hollywood, Ca. and originally released by ABC Paramount (ACB-385 & ABCS-385)

Tracks #13 to #15 are reissue bonus tracks:
B5 recorded 1961
B6 recorded 1964
B7 recorded 1966




Personnel

Betty Carter - vocals
Ray Charles - vocals, keyboards

Hank Crawford - alto saxophone
David Fathead Newman - tenor saxophone
Leroy Cooper - baritone saxophone
Bill Pitman - guitar
Edgar Willis - bass guitar
Mel Lewis, Bruno Carr - drums
The Jack Halloran Singers - background vocals
Marty Paich - arranger, conductor
Sid Feller - producer


Listado de Temas:





Lp Side A


01 - Ev'ry Time We Say Goodbye - 04:40 min.
Composición de: Cole Porter 
Comentario:  


02 - You and I - 03:28 min.
Composición de: Meredith Wilson 
Comentario:  


03 - Intro: Goodbye/We'll Be Together Again - 03:22 min.
Composición de: Carl Fischer & Frankie Laine/Gordon Jenkins 
Comentario:  


04 - People Will Say We're in Love - 02:53 min.
Composición de: Richard Rodgers and Oscar Hammerstein II 
Comentario: 


05 - Cocktails for Two - 03:16 min.
Composición de: Sam Coslow and Arthur Johnston 
Comentario:  


06 - Side by Side - 02:24 min.
Composición de: Harry Woods 
Comentario:  


07 - Baby, It's Cold Outside - 04:13 min.
Composición de: Frank Loesser 
Comentario:  


08 - Together - 01:36 min.
Composición de: Buddy DeSylva, Lew Brown & Ray Henderson 
Comentario:  


Lp Side B


09 - For All We Know - 03:45 min.
Composición de: J. Fred Coots & Sam Lewis 
Comentario:  


10 - Takes Two to Tango - 03:24 min.
Composición de: Al Hoffman & Dick Manning 
Comentario:  


11 - Alone Together - 04:47 min.
Composición de: Howard Deitz & Arthur Schwartz 
Comentario: 


12 - Just You, Just Me - 02:00 min.
Composición de: Ray Klages & Jesse Greer 
Comentario:


Bonus Tracks

13 - But On The Other Hand Baby (1988 Cd/Lp Re-Issue) - 03:15 min.
Composición de: P. Mayfield, R. Charles 
Comentario: Bonus Track Recorded 1961


14 - I Never See Maggie Alone (1988 Cd/Lp Re-Issue) - 05:40 min.
Composición de: E. Lynton, H. Tilsley 
Comentario: Bonus Track Recorded 1964


15 - I Like To Hear It Sometime (1988 Cd/Lp Re-Issue) - 02:51 min.
Composición de: Joe Edwards 
Comentario: Bonus Track Recorded 1966 



15 Temas. Tiempo Total: 00:51:34
mp3 @ 320 - 121,45 MB
RipPor: Demonoid.com



Reseñas:

Wiki
https://en.wikipedia.org/wiki/Ray_Charles_and_Betty_Carter 


Ray Charles y Betty Carter es un álbum de 1961 de esa misma pareja de artistas. La grabación de "Baby, It's Cold Outside" del Lp alcanzó lo más alto de las listas de R&B. La reedición de CD / LP de 1988 incluyó tres pistas adicionales y la reedición de Rhino Records de 1998 combinó, en un solo CD, los originales Ray Charles y Betty Carter con el título de Dedicated to You.



AllMusic Review
by Richard S. Ginell


Este emparejamiento de dos vocalistas totalmente idiosincrásicos adquirió un estatus legendario a lo largo de las décadas en que estuvo descatalogado. Pero la prueba es la escucha y, francamente, no representa el mejor trabajo del artista. Ciertamente hay una relación poderosa, a menudo sexy, entre los dos: Charles en su modo de baladita dulce y Carter con su registro agudo y único a la deriva, definitivamente crean chispas en la justamente famosa versión de "Baby, It's Cold Outside". " El problema principal está en los arreglos de cuerdas y coros de Marty Paich, que con demasiada frecuencia cruzan la línea hasta el meollo, mientras que sus arreglos para big band son mucho más fáciles de escuchar. Por otra parte, la dulzura de Charles también puede ser un poco empalagosa, aunque algunos de los viejos detalles aparecen en "Takes Two to Tango". [Algunas reediciones incluyen "But on the Other Hand Baby", la rara y gran cara B del single de "Unchain My Heart", y dos cortes excelentes, si bien no están relacionados, "I Never See Maggie Alone" (1964) y "I Like to Hear It Sometime" (1966).]


http://freetexthost.com/3ouzt4o2nl


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