Las Cintas Recuperadas

Mil gracias por todo lo compartido este año. Te de...

2009-12-10T12:01:02.462-08:00

Mil gracias por todo lo compartido este año. Te deseo lo mejor para esta Navida y que el año próximo sea de lo mejor para ti y los tuyos.
Hasta pronto.

México, D.F.

Merry Christmas to you!

2009-12-09T12:10:49.025-08:00

Merry Christmas to you!

Thanks for the great blog! I found 4 that I am ver...

2009-12-06T10:38:12.015-08:00

Thanks for the great blog! I found 4 that I am very much looking forward to hearing

Uno de los mejores discos de jazz de los últimos a...

2009-12-05T04:01:04.946-08:00

Uno de los mejores discos de jazz de los últimos años. La combinación Cowell, Bunnett, Redman es poderosa y lírica. Impresiona el ensemble y la fidelidad radical de los músicos.Jazz de altísimo nivel.
mi web www.eldelfinverde.com.ar

Review by Andrea Marchesini, dic 2004 How can I d...

2009-12-04T16:44:38.627-08:00

Review by Andrea Marchesini, dic 2004

How can I describe it to both musicians, sofisticated music lovers, or just casual listeners? The best I can do (so far) is this:

We can certainly put the album in the "fusion", "instrumental", "electric jazz", "jazz-rock" cathegories. What you will hear is drums, electric bass (with effects and some loop machines which record bass notes and play'em back in a repetitive manner), and electric guitar (with loop machines too). Overall the impact of the trio is bigger then standard trios, the sounds of the stringed instruments and machines make it feel like a quartet or quintet. A very good feeling! The album is dense, but luckily there's also a good number of slow tunes, rubato atmospheres, improvised interplay, spaces with no drums. I would say an incredibly well balanced album, especially considering it was recorded live without thinking at all of making a record out of the show!.

When it comes to the origins of fusion (jazz with ...

2009-12-04T16:11:34.626-08:00

When it comes to the origins of fusion (jazz with rock, funk, etc.), the Brecker Brothers--Randy and Michael--were right there in the very beginning, playing (separately and together) with Larry Coryell, Billy Cobham, and other early practioners of the burgeoning new genre. They also played together in their own funk-oriented fusion combo during the 1970s before going their separate ways. In 1992, the brothers reunited, and RETURN OF THE BRECKER BROTHERS is a neat summation of where they'd been in the past and where they'd soon be going in a new musical landscape. RETURN encompasses funky grooves, hard bop, cool jazz, and world music, and features sterling, sizzling solos from the Brothers and guests such as guitarist Mike Stern and saxophonist David Sanborn.

Recorded at Right Track Recording, Soundtrack Recording and Electric Lady Studios, New York, New York.

Where does jazz stop and world music start? The bo...

2009-12-04T15:00:59.671-08:00

Where does jazz stop and world music start? The boundaries are getting more blurred by the minute. We're all postmodernists now, and many musicians under fifty reflect a range of influences beyond those traditionally associated with their own core style. Some, like French-Vietnamese guitarist Nguyen Le, are so polyglot as to be practically beyond category.

Le started out down the cultural miscenegation road with his first band, the multi-ethnic Ultramarine, whose 1989 album, De, was named World Music Album of the Year by the radical French newspaper Liberation. He's continued to mix it up ever since—prominent genre-benders he's worked with include Miroslav Vitous, Trilok Gurtu, David Liebman, Paul McCandless, Peter Erskine and Mino Cinelu. In the late 1990s Le became increasingly interested in Maghrebi music, working with Algerian singers Safy Boutella and Cheb Mami, and in 1998 he brought Maghrebi and Vietnamese musicians together on the album Maghrebi & Friends.

None of this, however, can prepare you for the galaxy of sound sources on Homescape, a series of alternating duets with Sardinian trumpeter Paolo Fresu and Tunisian oud player Dhafer Youssef. Some of these sources are developed and explored, others are referred to only in passing, and they include—but aren't limited to—post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir (sampled and replayed backwards), Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music.

Guitars, trumpet/flugelhorn and oud aside, the music is generated by loops, samples and overdubs, and the entire heavily post-produced album was recorded and mixed in Le's Paris apartment - since 2003, his friends and neighbours Fresu and Youssef have been dropping by to home-record. The duets with Fresu are typically in free-improv mode (the exception being Duke Ellington & Billy Strayhorn's lovely "Chelsea Bridge"), while the Youssef duets tend to be song or structure-based.

In the main sunny and joyful, though not without some darker and more abrasive moments, the fifteen tracks—average length three minutes, a handful six or seven—resemble a series of round-the-world postcards sent by Le, who mixed and post-produced everything solo, to his collaborators. As a soundtrack to an evening communing with the big bamboo, the exotic and the very exotic drifting in and out of the mix, it's rich, colourful and beguiling.
By Chris May

Many people will know the name Bill Bruford from h...

2009-12-04T14:42:17.211-08:00

Many people will know the name Bill Bruford from his widespread and varied career playing for bands such as Yes or King Crimson or perhaps many of the sessions Bill has managed to notch up over the years, most notably for Genesis for whom he briefly drummed alongside Phil Collins when Phil took over the vocalists spot vacated by Peter Gabriel. These days Bill fronts the jazz quartet Earthworks and in addition to playing the odd session Bill seems more than happy playing dates as far afield as Japan and South America to enthusiastic jazz audiences and music lovers in general. The second incarnation of Earthworks is in essence an acoustic Jazz trio rather than the more modern approach featuring electric instruments favoured by the original line up of Earthworks which Bill founded in the nineteen eighties The first release from Summerfold Records was the wonderful live album recorded in San Francisco in 2002, Random Thoughts Of Happiness.

Recorded live at the Pizza Express Jazz Club, London, England on June 23 and 24, 2001.

The celebrated jazz educator, master bassist, comp...

2009-12-04T14:24:44.897-08:00

The celebrated jazz educator, master bassist, composer, and arranger, Christian McBride provides a new recording, told in a language of blazing originality. Vertical Vision is a multi-layered musical story that features beautiful solos, great grooves, funky riffs, and virtuosic performances by each bandmember. The recording also reveals McBride's passion for strong writing, brilliant accompaniment, and eclectic melodic voicings that stay with listeners long after the record ends. On this, his debut for Warner Brothers Jazz, McBride creates a dazzling weave of passionate rhythms, musical forms, and bass voicings with his longtime bandmate Ron Blake on saxophones and flute. Geoff Keezer on piano and keyboards, Terreon Gully on drums, David Gilmore on both acoustic and electric guitars, and Danny Sadownick on percussion add their flavorful interpretations, which elevate their performances to another level at each subsequent listen. The songs were inspired by and reflect a variety of subjects including the beautiful original "Song for Maya," which is played superbly by the ensemble and features the splendid flute work of Ron Blake. It is the most beautiful of all and the one that makes its way, like the family it has come to represent, into your heart. "Lejos de Usted" -- which is filled with beautiful horn voices and the vertical visions of McBride on acoustic bass -- is overflowing with Latin nuance and it is there, melding the borders between jazz and Latin rhythms. Top picks: "Technicolor Nightmare,""Tahitian Pearl," "Song for Maya," and "Boogie Woogie Waltz." Overall, Vertical Vision is a masterpiece that is beautiful, spirited, brimming with energy, and meets the same high standards set and achieved on Sci-Fi. ~ Paula Edelstein

Recorded at Right Track Recording, New York, New York on June 14-16, 2002.

Michal Urbaniak's third Fusion set for Columbia --...

2009-12-04T14:12:16.764-08:00

Michal Urbaniak's third Fusion set for Columbia -- very fittingly titled, considering what a huge influence his playing had on the genre! The album's a very tight batch of groovers -- soaring and spacious, but never overindulgent -- sometimes featuring scatting vocals by wife Urszula Dudziak, and also sporting strong rhythms from drummers Gerald Brown and Steve Gadd. There's lots of keyboards and electric grooving on the set, and titles include "Chinatown", "Bloody Kishka", "Cameo", "Stretch", "Metroliner", "Roskana", and "Kuyaviak Goes Funky".

The long-awaited album by the Argentinean bandoneo...

2009-12-03T23:45:40.933-08:00

The long-awaited album by the Argentinean bandoneon giant Saluzzi and German cellist Lechner, known both for her work with the Rosamunde Quartet and her explorations outside it. It was, for instance, Lechner’s interest in Tango Nuevo that made the ongoing Saluzzi/Rosamunde “Kultrum” collaboration possible in the mid-90s; Anja and Dino have toured widely as a duo, too. Jazz Review editor Richard Cook described one of their concerts as being “as close to perfection as any music-making I can recently recall". Essentially chamber music with inspirational roots in Argentinean traditions “Ojos Negros” puts the emphasis on Saluzzi’s finely-crafted compositions but also has a strong improvised component.

Violinist Michal Urbaniak's first release to be ma...

2009-12-03T20:06:46.617-08:00

Violinist Michal Urbaniak's first release to be made available in the U.S. (and reissued on CD in 1998) is very much in the mainstream fusion genre of the period. Urbaniak doubles on soprano and is joined by his wife Urszula Dudziak (whose electrified vocalizing gives the band much of its unique personality), keyboardist Adam Makowicz (shortly before he switched exclusively to acoustic piano), second keyboardist Wojciech Karolak, and drummer Czeslaw Bartkowski. The seven originals are all fairly colorful if eccentric, sometimes recalling Weather Report or Jean-Luc Ponty. Urbaniak's group, which did not last too long, should be of great interest to vintage fusion collectors. ~ Scott Yanow, All Music Guide

Trombonist Steve Turre pays tribute to his former ...

2009-12-03T18:03:51.369-08:00

Trombonist Steve Turre pays tribute to his former employer, the remarkable multi-reedist Rahsaan Roland Kirk, on this sincere effort. Turre and an all-star group perform nine of Kirk's songs plus the trombonist's "One for Kirk." But although the music is certainly well played, one misses Rahsaan's miraculous innovations. It was logical getting James Carter for the date since Carter, like Kirk, can play any reed instrument in any style. But surprisingly Carter is mostly pretty restrained during the project, as if he is going out of his way not to sound like Rahsaan. His usual high-energy multi-style improvisations are replaced by a more melodic and less colorful approach. Carter, Turre, altoist Vincent Herring and pianist Mulgrew Miller all have their spots, with flutist Dave Valentin guesting on a medley of "Serenade to a Cuckoo" and "Bright Moments." But the craziness and wide-ranging approach of Rahsaan's performances are missing on this rather conventional effort. ~ Scott Yanow.

Recording information: Van Gelder Recording Studio, Englewood, Cliffs, NJ (05/26/2004).

By Terry Perkins Take 20 top jazz musicians and a...

2009-12-03T15:06:15.115-08:00

By Terry Perkins

Take 20 top jazz musicians and arrangers, add a swinging vocalist, put them on stage at the intimate, acoustically excellent Manchester Craftsmen’s Guild in Pittsburgh, count off a downbeat, start recording and what do you get? Dizzy’s Business, a recording by the Dizzy Gillespie All-Star Big Band that pays tribute to the legendary trumpeter and his music.

This recording features many of the same musicians who played on the band’s first MCG release, 2002’s Things to Come. Sax players Antonio Hart, Jimmy Heath, Gary Smulyan and Frank Wess, trumpeters Greg Gisbert and Claudio Roditi, trombonists Jay Ashby and Douglas Purviance, guitarist Marty Ashby, bassist John Lee and drummer Dennis Mackrel return, joined by bandleader Slide Hampton, Randy Brecker, Steve Davis, Frank Greene, Roy Hargrove, Jason Jackson, Mulgrew Miller, James Moody, vocalist Roberta Gambarini and arranger Ernie Wilkins. There’s excellent soloing throughout and some nicely updated arrangements by Hampton, Mackrel and Wilkins and two fine originals by Heath, “Without You, No Me (To Dizzy)” and “Moody’s Groove.”

It’s hard to pick out high points among such an array of talent, but give extra credit to Hargrove for a burning solo on “Hot House,” to Miller for his excellent keyboard contributions throughout and to the eternally youthful Moody, who’s still generating plenty of musical excitement at 81.

About the GISMONTI 1973 album, it is probably one ...

2009-12-03T14:08:42.541-08:00

About the GISMONTI 1973 album, it is probably one of the best (although they are nearly all excellent). This album his probably the best to enter into Gismonti's 70's work. It is a perfect introduction. As always with Gismonti, it is highly sophisticated, creative, inspired and emotional. It has this somewhat "rough" sounding of most early 70's Gismonti's works, but paradoxaly, it remains very elegant too. Last but not least, it has Gismonti's vocals that are so emotive and beautiful (and that we may finally miss in later Gismonti's works...). Therefore, this album is probably the best choice to become a fan of Gismonti's early work (rather than hating it!). It would be a pity to hate it as, at the end, Gismonti's early work is certainly the most fantastic and spirited he ever made.

Alex Skolnick made his name as a six-string guitar...

2009-12-02T15:39:58.242-08:00

Alex Skolnick made his name as a six-string guitar slinger in the Bay Area thrash legends Testament. Apparently fed up with metal, he quit the band, went to music school, and hooked up with a couple of jazzers (Nathan Peck on double bass and Matt Zebroski on drums), with the idea of doing exploratory fusion-jazz, using the heavy metal songbook for standards (and inspiration) and not the "regular" (or, it could be argued, "over-covered") classic jazz songbook. This, their second album, features radically reworked versions of Judas Priest, Pink Floyd, Scorpions, Iron Maiden, Deep Purple, and Ronnie James Dio, evenly balanced with some original compositions. And while this album is very well played, with excellent performances from all involved (especially Zebroski's work on "IMV/The Trooper" and Skolnick's guitar on "Money"), the album as a whole comes off much like works by the Bad Plus, that is, a well-executed gimmick. That may turn some listeners off, but how many dyed-in-the-wool metal fans are going to tolerate even one minute of what Spinal Tap termed a "jazz odyssey"? And how many dyed-in-the-wool jazz fans are going to seek out the original version of Priest's "Electric Eye" to do a comparison with the version here? Probably not too many. If you're somehow either one of these two extremes, this album will probably work for you, both in the background and on the headphones. ~ James Mason.

Broder!!! A ver si enderezamos la pisada, carajo! ...

2009-12-02T02:45:16.130-08:00

Broder!!!
A ver si enderezamos la pisada, carajo!
Te mando un abrazo enorme loco.
Espero que todo vaya bien. Por vos, por mi y por todos los que rajen.
Como bien decís, nos veremos en enero.
Vamo'arriba Luigi... vamo'arriba!!!

On this CD we hear Mauro Senise's interpretation o...

2009-12-01T16:18:55.840-08:00

On this CD we hear Mauro Senise's interpretation of carefully selected songs from the hands of Edu Lobo. The repertoire of composer, singer and instrumentalist Edu Lobo (Rio de Janeiro, 1943) is immense. It's easy to find many of the fruits of his partnerships with Chico Buarque and Vinícius de Moraes among Brazil's classics. It was a difficult job for Mauro to come up with a reasonable choice, especially when Edu Lobo was kind enough to provide two songs which had never been recorded before. The music is performed in an old fashioned jazz quartet format. Pianist is no one less than Gilson Peranzzetta, who also took care of the arrangements. On bass we hear Paulo Russo and Ivan "Mamão" Conti is on drums (world famous for being one third of the band Azymuth).

The album opens with one of the new songs Edu Lobo wrote, "Arpoador." It's a beautiful samba-canção that immediately features Mauro Senise's most characteristic quality. Not too many saxophonists know how to create such a warm sound on the often edgy alto saxophone. The samba-canção lends itself perfect for a jazzy interpretation. Something that becomes very clear while listening to "Pra Dizer Adeus." The beautiful deep sound of the G (or alto) flute does credit to melody of this classic. The quartet is extended by Jota Moraes who delivers a wonderful solo on the vibraphone. The sentiment on "Canto Triste" is set by the cello of David Chew. With Mauro on the alto sax and the wonderful piano work of Gilson Peranzzetta, this certainly is among the album's most lyric moments. "Vento Bravo" is turned into a piece of straight jazz. Mauro Senise QuartetOn the soprano sax, Mauro Senise clearly enjoys playing with the melody, supported by the other attentive members of the quartet. The song also features a great solo by pianist Gilson Peranzzetta. "No Cordão da Saideira" balances on the rhythm of the frevo. Mauro performs impressively on the flute and switches after a short percussion break to piccolo for the last few festive bars. "Valsa Carioca" was written by Edu Lobo for the Brazilian Sherlock Holmes movie "Xangô de Baker Street" (released outside Brazil as "A Samba for Sherlock"). This is the first time the song is recorded. Edo Lobo is the celebrated guest (acoustic guitar and vocals) on the album's closing song "Canção do Amanhecer."

Edu Lobo couldn't wish for better interpreters for his music. Mauro Senise and his quartet underline the exceptional quality of Lobo's compositions. It's like lifting them to another dimension where they can be further explored by instrumentalists. When that's done with so much grace and depth as by Mauro Senise, Gilson Peranzzetta, Paulo Russo and Ivan Conti, then the composer can rightfully be proud of his own work.

Avoid noticing his agile mental multitasking skill...

2009-12-01T14:47:02.924-08:00

Avoid noticing his agile mental multitasking skills. With his ability to think so quickly on several levels, it's no wonder that he invented the 8-string guitar: an instrument that allows him to simultaneously do the work of two mortal musicians. Charlie could be changin lanes while driving, planning a party for his neighbor, pacifying his newborn and kepping his 3-year-old son from dismantling every object within his reach - all the while, dropping thoughtful philosophical and anecdotal nuggets about his new album on ropeadope records, Right Now Move.

RIGHT NOW RECORD
Perhaps conversely, however, Right Now Move is the result of some very focused artistry. After two days spent in the studio getting the right sound and coaxing glitchy equipment into proper behavior, the album was recorded entirely on the last day of a three-day session. Charlie's band, in top form from months of touring, simply ran down the tunes and nailed them. After a break for dinner, the quintet went back into the studio and put down the interludes. As a consequence, Right Now Move is a special kind of album: one full of the innovation and vibrancy that can only be caught on first takes.

THE BAND
For sure, the vitality of Right Now Move has a lot to do with the five musicians who play on it. Charlie's tandem in the rythm section is drummer and fellow Bay Area native Derek Philips, whose array of grooves and percussionistic colors ignite the band. In the unique horn lineup, trombonist Curtis Fowlkes anchors the section with sublime musicality. John Ellis, on tenor saxophone and bass clarinet, plays both instruments with gritty elegance. Darting and dancing on top of it all is the chromatic harmonica playing of Gregoire Maret. Charlie hand-picked these musicians because of their individual musical talents and the unique textures they are able to create against his own singular 8-string sound.

BABALU AYE was nominated for a 1999 Grammy for Bes...

2009-12-01T13:16:06.684-08:00

BABALU AYE was nominated for a 1999 Grammy for Best Tropical Latin Performance.

Could there possibly be a more thrilling, original salsa-jazz band than Cuba's Irakere? At 57, bandleader/pianist extraordinaire Jesus "Chucho" Valdes lays another heavy one on the public (thankfully) with BABALU AYE, titled after the mythical Afro-Cuban deity that smites all suffering among the Arara people and delivers joy in its place. Continuing to ride on the cutting edge of tradition and contemporary sensibility, the band combines romantic, blistering horn passages and traditional bata drumming with zestful group harmonies, unrelenting electric guitar solos and Chucho's signature jazz-informed keyboard work.

It's as if the band is leading a battlefield charge on the dance floor-bound opening track. Jose Miguel introduces his honey-laced vocal acrobatics to the pulse of Jorge Reyes' giant-sized bass lines and swirl of dizzyingly executed lines by the horns. "Feliz Cumpleanos" is a sweet wish for a birthday a la Cubana that, with its happy melodies and group vocal declarations, leave a party in the listener's head regardless of the where the calendar lies. The title track opens on an ethereal note, leading to the sounds of the bata drum and a sacred Yoruba chant led by legend Lazaro Ros.

another masterpiece from Cuba's best band - it takes Cuban salsa to another level & blazes new trails in Afro Caribbean music; features the 14 minute title track with guest/living legend Lazaro Ros on sacred bata drums

Recorded at EGREM Studios, Havana, Cuba in 1997. Includes liner notes by Leonardo Acosta, David Penalosa, Jimmy Durchslag, Fernando Penalosa & Nero Alejandro Capote.

The renowned Cuban jazz drummer Ignacio Berroa's d...

2009-11-27T16:47:13.155-08:00

The renowned Cuban jazz drummer Ignacio Berroa's debut album as a bandleader is a percolating fusion of African rhythms, neo bop passages, and Berroa's own trademark technically brilliant yet intuitive playing. "Joao Su Merced" takes a litany of Berroa's personal influences as a foundation for extended forays into Afro-Cuban fusion, while "La Comparsa" alternates between straight-ahead jazz and Cuban-influenced solos. Berroa's supple, supportive accompaniment is an education in jazz drumming, though school was never like this.

By Dan McClenaghan Koyo opens with a metronome gro...

2009-11-26T15:36:54.710-08:00

By Dan McClenaghan
Koyo opens with a metronome groove, featuring speaker-shaking bass, wurlitzer splashes and unison trumpet/sax lines over a slapping, loose-jointed percussion, on "Their Song"... very modern-sounding, reminscent of the Marcus Miller/Miles Davis collaborations Tutu and Amandla. "Malmo-Lund" brings a more mainstream, uptempo sound to the mix on an up-and-down-the-scale piano riff; and it's hard to take your ears off the drummer, Janne Robertson, with his propulsive shuffle that injects some organic juice into the band's otherwise tight sound. "Machine Man" takes the music into the mechanical realm, with the droning bass thrum behind the horns—an aptly-titled piece: on a blind listen I'd dubbed it "Android's Song." Then "Titanic" drifts into a more mainstream current.
And so goes the disc—a mix of modernistic and the mainstream, bringing Miles Davis from the mid-sixties into the eighties to mind a great deal.
My initial impression—this from a reviewer with an acoustic preference—was that Koyo sounded a bit sterile; the same initial impression I entertained on first hearing those Marcus Miller/Miles Davis records. But a few spins of the disc—an acclimation of sorts—revealed a quintet working a some tight grooves over sharp-edged arrangements backed by a superbly flexible drummer.
"Return of the Party Animal" cooks, brassily; and "Must", with bass/sax/trumpet/vibes closes the show on an intropective note that brought Henry Threadgill's Everybody's Mouth's a Book (Pi Records, '01) to mind.
A somewhat derivative but still pretty damned good set.

Thank you very much! Stay cool!

2009-11-25T22:44:16.245-08:00

Thank you very much!
Stay cool!

Batacumbele, an amazing outfit of musicians thorou...

2009-11-25T22:01:58.824-08:00

Batacumbele, an amazing outfit of musicians thoroughly steeped in Afro-Caribbean traditions and also fully conversant with the jazz idioms of the day, are a very important group in Puerto Rican history. The Latin jazz world is sometimes unappreciative of Puerto Rico's contributions to the world of Afro-Caribbean music, primarily looking to Cuba for direction. Batacumbele's In Concert: Live at the University of Puerto Rico is to the best argument to the contrary. This supergroup runs the stylistic gamut from folkloric music ("Elegua") to edgy, progressive jazz sounds ("May Day") to straight-up dance music ("Muévete"), and all with equal mastery. The band is truly a force to reckoned with, weighing in at 20 members, many even doing double duty on coro. Featuring some of the day's best percussionists, including Giovanni Hidalgo, Richie Flores, and Angel "Cachete" Maldonado, the rhythm section is unmatchable, and the crowd agrees. Being a live recording, it's clear to see how beloved this group is to the Puerto Rican people. After just a few listens, this disc will become equally beloved by non-puertorriquenos as well. ~ Evan C. Gutierrez, All Music Guide

te felicito porq.tienes tremenda musica pero no en...

2009-11-24T19:54:38.694-08:00

te felicito porq.tienes tremenda musica pero no encuento como bajarlos ayudame