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Jazz Blues Club » Articles for 17.03.2010
Antonio Vivaldi: La Senna Festeggiante/Gloria e Imeneo Music
Antonio Vivaldi: La Senna Festeggiante/Gloria e Imeneo
ÔÈÀËÊÈ ïî ÑÐÅÄÀÌ (âûïóñê 59)

Antonio Vivaldi: La Senna Festeggiante/Gloria e Imeneo
     Composer: Antonio Vivaldi
     Artist: The King's Consort
     Album: La Senna Festeggiante/Gloria e Imeneo
     Label: Hyperion records
     Year: 2002; release: November 2002
     Genre: classical music
     Format, bitrate: mp3, 320 kbps
     Time: 146 min. 31 sec.
     Size: 343 mb.

È âîò, î÷åðåäíàÿ ñðåäà çàñòàâëÿåò ìåíÿ â î÷åðåäíîé ðàç ïîðûòüñÿ â êëàññè÷åñêèõ çàêðîìàõ ìîåé ôîíîòåêè è ïðåäîñòàâèòü íà âàø ñóä ÷òî-íèáóäü èíòåðåñíîå è íåîæèäàííîå. Êîíå÷íî, êðèòåðèè îòáîðà ìîè è òîëüêî ìîè, òàê ÷òî ÿ ìîãó è îøèáèòüñÿ, íî ïîñòàðàþñü ýòîãî íå ñäåëàòü. À ñëóøàòü ìû ñåãîäíÿ áóäåì, êàê Âû óæå äîãàäàëèñü ïî çàãîëîâêó íîâîñòè Àíòîíèî "Ðûæåãî ïîïà" Âèâàëüäè. Ê ñîæàëåíèþ, äî íàñ íå äîøëè ôîíîãðàììû àâòîðñêèõ èñïîëíåíèé, ëèøü íîòíûå çàïèñè, íî â ìèðå ñóùåñòâóåò âåëèêîå ìíîæåñòâî âîêàëüíî-èíñòðóìåíòàëüíûõ àíñàìáëåé, èñïîëíÿþùèõ ýòè ïðîèçâåäåíèÿ ïî íîòàì. Ñ ïîìîùüþ îäíîãî èç ýòèõ àíñàìáëåé ìû è ïðîäîëæèì íàøå çíàêîìñòâî ñ òâîð÷åñòâîì Àíòîíèî Äæîâàííèåâè÷à Âèâàëüäè.
Èòàê...
2009: Brad Mehldau - Highway Rider Music » Jazz » Fusion » Crossover Jazz
2009: Brad Mehldau - Highway Rider
     Artist: Brad Mehldau
     Album: Highway Rider
     Year: 2009; release: March 16, 2010
     Label: Nonesuch
     Quality: mp3; 256 kb/s
     Total Size: 195.2 mb
     AMG Rating: 2009: Brad Mehldau - Highway Rider

The Highway Rider is pianist and composer Brad Mehldau's second collaboration with enigmatic pop producer Jon Brion. The first was 2002's ambitious but tentative Largo. As a collaboration, The Highway Rider is much more confident by contrast. Mehldau's most ambitious work to date, its 15 compositions are spread over two discs and 100 minutes. His trio --bassist Larry Grenadier and drummer Jeff Ballard -- is augmented by saxophonist Joshua Redman, drummer Matt Chamberlain, and a chamber orchestra conducted by Dan Coleman. The album is a narrative jazz suite, orchestrated and arranged by Mehldau, though it has much in common with classical and pop music, as well.

The group settings range from solo to quintet, with and without strings, all of it recorded live in studio. Redman's addition is welcome. "Don't Be Sad" features his consoling tenor, Mehldau (on pump organ and piano), Grenadier, and both drummers with orchestra. It begins as a piano solo, languidly establishing a pace that begins to swing with gospel overtones. Later, Redman's lower-register blowing, strings, and winds carry it out joyfully. Brion adds drum`n'bass overtones to the trio on the title track. The electronics are a narrative device designating motion; they accompany the gradually assertive knottiness in the post-bop lyric. Mehldau begins "The Falcon Will Fly Again" with a complex solo that touches on Latin grooves, even as Chamberlain and Ballard create an organic loop effect with hand percussion. Redman's soprano creates a contrapuntal melody extending the harmonic dialogue. Disc two's lengthy "We'll Cross the River Together" has quintet and orchestra engaging in a beautiful study of texture, color, and expansive harmonics with wildly divergent dynamics. It showcases Mehldau's trademark pianistic elegance in counterpoint. Redman's deep blues tenor nearly weeps on "Sky Turning Grey (For Elliot Smith)." "Capriccio"s Latin rhythms contrast ideally: Mehldau's classical, gently dissonant motifs create an exploratory harmonic palette as Redman's magnetic soprano playing joins Mehldau's in the last third, anchoring the complex melody. The closer, "Always Returning," builds to a climax that incorporates themes from the cycle. Redman and Mehldau soar with the orchestra before they all close it in a whispering tone poem. By combining sophisticated -- yet accessible -- forms with jazz improvisation, The Highway Rider exceeds all expectations, giving jazz-classical crossover a good name for a change. It is Mehldau's most ambitious, creatively unfettered, and deeply emotional work to date, and will stand as a high-water mark in his catalog.
~ Thom Jurek, All Music Guide
2001: Tomasz Stanko Quartet - Soul of Things Music » Jazz » Modern Jazz
2001: Tomasz Stanko Quartet - Soul of Things
     Artist: Tomasz Stanko Quartet
     Album: Soul of Things
     Label: ECM Records
     Year: 2001; release: 2002
     Format, bitrate: mp3, 320
     Size: 159 mb
     AMG rating: 2001: Tomasz Stanko Quartet - Soul of Things

"The Polish trumpeter Tomasz Stanko has been busy making music for many years. He began his career on the forefront of the European free jazz movement in the ‘60s. While he has made many fine albums since then, most of his notoriety has come in the past few years. Since joining ECM, Stanko has produced many fine albums. Soul of Things is the latest in his string of albums (Litania, Leosia, and From the Green Hill) and continues the level of excellency he has established for himself.
Proclaimed the ”Polish Miles Davis” in nearly every article I have read about him, Stanko continues to make beautifully searching music. While I agree with this comparison, it has never seemed more appropriate than after I listened to his new album Soul of Things. A thirteen song suite performed by Stanko’s outstanding young quartet would have made my list of the best of 2002 had I been able to get my hands on it before the year ended. I am thankful, however, that I have started 2003 off with a bang!
From the first song a mood of tranquility is set. The band opens with a beautiful melody and Stanko comes in with his hauntingly familiar horn. The interplay amongst the musicians is breathtaking. While Stanko has been playing with this quartet for seven years, this is their first album together. You can tell they know each other well. There is a dream-like rhapsody to the album that is heightened by the fact that Stanko loves to use tonal coloration and shadings in his music. He is much like an impressionistic artist: He sees what we see he just expresses it differently.
Stanko’s albums remain continually impressive, and I look forward to the next album from this fine quartet. While he may be the equivalent of the ”Polish Miles Davis” don’t let that fool you into believing he has not found his own voice. Highly recommended.

~ Geoff Barber, All About Jazz
2006: Donna Hightower - Jazz En Espana Music » Jazz » Vocal Jazz
2006: Donna Hightower - Jazz En Espana     Artist: Donna Hightower
     Album: Jazz En Espana
     Label: RTVE Musica
     Year: 5/6/2006
     Format, bitrate: mp3, 320kb/s
     Size: 102MB



     "Little" Donna Hightower had a dynamic, big voice and made some fine shouting records for Decca and RPM in the '50s. Unfortunately, she never landed any hits, but that wasn't due to any lack of skill. She not only had range and power, but was equally compelling doing sentimental, soft ballads. She was backed by the orchestras of Horace Henderson and Maxwell Davis on the Decca and RPM material, respectively.
~ Ron Wynn, All Music Guide
1938-1939: John Kirby And His Orchestra 1938 - 1939 Music » Jazz » Swing
1938-1939: John Kirby And His Orchestra 1938 - 1939
     Artist: John Kirby And His Orchestra
     Album: John Kirby And His Orchestra 1938 - 1939
     Label: Classics
     Years: 1938-1939, release: 1994
     Quality: MP3@320 kbps
     Size: 132 mb (sharebee)
     Total time: 62:48
     AMG Rating: 1938-1939: John Kirby And His Orchestra 1938 - 1939



The first of three Classics CDs reissuing all of the John Kirby Sextet's recordings during its prime years (1938-1943) has the group's earliest 22 recordings. Although the first five numbers were originally issued under the name "John Kirby & His Onyx Club Boys," the famous personnel were already in place: bassist Kirby, trumpeter Charlie Shavers (then only 21), altoist Russell Procope, clarinetist Buster Bailey, pianist Billy Kyle, and drummer O'Neil Spencer (who took an occasional vocal). The group's unique cool-toned sound, tricky ensembles, and often atmospheric music definitely stood out during an era dominated by loud big bands. There are quite a few classics on this CD, including "Rehearsin' for a Nervous Breakdown," the original version of Shavers' "Undecided," "Dawn on the Desert," "Royal Garden Blues," and "Nocturne." Highly recommended, as are the two other Classics Kirby discs. ~ Scott Yanow, All Music Guide
1996: The Buddaheads - Play Hard Music » Blues » Modern electric blues » Blues-Rock
1996: The Buddaheads - Play Hard
     Artist: The Buddaheads
     Album: Play Hard
     Label: Kiagan Records
     Year: 1996
     Format MP3, bitrate: 320 kbps
     Time: 48:51
     Size: 127,59 Mb (+3%)




“PLAY HARD”, the third full length album, was released in Japan by Kiagan Records. The fourth studio offering was, “GO FOR BROKE”, a breathtaking collection of Rockin’ Blues and power packed ballads. More great Buddaheads music can be found on their last 3 studio releases, “REAL”, the classic, “MUMBO JUMBO” and "RAW". ~ wilshirepark.com
1980: Monty Alexander Ray Brown Herb Ellis - Trio Music
1980: Monty Alexander Ray Brown Herb Ellis - Trio
    Artist: Monty Alexander, Ray Brown & Herb Ellis
    Album: Trio
    Label: Concord Jazz
    Genre: Jazz/Hard Bop
    Format mp3, bitrate: 320 kb/s
    Time: 40:08
    Size: 92,7 Mb

"It would be an over-simplification to characterize the group you are about to hear (or are perhaps now hearing) simply as the old Oscar Peterson Trio with Monty Alexander replacing the leader," writes Leonard Feather in his liner notes to this album, after acknowledging that both bassist Ray Brown and guitarist Herb Ellis used to be part of the Peterson group. He's right, of course, but it also would be incorrect to say there isn't at least a feel of that earlier drum-less ensemble in this one. The chief difference, of course, is that the Jamaica-born Alexander is not Peterson; although less of his rhythmic flair is on display here than on other dates, he has his own personality, and it is far showier than Peterson's. A second major difference is that Peterson was the leader of his trio and, as Feather also points out, "this is essentially a three-way partnership" in which each member gets to contribute more or less equally. The selections are a mixture of standards, most of them typical jazz springboards (though the 1940s pop hit "To Each His Own" seems to be new to the medium) with a Brown original and showcase, "Blues for Junior," and another original, "Captain Bill," that contains associations with Count Basie. Whether playing fast or slow, the three musicians interact well together, the younger Alexander holding his own with his veteran partners. - William Ruhlmann at All Music Guide
1951-1952: Duke Ellington - Ellington Uptown Music » Jazz » Traditional Jazz
1951-1952:  Duke Ellington - Ellington Uptown     Artist: Duke Ellington
     Album: Ellington Uptown
     Label: Columbia
     Year: Dec 7, 1951-Aug 12, 1952
     Release: 1987
     Format, bitrate: mp3, 320kb/s
     Time: 53:41
     Size: 114MB
     AMG Rating: 1951-1952:  Duke Ellington - Ellington Uptown

     Even back in the early '50s, Columbia Records took Duke Ellington seriously enough to place this album on its prestigious Masterworks label, heretofore reserved mostly for highbrow classical music and Broadway shows (later in the decade, though, it was retitled Hi-Fi Ellington Uptown and reissued on the pop series with an additional piece, "The Controversial Suite"). Also, this LP explodes the critical line that the early '50s was a relatively fallow period for the Duke; any of these smoking, concert-length tracks will torpedo that notion. The young Louis Bellson was powering the Ellington band at that time, and his revolutionary double-bass drum technique and rare ability to build coherent drum solos are put to astounding use on his self-penned leadoff track, "Skin Deep," which was quite a demonstration piece for audiophiles at the time. Old favorites from the Ellington hit parade are given extended treatments, with singer Betty Roche taking the A-train for a bebop-flavored ride, "The Mooche" spotlighting clarinetists Jimmy Hamilton and Russell Procope, and Ellington's boogie-woogie piano kicking off a super-charged "Perdido" for trumpeter Clark Terry. The centerpiece of the disc is a sharply drawn, idiomatically swinging, probably unbeatable performance of "A Tone Parallel to Harlem" that lays waste to any of the "symphonic" versions that turn up frequently at pop concerts. Another feature of this record is the great sound quality, a benefit of being entrusted to Columbia's best engineers. If you can locate an original Masterworks pressing, grab it and run, for the first-generation sound is astonishing for its age (the reissues in the 1980s on CD and LP had to rely upon later masterings and do not sound nearly as powerful as the original).
~ Richard S. Ginell, All Music Guide
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