Продолжая знакомиться с участниками джазового фестиваля ”Jazz Italiano Live 2008” хотелось бы обратить внимание членов клуба еще на один альбом из боксового издания: CD 9 - Ada Montellanico – Omaggio A Billie Holiday. На этот раз итальянские музыканты отдают дань творчеству Билли Холидей. Концерт Ada Montellanico возвращает нас к истории поразительного и незабываемого искусства американской джазовой вокалистки. Этим проектом Ada Montellanico проводит свое музыкальное исследование, своеобразно интерпретируя и импровизируя, она создает свой новый музыкальный образ.
Приятного прослушивания!

Довольно интересный альбом от совсем неизвестного тенор саксофониста Albert Fats Theus с очень звездным составом. Виниловый альбом очень редкий и никогда на CD не издавался.
Приятного прослушивания и всем на заметку.

This summit meeting between the Hungarian saxophonist and composer Mihaly Dresch and avant-jazz elder statesman Archie Shepp is an interesting and frequently beautiful experiment. The mostly pianoless arrangements (which feature violin and, in one case, a cimbalom) recall the harmolodic excursions of Shepp's old boss, Ornette Coleman, but without Coleman's willful harmonic chaos. On the contrary, these are well-crafted compositions, all but one written by Dresch, and they give the players plenty of structural support on which to base their sometimes wide-ranging improvisations. Highlights include "Buzai Song" (which is based on a Hungarian folk tune and features some stunning duo improvisation between the two saxophonists) and the playful "Hungarian Bebop," which is only vaguely bop-flavored but shares bebop's flavor of complex but high-spirited fun. Recommended. ~ Rick Anderson , AMG

This very unique lap steel player of the blues stretches out on this Canadian roots label's release. Those who have seen him will never forget his shows, where he goes out of his way to entertain an audience. From his bright red suit to his bejeweled turban, and the legendary smile that is absolutely radiant, to the good humor he displays on stage, add his prowess on his lap steel, and he is every bit the entertainer. This same warm and embracing energy is captured on this disc and given as a bonus to the listener. The lap steel is far more common in country music, but it is an instrument that he has adapted to the blues and he finds it gives him the musical expressions and tones he was looking for. He was born in Texas and the blues that he heard growing up, as played by T-Bone Walker, Freddie King, and Chuck Willis can still be heard in his music. This combined with his strong and imaginative songwriting -- he wrote or co-wrote ten of the songs on this disc -- and his expressive voice make for a very worthy disc, plus as a bonus there is an in-depth interview at the tail end of the disc. Take special note of the expression and intensity displayed in "Blues Walk." This man, born Clarence Edward Smith, has come a far piece of ground from his roots, yet his appreciation and hard work -- he is on the road 250 days a year -- has honed his sound to sheer enjoyment. He is a true diplomat of the blues. ~ Bob Gottlieb, AMG

Hampton Hawes recorded many superb trio sets in the 1950s, including three with bassist Red Mitchell and drummer Chuck Thompson. This straight-ahead set (reissued on CD) finds the group exploring seven standards often played by bop musicians (including "You and the Night and the Music," "'Round Midnight," and "Autumn in New York") plus a couple of original blues. Although he was originally strongly influenced by Bud Powell, Hawes' own personality comes through in this very likable music. - AMG

Although already 42 at the time of this LP and widely respected as a talented swing/Dixieland clarinetist and soprano-saxophonist for 20 years, this was only Kenny Davern's second album as a leader (and the first was a very obscure effort for Elektra in 1958). Actually Davern (switching between soprano, clarinet and C-melody sax) shares the spotlight with the hot swing tenor Flip Phillips (who also contributes some bass clarinet and soprano) in a quintet with pianist Dave McKenna, bassist George Duvivier and drummer Bobby Rosengarden. The quintet performs six veteran standards (and the more recent "Elsa's Dream") in spirited fashion with plenty of interplay between the two horns. This version of "Mood Indigo" (with its clarinet and bass clarinet frontline) is a near-classic, Flip takes "Candy" as his feature and "Cottontail" really cooks. ~ Scott Yanow, All Music Guide

Предлагаю Вашему вниманию запись из своих старых запасов.
Насколько я знаю, это первая встреча Dizzy Gillespie и Gonzalo Rubalcaba.

Приятного прослушивания!

Хочу представить Вам великолепнейший альбом оркестра Count Basie под управлением Bill'а Hughes'а. Записан во время выступления в Denryoku Hall, Sendai, Япония, при участии: Butch Miles и Melba Joyce.
Приятного прослушивания.

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Since Basie's death, there have been several Basie wanabees trying to play/record the old Basie standards. With a few notable exceptions most were just "good tries". Bill Hughes' "Basie is Back" sounds more like Basie -- than even Basie. The arrangements herein are true to Basie; just as I heard them a hundred times before. Even without the liner notes you will recognize Corner Pocket, Blues in Hoss'Flats,In a Mellow Tone and April in Paris. Segue and Discommotion will blow your mind.

В дополнение к уже имеющимся альбомам Eric'a Dolphy, хочу добавить еще один, очень достойный концерт - Far Cry.
Приятного прослушивания.

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Еще один альбом Diana Schuur. На этот раз извечная тема - любви. Хорошей музыки должно быть много!. Приятного прослушивания.
Grammy Award Nominee for 'Best Traditional Vocal Recording'

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Вашему вниманию редкий альбом Jimmy Smith/ Своеобразный блюзовый "взгляд" с великолепным составом. Ранее этот альбом не издавался за исключением (#2) The Swingin' Sheperd Blues - который выходил на сингле.

Биография Jimmy Smith

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Overlaid on the song titles on the back of this live double CD are the words ballads, blues, soul and funk & jazz. Conspicuously absent are rock & roll. That's probably a deliberate omission of a style that, in Van Morrison's eyes, has become corrupted by commercialism and compromised by an ignorance of its own roots. Morrison seeks to redress that imbalance on A Night in San Francisco with a jaw-dropping performance. It furthers a process of re-engagement on Morrison's part – begun with Too Long in Exile – that finds him grounding his spiritual questing in earthier stuff. A Night in San Francisco is the culmination of a career's worth of soul-searching that finds Morrison's eyes turned toward heaven and his feet planted firmly on the ground. The program opens with "Did Ye Get Healed?" in which horns and voices playfully rise and fall behind Morrison's vocal. It closes, some two and a half hours later, with fluegelhorn player and emcee Haji Ahkba asking the crowd, "Did you get healed?" in the wake of a medley of "Shakin' All Over" and "Gloria." In between, Morrison intersperses august pastoral meditations ("Beautiful Vision," "It Fills You Up," "In the Garden") with lithe blues and soul make-overs. Songs frequently flow into one another in medley form, with Morrison originals such as "Vanlose Stairway" and "Trans-Euro Train" linked with the likes of Ray Charles' "Fool for You." Such conjoinings – Sam Cooke, James Brown, Doc Pomus, Sly Stone and Rodgers and Hart are among the other references – reinforce the notion of a musical and spiritual continuum at the heart of this undertaking. Another key facet of this performance is the sense of community fostered from the stage by Morrison, whose temperament heretofore (apart from his music) hasn't exactly been endearing. An array of guest artists – most notably John Lee Hooker, Junior Wells and Jimmy Witherspoon – is warmly welcomed by Morrison in duets that result not in hysterical one-upmanship but in revealing give-and-take. He is generous also with his superb cast of musicians, giving them room to breathe and letting them coalesce around him, anchored by guitarist Ronnie Johnson and organist Georgie Fame. Morrison addresses the audience with surprising gusto, identifying band members after solos, heartily disbursing thank-you's and gamely attempting between-song patter. The capstone to this magnificent performance is a lengthy new arrangement of "Moondance" that audaciously remakes that classic. For Van Morrison, on the evidence of this resurgent testimonial, it would appear that it's far too late to stop now. - by Parke Puterbaugh (www.rollingstone.com)