Mercoled 27 aprile, il concerto di Francesco Bearzatti con una "Special Edition" del Tinissima Quartet che oltre allo stesso Bearzatti al sax tenore e clarinetto, vedr sul palco: Giovanni Falzone, tromba, Danilo Gallo, contrabbasso, Zeno De Rossi, batteria e ospiti speciali, Mauro Ottolini, trombone e Enrico Terragnoli, chitarra. Tinissima non un classico quartetto jazz (almeno per me) ma una vera band, una "combact band" consacrata alle biografie musicali di personaggi che si sono battuti per gli ultimi, per gli emarginati, per i "non aventi diritto".
ESOTERIC proudly introduces a new series of re-master collection - A great Jazz collection from impulse!
The reissue of historical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. These new audio versions feature ESOTERIC's proprietary re-mastering process to achieve the highest level of sound quality. Limited edition (3,500 sets).
This was one of the great touring and recording bands of the 1980s, Harrell and Woods inspiring each other and the rhythm section inquiring and swinging. Woods didn't need to change anything about his own style, but it blossoms anew in counterpoint with Harrell's lyrical fire, and each album is handsomely programmed and delivered … Flash, the final album with Harrell (who has since been replaced by Hal Crook as the front-line horn), has the edge of some outstanding composing by the trumpeter – "Weaver" and "Rado" are particularly sound vehicles – and Crook's extra tones on a few tracks.
My absolute favorite Black Jazz album was Infant Eyes, by pianist Doug Carn and his wife, Jean Carn. The record had a sensual, powerful feel. What made the album a hit were the soulful lyrics the Carns crafted for jazz standards such as Bobby Hutcherson's Little B's Poem, Wayne Shorter's Infant Eyes, John Coltrane's Acknowledgment from A Love Supreme, and Horace Silver's Peace. Doug's arrangements and Jean's searing, passionate vocals gave the album a distinctly 1970s African-American feel.
Jazz Loves Disney was recorded between Paris, London and Los Angeles by a dream cast. It is incredibly coherent, as if all participants had agreed to pay a rightful tribute to the most beautiful and symbolic tunes of Walt Disneys magic world, as if nothing was too good for the stars when they revisited the classics and the sweet childhood memories connected to them. This is the ultimate proof of the impact Disney has had on generations of jazz musicians, including the ones taking part in Jazz Loves Disney.
Chucho Valdes, Cuba's most famous jazz musician, has rebalanced the repertoire of his Afro-Cuban Messengers on Border-Free, mixing its American-jazz agenda (the group's name deliberately references both Valdes' roots and the late Art Blakey's classic soul-bop Jazz Messengers group) with more extended Latin-American input, and some Native American and Andalusian connections, too. Saxophonist Branford Marsalis, guesting on three tracks, is warmly romantic on tenor on the loping Tabu, agile and fluent on the Cuban dance-shuffle Bebo, and mercurial on a soprano-sax break full of north African microtonalisms on the hurtling, horn-hooting finale, Abdel.
Drummer Idris Muhammad's first two albums as a leader (Black Rhythm Revolution! and Peace and Rhythm) are reissued in full on this single CD. The former set has a few worthy tracks (including Muhammad's colorful feature "Soulful Dreams"); the latter recording…has a pair of soul vocals and some R&B material. Trumpeter Virgil Jones and saxophonist Clarence Thomas get in their spots, and the music is danceable.
Jazz and flamenco first crossed paths not in Spain, but in the USA when Miles Davis and arranger/composer Gil Evans recorded “Sketches of Spain” in November 1959 and March 1960. It became one of the most successful jazz albums of all time. And the jazz musicians in Spain? They attempted to emulate – as did their colleagues world-wide – the American model. Jazz stood for open-mindedness; national folklore was thought of as too parochial. Spanish saxophonist Pedro Iturralde was the only musician who, under the influence of “Sketches of Spain”, added a couple of flamenco melodies to his repertoire as he toured Europe accompanied by two Germans and a Swiss. That’s why Joachim-Ernst Berendt sought him out to play at the 1967 Berlin Jazz Festival. With the festival’s motto “Jazz Meets the World”, Berendt was looking for a jazz-flamenco combination to fit the bill.