Las Cintas Recuperadas

Tom Harrell,Eddie Henderson,Nicholas Payton,Lew Soloff - Trumpet Legacy (1998)

2012-04-17T11:12:00.000-07:00

Harvie Swartz - In a Different Light (1990)

2012-04-16T22:48:00.000-07:00

Stefon Harris / David Sanchez / Christian Scott - Ninety Miles (2011)

2012-04-16T22:39:00.001-07:00

By
IAN PATTERSON,
Published: August 29, 2011
Stefon Harris / David Sanchez / Christian Scott - Ninety Miles

On paper, Ninety Miles was a tantalizing project from the beginning; bringing together three of the most exciting voices in modern jazz—Puerto Rican-born tenor saxophonist David Sanchez, New Orleans trumpeter Christian Scott, and New York vibraphonist Stefon Harris— and transport them to Havana to play with two outstanding, piano-led Cuban jazz quartets. The American red tape took a year to negotiate—which shows a dogged determination of sorts on all sides—but the musical connection that resulted was clearly instant, judging by the exhilarating septet interplay and inescapable grooves captured here.

Pianists Rember Duharte and Harold López-Nussa each contribute two compositions, and bring their distinctive accents to three and five of the tracks respectively. Duharte's piano riffs combine with the propulsive, revving electric bass of Osmar Salazar to bring African flavored ostinatos to "Nengueleru," and "Congo," where the pianist's wordless singing lends a rich baritone layer to the melody. López-Nussa displays a more classically Cuban feel in his piano rhythms and a cleaner, salsa-inflected sound on "E'Cha" and "La Fiesta Va." Yandy Martinez Gonzalez's acoustic bass adds to the more traditional, yet no less vibrant flavor that López-Nussa's quartet brings to the septet.

The North American trio create most of the fireworks, and throughout Ninety Miles provide plenty of inspired soloing. Sanchez' beautifully measured phrasing is lyrical and yet suspenseful, particularly on "Nengueleru." Harris' boppish solos are striking for their combination of intensity and soul. His mallets lend a dreamy ambience to the intro on "City Sunrise" and he later throws all caution to the wind with a stunning improvisation on this cracking interpretation of a Sanchez tune. On "The Forgotten Ones" Harris brings a weightlessness to Sanchez's purring lament, over Edgar Martinez Ochoa's subtlest percussion on double-headed batá drum. Scott's confident voice shines though on daring trumpet runs, most notably on "Congo," and he works wonderfully in tandem with Sanchez on Harris's impressive arrangement of "Black Action Figure."

Congueros Ochoa and Jean Roberto San Miguel impregnate the music with stirring Afro-Cuban rhythms and add quite subtle textures. Ochoa puts real bounce into "And This Too Shall Pass," setting up Sanchez for a rippling solo, and is supported by López-Nussa's percussive comping. Drummers Eduardo Barroetabena and Ruy Adrian López-Nussa's presence is more felt than overtly stated, and that congas hold percussive protagonism over drums provides one of the striking aspects of the music. All eleven musicians, however, bring strong rhythmic currents to the collective playing.

An accompanying DVD offers a sneak preview of the forthcoming documentary on the making of Ninety Miles and two pulsating live tracks from the musicians' performance in Havana. It's a shame that the Latin Jazz Grammy has ceased to exist, as Ninety Miles would be an outstanding contender. The boost that such an accolade could give to Cuban pianists Duharte and López-Nussa and their excellent quartets makes this loss doubly lamentable. Suffice it to say, this will still stand as one of the very best jazz recordings of the year, in any category.

Track Listing: CD: Ñengueleru; E'cha; City Sunrise; The Forgotten Ones; Black Action Figure; Congo; And This Too Shall Pass; Brown Belle Blues; La Fiesta Va. DVD: Sneak peek of the documentary, Ninety Miles; City Sunrise (live); La Fiesta Va (live).

Personnel: Stefon Harris: vibraphone; David Sanchez: tenor saxophone; Christian Scott: trumpet (1-3, 5-8); Rember Duharte: piano (1, 6 8), voice (6); Osmar Salazar: electric bass (1, 6, 8); Eduardo Barroetabena: drums (1, 6, 8); Jean Roberto San Miguel: batá, congas, percussion (1, 6, 8); Harold López-Nussa: piano (2-3, 5, 7, 9); Yandy Martinez Gonzalez: bass (2-3, 5, 7, 9); Ruy Adrian López-Nussa: drums (2-3, 5, 7, 9); Edgar Martinez Ochoa: congas, djembe, percussion (2-3, 5, 7, 9), batá (4).

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Wayne Krantz / Leni Stern - Separate Cages (1996)

2012-04-16T22:17:00.001-07:00

Alain Caron - Septentrion (2010)

2012-04-15T23:00:00.000-07:00

Becoming a professional musician at a very early age, Alain Caron is a considerably accomplished bass player. He attended the Berklee College of Music. One of his first excursions into jazz was playing with the Vic Vogel Big Band during the 1970s. In 1977 he co-founded the group UZEB. Their first album, Live in Bracknell, was released in 1981. The following year saw the group putting out Fast Emotion. The next album was 1984's You Be Easy. 1985 saw them release Between the Lines. Two more live albums, Live a l'Olympia and Absolutely Live came out in 1986. The group released Noisy Nights and Live in Europe in 1988. The following year saw the release of UZEB Club. World Tour '90 was released in 1990. In 1992, Caron formed his own group, le Band and released the first album by that group, Alain Caron — le Band. He also found time to record a bass duet album with Michel Donato and perform at the Montreal Jazz Festival with UZEB. 1993 saw Caron record with Leni Stern, tour with that band, as well as doing a tour of Quebec with le Band and performing with Donato — Caron. The next year saw the first major tour of his group as well as some other performances with other musicians. 1995 saw the release by le Band of Rhythm 'n Jazz and another European tour for the group. For the next couple of years he frantically performed with a number of different artists. The third le Band album, Play, was also released in 1997. Again, he took a couple more years performing with various artists, including le Band and, notably, Gino Vanelli. In 2000 he released the fourth album by le Band, Call Me Al!. ~ Gary Hill.

1.1-4-U
2.Enhanced
3.Double Action
4.Fair Play
5.Cross Check
6.Soleir Rouge
7.This Or That
8.De L'aube Au Crepuscule
9.Simple Pleasures.

Alain Caron - bass
Damien Schmitt - drums
Frank Gambale - guitar
Pierre Cote - guitar
Jean-Marie Eckay - guitar
Otmaro Ruiz - piano & keys
John Roney - piano
Tony Raymond - piano
Christophe Raymond - violon.

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Adam Nitti – Evidence (2001)

2012-04-15T22:43:00.000-07:00

Jake Hertzog - Patterns (2009)

2012-04-15T22:04:00.000-07:00

Ella Fitzgerald - Ella ABRAÇA Jobim (1981)

2012-04-14T23:40:00.001-07:00

Jeff Lorber Fusion - Water Sign (1979)

2012-04-14T16:49:00.001-07:00

Luiz Bonfa - Bonfa Burrows Brazil (1978)

2012-04-14T16:28:00.000-07:00

Joe Henderson - Mirrormirror (1980)

2012-04-12T13:53:00.001-07:00

Joe Henderson - Sunrise in Tokyo (1971)

2012-04-12T13:41:00.000-07:00

Jean-Luc Ponty - Tchokola (1991)

2012-04-12T13:13:00.000-07:00

Jimmy Smith - Sounds of Jimmy Smith (2005)

2012-04-11T01:29:00.001-07:00

Jimmy Smith's much copied jazz technique on the Hammond B-3 organ really came about when he was unable to find anyone to teach him the ins and outs of the instrument when he made the transition from piano to organ in 1955. Naturally he started out trying to play it like a piano, but luckily Smith, who had played bass in school, instinctively understood the importance of keeping a walking bassline on the foot pedals, as well, and as he began to work out the various stops, he developed the quick, nimble blues-based style that served him well for the next 50 years, a style that has influenced every B-3 player on the planet. Sounds Of Jimmy Smith was recorded in a three-day session beginning February 11, 1957, at Manhattan Towers Studios in New York when Smith was in the second year of his Blue Note contract. Producer Alfred Lion recorded Smith in a variety of formats over the three days, and while that included Smith's usual trio approach (his working band at the time consisted of Donald Bailey on drums and newcomer Eddie McFadden on guitar), he also recorded Smith solo and in various group settings with guest players like Art Blakey, Donald Byrd, Lou Donaldson, Hank Mobley, and Kenny Burrell. The results were sprinkled over Smith's next four of five albums, including this one, which features Blakey on two tracks. Truthfully, Smith was really at his most relaxed and innovative in the trio setting, and although the unaccompanied "The Fight" that is included here is striking, spooky, ominous, and churchy as all get out, it really falls outside of what he normally played. Sounds Of Jimmy Smith, even with the three bonus tracks that are added here, isn't exactly essential, but like all of Smith's Blue Note albums, it is charming, at times subtly innovative, and always listenable. It is worth the price of admission alone just to hear Smith and Blakey try to out-race each other on "Zing! Went the Strings of My Heart," which gallops along at an incredibly brisk pace.

01 There Will Never Be Another You
09 Third Day
02 Fight
03 Blue Moon
04 All The Things You Are
05 Zing! Went The Strings Of My Heart
06 Somebody Loves Me
07 First Night Blues
08 Cherokee.

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Jimmy Smith / Cat: The Incredible Jimmy Smith (1964)

2012-04-11T00:13:00.000-07:00

Jimmy Smith - Six Views of the Blues (1999)

2012-04-10T23:54:00.000-07:00

Jimmy Smith - Go for Whatcha Know (1986)

2012-04-10T16:48:00.000-07:00

Jimmy Smith - Confirmation (1958)

2012-04-10T15:30:00.000-07:00

John Scofield - Still Warm (1986)

2012-04-09T20:03:00.000-07:00

John Scofield - Quiet (1996)

2012-04-09T18:34:00.000-07:00

John Scofield - Loud Jazz (1987)

2012-04-09T18:23:00.000-07:00

John Scofield - Hand Jive (1993)

2012-04-09T15:56:00.000-07:00

John Scofield - This Meets That (2007)

2012-04-09T15:28:00.000-07:00

John Scofield - A Go Go (1997)

2012-04-09T14:59:00.000-07:00

Don Ellis – Out Of Nowhere (1989)

2012-04-09T05:55:00.000-07:00