SEPTEMBER

JIMMY GIUFFRE (1921-2008)

Jimmy Giuffre has had many accomplishments in a long career that has never been predictable. Giuffre graduated from North Texas State Teachers College (1942), played in an Army band during his period in the service and then had stints with the orchestras of Boyd Raeburn, Jimmy Dorsey and Buddy Rich. His composition "Four Brothers" became a hit for Woody Herman, an orchestra that Giuffre eventually joined in 1949.Settling on the West Coast, the cool-toned tenor started also playing clarinet and occasional baritone. He was with Howard Rumsey's Lighthouse All-Stars (1951-52) and Shorty Rogers' Giants (1952-56), recording with many top West Coast jazz players. In 1956 he went out on his own, forming the Jimmy Giuffre 3 with guitarist Jim Hall and bassist Ralph Pena (later Jim Atlas). Giuffre had a minor hit with his recording of "The Train and the River," a song that he played during his notable appearance on the 1957 television special The Sound of Jazz. In 1958 Giuffre had a most unusual trio with valve trombonist Bob Brookmeyer and guitarist Hall (no piano, bass or drums!), appearing in the movie Jazz on a Summer's Day. After a couple years of reverting back to the reeds-guitar-bass format, in 1961 the new Jimmy Giuffre 3 featured pianist Paul Bley and bassist Steve Swallow and was involved in exploring the more introspective side of free jazz. From 1963 on Giuffre maintained a lower profile, working as an educator although Don Friedman and Barre Phillips were in his unrecorded 1964-65 group. He popped up on records now and then in the 1970s with diverse trios (including a session with Bley and Bill Connors) and his 1980s unit often utilized the synthesizer of Pete Levin. Giuffre, who started late in life playing flute and soprano and seems to have made a career out of playing surprising music, reunited with Bley and Swallow in 1992. He has recorded as a leader through the years for Capitol, Atlantic, Columbia, Verve, Hat Art, Choice, Improvising Artists, Soul Note and Owl.

The quiet class of Jimmy Giuffre

It is difficult to imagine how so many fine artists who are practicing jazz musicians can labor sometimes for decades without gaining the ear of jazz fans, even after they have won the respect of cantankerous critics or other fickle commentators on the arts.There are men and women who occupy something of a second tier in the jazz world, where their work functions as the cement that holds the entire edifice together. Joe Henderson comes most immediately to mind. His current success is hard-won and well-deserved after decades of working the stage in front of his own band or behind other frontmen. Too young to be part of the old bop guard that included Bird and Diz and Miles, Henderson also is too old to be included among such younger lions as the Marsalises, Marcus Roberts, Cyrus Chestnutt, Joshua Redman, et al.A dedicated jazz fan who fearlessly approaches the music is apt to find scores of such musicians who have assimilated styles and attacks that range the music's gamut. These musicians have a way of exhibiting the characteristics of walking jazz encyclopedias, functioning as living monuments to the history of an art form.I can't remember exactly when I first heard Jimmy Giuffre, but my first awareness of him came with his performance at the 1958 Newport Jazz Festival, a performance recorded in the opening sequence of Bert Stern's 1959 film, "Jazz On A Summer's Day." The selection was "The Train And The River" and he performed on alto saxophone with guitarist Jim Hall and valve trombonist Bob Brookmeyer.The striking quality of the performance was enhanced by the telepathic interplay among the members of the trio and, given the context of 1958 Eisenhower-led U.S.A., the tune struck me as simultaneously old and new. It has a fugue-like quality about it that appeals to my traditionalist gene, yet it is breathtakingly adventurous in its musical weavings. It is both familiar and challenging to me. The stripped-down nature of the trio brought the piece a spare beauty that remains in my memory the theme of that great film, though it featured a stylistic range of performers that included Louis Armstrong, Chico Hamilton, Dinah Washington, Chuck Berry (!), Gerry Mulligan, Thelonious Monk, George Shearing and Mahalia Jackson.Giuffre has given us many examples of his playful way with fugues and rondos and, at least to my ear, always has managed to keep the music sounding fresh, even though a great deal of it is hung upon traditional architecture.That achievement is fascinating, because now, in his 80th year, a backward glance over his career as a clarinetist, saxophonist and flautist reveals much to be admired. He started out as so many musicians do, playing in local bands and gradually gaining the bandstand experience during his study of music in a Texas teacher's college.As his reputation as a reedman grew, he branched into a writer and arranger and did stints with the Buddy Rich Band, the Jimmy Dorsey Orchestra, and then joined Woody Herman & His Thundering Herd, where he composed perhaps his best-known work, "Four Brothers," a certified hall-of-fame jazz classic.But his ideas always have had a quiet intelligence about them, that gives Giuffre's work the character of the advanced creative child in nursery school who prefers the quiet corner alone so that he can construct a labyrinth with his Legos while the other kids smudge their faces with finger paint.For example, he had a notion that he named "blues-based folk jazz" which led as early as the mid-1950s to his considerable work with pianoless and percussionless ensembles. And then quieter, freer compositions brought him associations with pianist Paul Bley and bassist Steve Swallow, and, by that time in the early 1960s, and considering his experience with the worthy likes of Brookmeyer and Hall, he'd built the cathedral of sound he'd been pursuing for a long time.But he didn't quit, entered the teaching profession, began tinkering with electronic instrumentation and kept composing and arranging for a variety of ensembles, dance companies and virtually any other artistic enterprise that might make use of music.And through all this, his music remained somehow, indescribably, jazz. It never lost that swing without which it all don't mean a thing.Here is some very select recommended listening to get you started on Giuffre's work: "Dragonfly" [Soul Note, 1983]; Quasar [Soul Note, 1985]; "Flight, Bremen 1961" [Columbia, 1961]; "The Jimmy Giuffre 3" [Atlantic, 1956]; and "Tangents in Jazz" [Capitol, 1955].I dig Jimmy Giuffre; I hope that, after giving his music a fair listen, you will, too. He is a quiet treasure.

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DIMITRIS VASSILAKIS - INTERVIEWED
Ο διάσημος Έλληνας jazzman ετοιμάζεται για έναν δημιουργικό χειμώνα γεμάτο εκπλήξεις.

1) After 3 major personal albums and so much experience from your appearances all over the world , what can we expect in the near future?

- A new album is in the making , which was recorded in N.Y. last April during my tour.I play with my New York Quartet : Essiet Okon Essiet (bass) , Sylvia Cuenca (drums) , Theo Hill (piano) and myself on vocals and sax .We arranged various covers by the Beatles , Nina Simone , Doors and jazz standards .Its a vocal project which blends the old with the new phase I'm in and am very pleased with the result.

1) Ύστερα από τρία δυναμικά προσωπικά άλμπουμ και τόσες εμπειρίες από εμφανίσεις σε όλο τον κόσμο τι περιμένουμε από εσένα στο άμεσο μέλλον?

-Ετοιμάζω ένα καινούργιο άλμπουμ , ηχογραφήθηκε στην Νέα Υόρκη τον Απρίλιο κατά τη διάρκεια της περιοδείας μου.Παίζω με το New York Quartet μου: Essiet Okon Essiet bass, Sylvia Cuenca drums, Theo Hill piano και εγώ στα φωνητικά και σαξόφωνα.Έχω κάνει διασκευές από Beatles, Nina Simone,Doors και jazz standards.Είναι ένα vocal project που θα γεφυρώνει τα παλιά μου με την νέα φάση που βρίσκομαι και είμαι ιδιαίτερα χαρούμενος με το αποτέλεσμα.

2) Lately you 've been using your voice a whole lot more , not to mention , we've also seen you playing drums .How did it come about , your need to express yourself through other means , other than the sax ?

- From way-back I began with vocals , and bass , together with my brother , Panteli , we started a new wave band in the early 80's called Art of Parties . Later , when I got into jazz , I left behind the past , though I returned to vocals but from a different scope , a few years ago .I've been influenced by Chet Baker and Nina Simone as instrumentalists / vocalists.Drums have always been a great temptation and Elvin Jones , Max Roach , Art Blakey , Tony Williams and Jeff "Tain" Watts have had a great influence on me .I got involved during the period 2002-2005 , and recorded samples in the recent "Parallel Lines" .

2) Τελευταία χρησιμοποιείς την φωνή σου όλο και περισσότερο ενώ σε είδαμε να κάθεσαι και στα τύμπανα.Πως επήλθε η ανάγκη να εκφραστείς με άλλα μέσα εκτός του σαξόφωνου?

-Από παλιά άρχισα με φωνή και μπάσο, όταν μαζί με τον αδερφό μου Παντελή φτιάξαμε τους Art Of Parties μια new wave band αρχές του 80'ς.Μετά όταν άρχισα να μπαίνω στην τζαζ άφησα πίσω τα προηγούμενα, ενώ επανήλθα με τα φωνητικά από άλλη σκοπιά λίγα χρόνια πριν.Με έχουν επηρεάσει ο Chet Baker και η Nina Simone και ως instrumentalists/vocalist.

Τα τύμπανα ήταν πάντα μεγάλος πειρασμός και ο Elvin Jones,Max Roach,Art Blakey,Tony Williams και Jeff "Tain" Watts με έχουν επηρεάσει.Ασχολήθηκα την περίοδο 2002-2005 και ηχογράφησα και δείγματα στο πρόσφατο parallel lines.

3) Dimitri , how difficult is it to find good partners , musicians that can fullfill the expectations of a leader in a jazz ensemble ?

-It is very important that I have the right musicians that are friends as well.I have managed this up to a point the last few years with the quartet I have in New York and in London.In Greece I have several good musician friends , and we play together every now and then .Different if it's an instrumental trio , large ensemble or lately a vocal quartet .
3) Δημήτρη πόσο δύσκολο είναι να βρεις τους σωστούς συνεργάτες, μουσικούς που θα μπορέσουν να εκπληρώσουν τις προσδοκίες του leader σε ένα jazz σχήμα?

-Είναι πολύ σημαντικό να έχω τους κατάλληλους μουσικούς που να είναι και φίλοι.

Αυτό το έχω καταφέρει ως ένα βαθμό έξω τα τελευταία χρόνια με το κουαρτέτο που έχω στην Νέα Υόρκη και στο Λονδίνο.Στην Ελλάδα έχω αρκετούς καλούς φίλους μουσικούς που κατά καιρούς παίζω.Διαφορετικοί αν είναι instrumental trio,large ensamble ή τώρα τελευταία vocal quartet.

4) Tell me about your recent tour in the U.S. What kind of atmosphere does a jazz club in New York have without cigarette smoke ?

-I've played in Chicago and New York , in Abu Dhabi and Dubai , and lastly in Zurich and Aarau in Switzerland .New York is always a perfect place , the smoke hasn't gone , it exists as an atmosphere ... it's the place where anything can happen .This year I played at the Kitano on Park Ave , though one of my favorite places still is the Zinc Bar in the Village .

4)Μίλησέ μας για την πρόσφατη περιοδεία σου στην Αμερική.Τι ατμόσφαιρα έχει ένα τζαζ κλαμπ της Νέας Υόρκης χωρίς καπνό από τσιγάρα σήμερα?

Έπαιξα στο Σικάγο και στην Νέα Υόρκη στο Abu Dhabi kai Dubai και τέλος Zurich και Aarau στην Ελβετία.Η Νέα Υόρκη είναι πάντα τέλειο μέρος, ο καπνός δεν έχει φύγει υπάρχει σαν ατμόσφαιρα....είναι το μέρος που όλα μπορούν να συμβούν...Φέτος έπαιξα στο Kitano στην Park Avenue, ενώ από τα αγαπημένα μου μέρη παραμένει το Zinc Bar στο Village.

5) How do you see the jazz scene in Europe and in Greece ?

-Jazz is very much alive in Europe , there are many festivals and clubs and new developing trends , no comparison to whats "happening" in Greece as we are far behind in jazz education.
5) Πως βλέπεις τα Ευρωπαϊκά και πως τα Ελληνικά τζαζ πράγματα?

Στην Ευρώπη η τζαζ είναι πολύ ζωντανή, γίνονται πάρα πολλά φεστιβάλ υπάρχουν κλαμπ και αναπτύσονταικαι νέες τάσεις,ενώ δεν υπάρχει σχέση με τα Ελληνικά δεδομένα καθώς είμαστε και αρκετά πίσω στα εκπαιδευτικά....

6) Sonny Rollins said " I don't believe jazz needs to try and change .I believe jazz is multisided and there are so many different styles that cover every interest without the imperative need for change .

-I find that to be true and wise.On the other hand , things have a tendency to evolve on their own , as intuition , new discoveries and the reality of each musician , ends to new paths .

6) Ο Sonny Rollins είπε ότι:"Δεν θεωρώ πως η τζαζ πρέπει να προσπαθήσει να αλλάξει.Πιστεύω ότι η τζαζ είναι αρκετά πολύπλευρη και υπάρχουν τόσα διαφορετικά στυλ που καλύπτουν κάθε ενδιαφέρον χωρίς την επιταγή της αλλαγής".Θεωρείς ότι η τζαζ, ότι είχε να πεί το είπε και απλά υπάρχει?

-Αυτό το βρίσκω πολύ σωστό και σαφές.Από την άλλη πάντα τα πράγματα εξελίσσονται από μόνα τους καθώς η διαίσθηση οι εξερευνήσεις και πραγματικότητες των μουσικών ανοίγουν καινούργιους δρόμους.

7) What would we find on your I-pod ?

-Thousands of beloved songs ...But for now Nina Simone , Amy Whinehouse , Chet Baker , Rollins , Mingus , David Bowie but I also listen to radio through the internet , my favorite station is WBGO Newark New York .
7) Τι θα βρούμε στο I pod σου σήμερα?

Χιλιάδες αγαπημένα κομμάτια....αλλά για τώρα Nina Simone,Amy Whinehoyse,Chet Baker,Rollins, Mingus,David Bowie, αλλά ακούω και πολύ ραδιόφωνο μέσω δικτύου,αγαπημένος σταθμός ο WBGO Newark, New York.

8) Would you believe that today's distribution through the internet offers opportunities to musicians or is it a chaotic situation where it is difficult for an artist to find an audience for his works ?

-I believe things are evolving naturally as technology and information evolve.It's always been difficult to be heard , only that now are can function easier , independently from labels and present ones work , indifferent to sales .It's easier to have ones stigma through the internet.

8) Ο νέος τρόπος διακίνησης της μουσικής μέσω του διαδικτύου πιστεύεις ότι προσφέρει ευκαιρίες στους μουσικούς ή δημιουργείται μια συνθήκη χάους όπου είναι δύσκολ ένας καλλιτέχνης να βρεί κοινό για το έργο του?

-Νομίζω ότι τα πράγματα εξελίσσονται φυσικά καθώς εξελίσσεται και η τεχνολογία και η πληροφόρηση.

Όπως ήταν πάντα έτσι και τώρα είναι δύσκολο να ακουστείς,μόνο που τώρα μπορεί να λειτουργήσεις καλύτερα,ανεξάρτητα από labels και να παρουσιάζεις το υλικό σου άσχετα από πωλήσεις.Είναι πιο δύσκολο τώρα για όλους να αφήσουν ένα στίγμα τους μέσω του διαδικτύου.

9) Would you say that in order for a new saxophonist to develope skills should seek musicians that suit him , good teachers or good equipment and the right sax ?

- A new sax player who has reached a knowledgable point , should find the right musicians , and have a point of reference through a teacher or a mentor , or the style of a beloved musician , in order for one to distinquish a certain direction in ones playing and his composition .There are several exquisite sax players with amazing capabilities , who basically just reproduce sounds without any inspiration . 9) Θεωρείς ότι για την ανάπτυξη της τεχνικής του ικανότητας ένας νέος σαξοφωνίστας πρέπει να ψάχνει μουσικούς που να του ταιριάζουν,καλούς δασκάλους ή ένα καλό εξοπλισμό και ένα σωστό σαξόφωνο?

-Ένας νέος σαξοφωνίστας, αφού έχει φτάσει σε ένα καλό σημείο ωριμότητας στο παίξιμο,το πιο σημαντικό είναι να βρει τους κατάλληλους μουσικούς και να έχει ένα σημείο αναφοράς με ένα δάσκαλο ή μέντορα ή με ένα στυλ ή αγαπημένο παίκτη,ώστε να διακρίνει κανείς μια κατεύθυνση στο παίξιμο ή/ και στο γράψιμό του.Υπάρχουν πολλοί νέοι παίκτες με εξαιρετικές ικανότητες αλλά που ουσιαστικά αναπαράγουν χωρίς να εμπνέουν.

10)You have a great kid , your son Nestoras.Would you suggest he becomes a musician if he should show the interest ?

-I would like that besides , at the age of 3 he started with drums , now at almost the age of 8 and as he gets older , he seems to show interest and capability .
10) Έχεις ένα υπέροχο πιτσιρικά, τον γιο σου Νέστωρα.Θα τον παρότρυνες να γίνει μουσικός αν εκδήλωνε το ενδιαφέρον?

Θα το ήθελα,άλλωστε πολύ πιο μικρός γύρω στα 3 άρχισε με τύμπανα, τώρα περίπου 8 ετών και καθώς μεγαλώνει συνεχίζει να δείχνει ενδιαφέρον και ικανότητα.

Thanks for everything and can't wait to hear your new work .

Σε ευχαριστώ για όλα και προσδοκώ τη νέα σου δουλειά.

http://www.dimitriosvassilakis.com/

----------------------------------------------------------------------------------------------------------------- JAZZ PORTRAIT - JALEEL SHAW

Μεγαλωμένος και σπουδαγμένος στην Φιλαδέλφεια με την όχι αμελητέα jazz παράδοση ο Jaleel Shaw αναδεικνύεται σήμερα σε μία από τις δυναμικότερες φωνές του άλτο σαξόφωνου .Με τον «πειστικό» , κρατερό και γεμάτο λυρισμό και ρευστότητα ήχο του , ξεχωρίζει από πολλούς μουσικούς της γενιάς του .Φιναλίστ του Thelonious Monk International Competition το 2002 και με εμπειρίες από περιοδείες στην Ευρώπη , την Αφρική και τις Ηνωμένες Πολιτείες έχτισε την μουσική του προσωπικότητα και σήμερα είτε ως μέλος της Mingus Big Band , της The Either Orchestra , της Count Basie Big Band , του κουαρτέτου του Jeremy Pelt και του Roy Haynes, είτε ως leader του δικού του γκρουπ και με δύο αξιόλογα προσωπικά άλμπουμ κερδίζει πάντα θετικές εντυπώσεις .

Jaleel Shaw, alto saxophonist, is currently a member of the Roy Haynes Quartet, Charles Mingus Big Band, and performs in various clubs in New York City and abroad with various groups, including the Jaleel Shaw Quintet.
Jaleel grew up in Philadelphia, PA, where he studied with saxophonist Rayburn Wright, Robert Landham, and jazz instructor Lovette Hines, whose students have included Christian McBride and Joey Defrancesco.
He also had many mentors in Philadelphia, including John Blake, Byard Lancastar, Alfie Pollit, and Grover Washington Jr. Jaleel attended the High School for Creative & Performing Arts and later transferred and graduated from George Washington High School.
Upon graduating from high school, he received a full tuition scholarship to Berklee College of Music in Boston, Mass. Jaleel attended Berklee for four years and earned a dual degree in Music Education and Performance in 2000. While attending Berklee, he received the Billboard Endowed Scholarship for Outstanding Academic and Musical achievement (1998), two Woodwind Dept. Chair Awards, The Outstanding Student Teacher Award, and The Boston Jazz Society Award (1999).
Upon graduating from Berklee, Jaleel received a scholarship to attend the Manhattan School of Music in New York City, where he received his Masters in Jazz Performance in May, 2002. He was also a finalist in the Thelonious Monk International Saxophone Competition that year. Jaleel has performed internationally in Australia, China, London, Paris, Italy, Finland, Africa, Scotland, Amsterdam, Austria, Spain, and Portugal, as well as many cities in the U.S.
He can be heard on recent recordings from the Roy Haynes Quartet, Mingus Big Band, The Either Orchestra, The Count Basie Big Band, and Jeremy Pelt Quartet.He recorded his first Perspective for the Fresh Sound in February of 2004. The cd was released in 2005 and was proclaimed one of the top debut albums of that year by AllAboutJazz Magazine.

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JAZZNOTES

Οι θρυλικοί Chick Corea και John McLaughlin ξανασμίγουν για μια μοναδική Ευρωπαϊκή περιοδεία που θα τους οδηγήσει μέχρι την Άγκυρα της Τουρκίας .Η καλλιτεχνική τους συνάντηση συμβαίνει ύστερα από 30 χρόνια , από την εποχή που έπαιζαν μαζί στην μπάντα του Miles Davis

Έφυγε σε ηλικία 82 ετών ένας από τους σημαντικότερους τρομπονίστες της τζαζ , ο Jimmy Cleveland .Γεννημένος το 1926 στο Wartrace του Tennesee , ηχογράφησε αρκετά άλμπουμ ως leader για την EmArcy στην δεκαετία του ’50 , αν και οι σημαντικότερες στιγμές του καταγράφηκαν σε άλμπουμ άλλων , όπως των Quincy Jones , Lionel Hampton , Miles Davis , Sarah Vaughan , James Brown , Oscar Peterson , Antonio Carlos Jobim , Lucky Thompson , Oscar Pettiford , Charles Mingus , Cannonball Adderley , Thelonious Monk , Dinah Washington και άλλους .Εμφανιζόταν στην τηλεόραση ως μέλος της μπάντας για τον The Merv Griffin Show επί σειρά ετών .

Μην χάσετε 6 υπέροχες νύχτες του Σεπτεμβρίου , μεταξύ 05/09 και 13 /09, στα πλαίσια του φεστιβάλ Υμηττού στο θέατρο βράχων , το φεστιβάλ της ECM .Ο ήχος της ECM έχει χαρακτηριστεί ως ότι πιο όμορφο μετά την ησυχία .

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UNDERRATED JAZZ MUSICIANS - WALTER DICKERSON

Dickerson made a fairly 'big splash' when his first recordings appeared in the early 60s (Down Beat Critics Poll “New Star”, 1962), but he's remained an enigmatic figure ever since. His early sides demonstrated a sure grasp of the Hampton/Jackson continuum in blazing through standards, but his original compositions on those dates reflected a spiritual, even mystical flavor that was expanded on in recordings into the early 80s.
Dickerson's distinctive melodic and rhythmic approach is complemented by his unique timbre on what is often a cold-sounding and unwieldly instrument - his use of rubber mallets specially-treated to produce a plush and very warm yet crisp sound, immediately recognizable. Of all his recordings, most are in the trio format, none larger than a quintet (with two drummers!), and no horn players appear. There is an underlying current of turbulence yet an overall air of serenity to his work.
Also curious (and frustrating to his small but devoted group of devotees) are Dickerson's long periods of inactivity; no recordings exist between 1966 and 1975, and his last released LP was in 1982. Word has it that he still performs sporadically around his native Philadelphia, even more rarely in New York and the west coast. (Anyone with more information is implored to contact the author!)
Among his more noted collaborators are Sun Ra (both in the 60s and 70s) and Andrew Cyrille, who performed on the great majority of Dickerson's recordings from 1961 (possibly Cyrille's first major recording?) through 1982.
MOMENT'S NOTICE

5 επιλογές κάθε μήνα από την τζαζ δισκογραφία .Στιγμές από την παλιά ή πρόσφατη Ιστορία που χρήζουν προσοχής .

Buddy Collette - Man of Many Parts (Contemporary) 1956
Μία σημαντική προσωπικότητα της σκηνής του Los Angeles και ένας από τους πρώτους φλαουτίστες της τζαζ , o Buddy Collette γνώρισε μεγαλύτερη αναγνώριση ως μέλος του κουιντέτου του Chico Hamilton .Στο άλμπουμ της Contemporary από το 1956 , ο Buddy καταπιάνεται με διάφορα πνευστά παίζοντας άλτο και τενόρο σαξόφωνο , κλαρινέτο και φυσικά φλάουτο .Μαζί με τον κιθαρίστα Barney Kessel , τον Gerald Wilson στην τρομπέτα και τον πιανίστα Gerald Wilkins ο Buddy Collette μας δίνει μία από τις καλύτερες και πιο cool δουλείες της δεκαετίας του 50.

Yusef Lateef - Psychicemotus (Impulse!) 1964

Μπορεί η καλύτερη στιγμή του Yusef Lateef στην Impulse! να είναι η ηχογράφηση “Live at Pep’s”, το άλμπουμ “Psychicemotus” αξίζει σίγουρα ιδιαίτερης προσοχής .Σε ένα κλίμα που καθορίζεται από τις αναζητήσεις του John Coltrane , ο Lateef μας δίνει ένα υπέροχο , original άλμπουμ με μουσική που προέρχεται από την αρχαιότητα και οδηγείται στο μέλλον διατηρώντας την σουίνγκ αισθητική και τις καθαρές φόρμες .Υπέροχο παίξιμο σε κάθε όργανο που καταπιάνεται ,(διάφορα φλάουτα , τενόρο σαξόφωνο , μπαμπού και Κινέζικα ξύλινα φλάουτα ) με high light την απόδοση της σύνθεσης του Erik Satie ,”First Gymnopedie” με το φλάουτο του .Ο George Arvanitas στο πιάνο ακούγεται ως τέλειο συμπλήρωμα του Lateef ενώ τα γεμίσματα στα τύμπανα του Black και το άψογο στεντόρειο παίξιμο στο μπάσο του Workman μας δίνουν ένα άψογο αποτέλεσμα .

Michael Brecker - Michael Brecker (Impulse!)1986

Η τεράστια απώλεια του Michael Brecker είναι αδιαμφισβήτητη αλλά ακούγοντας αυτόν τον εξαιρετικό δίσκο μας πονάει και η απώλεια άλλων δύο αδικοχαμένων
μεγάλων που πλαισιώνουν τον Brecker , τον πιανίστα Kenny Kirkland και τον συνθέτη και παραγωγό Don Grolnick . Πρόκειται για τον πρώτο δίσκο ως leader του Brecker που παρά την 20 χρονη παρουσία του δεν έτυχε να ηχογραφήσει δικό του άλμπουμ .Το κουιντέτο του πλαισιώνουν εκτός του Kirkland , ο Pat Metheny (κιθάρα) , ο Charlie Haden (μπάσο) και o Jack DeJohnette (ντραμς)
H σύνθεση του Grolnick , Cost Of Living και η απόδοση της από το κουιντέτο θα σας καθηλώσει .Ένας λαμπρός δίσκος

Enrico Rava / Ran Blake - Duo En Noir (Between the Lines) 1999

Ο Ιταλός τρομπετίστας Enrico Rava μπορεί να κινηθεί με την ίδια ευκολία σε όλα τα στυλ της τζαζ διατηρώντας την ίδια αυθεντική προσέγγιση και ποιότητα .Σε αυτό το άλμπουμ εισέρχεται στον σκοτεινό και πολλές φορές δυσοίωνο κόσμο του πιανίστα Ran Blake για ένα βαθιά συναισθηματικό σετ με υπέροχες αναγνώσεις στα “Tea for Two” , “I Should Care” , “Let’s Stay Together” , “Vertigo” , “Laura” και “Nature Boy”.Το παίξιμο του Rava λάμπει με τον δυνατό λυρισμό του και την καθαρότητα του – ένας δίσκος που πρέπει να αποχτηθεί .

Andy Bey - American Song (Savoy) 2004

Η πιο έλλογη ανάσα της τζαζ , η βελούδινη βαθειά φωνή του Andy Bey σε έναν δίσκο που τον ξαναφέρει δυναμικά στο προσκήνιο και αναγνωρίζεται ως ένας από τους σημαντικότερους τραγουδιστές της ιστορίας της τζαζ .Κάθε νότα έχει εξέχουσα σημασία , καταπληκτική προσέγγιση σε τζαζ στάνταρντς και ένα μοναδικό “Lush Life” .

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LABEL OF THE MONTH : IPO RECORDINGS Δύο από τους μεγαλύτερους και πιο αδικημένους πιανίστες που γέννησε η τζαζ φιλοξενούνται στην ipo records Η μουσική του Sir Roland Hanna που έφυγε το 2002 και του ενεργού βιρτουόζου Roger Kellaway ενώ γίγαντες όπως ο κλαρινετίστας Eddie Daniels και οι βετεράνοι James Moody , Hank Jones και πολλοί άλλοι περνούν από τα στούντιο της και κοσμούν με την μουσική τους τα καλαίσθητα cds , συνήθως σχεδιασμένα από τον εξαίσιο ζωγράφο Ivan Kustura , σε μορφή digipack .Εκτός της jazz αναμένουμε και αρκετά έργα κλασσικής μουσικής να εμπλουτίσουν τον κατάλογο της .Η Ipo Recordings προσπαθεί να αναδείξει μουσικούς μεγάλης αξίας που έχουν αδικηθεί δισκογραφικά αλλά και να δώσει ευκαιρίες για δυναμικές συναντήσεις σπουδαίων μουσικών .Η αίσθηση που δίνεται σε κάθε συλλέκτη cd της εταιρίας είναι η ίδια με εκείνη της αγοράς βινυλίων καθώς κάθε δισκάκι χαρακτηρίζεται από την πολυτέλεια και την αισθητική της vinyl – era .
IPO RECORDINGS produces recordings by great jazz and classical musicians, with a focus on musicians whose recordings have not been widely available or who have not always had the opportunity to record under circumstances that do full justice to the quality of their music. We've also recorded some well-known musicians in unusual combinations or performing music which they have not previously recorded. Please click our classical or jazz links above for complete listings of our recordings, or search our catalog for particular performers or composers.
IPO Recordingsemail: info@iporecordings.com

JAZZ THINK

By the term "trimetric" in this context, I am saying that by 1980, I had arrived at a point in my system where every composition would have three-by- three components; three-by-three-by-three components. And by that I'm saying, for example, the bass part of "Composition 83" can be extracted and itself be played by the orchestra. Every composition is an orchestra piece. Every composition is a chamber piece. Every composition is a solo piece. But it's even more than that. Every composition can be connected to another state. That is, every composition at this point is composed with respect to its origin identity state, with respect to its correspondence identity state, and finally with respect to its synthesis identity state.
And what that means is, suddenly there would be the opportunity to put compositions together. . . Imagine a giant erector set where every component can be refashioned based on the dictates of the moment. By adopting this structural context, I would in fact find myself in a post-Baroque structural arena that would seek to emphasize trimetric, or three-dimensional components.
What am I saying? I am saying that. . .as we move into the next thousand years, it will be important to remember that the new technologies are already here. We have already, for all practical purposes, arrived at the future as envisioned, say, in science fiction imagery of what's going to constitute the future. . . I remember Dick Tracy having a television in his watch. And so now I go to Radio Shack -- there it is! We are moving to the post-future components. "- ANTHONY BRAXTON

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JAZZ QUIZ

1) Which jazz organist had a hit with Lou Reed's "Walk On The Wild Side"?

a.Lonnie Smith b.Jimmy Smith c.Lonnie Liston Smith d.Jack McDuff

2) Jimmy McGriff featured which up-and-coming saxophonist on his "House Party" album?

a.Eric Alexander b.Chris Potter c.Rick Margitza d.James Carter

3) Which jazz musician wrote and performed the music for the soundtrack to "Coffy"?

a.Quincy Jones b.Jimmy Smith c.Roy Ayers d.Lalo Schiffrin

4) When Jimmy Smith and Wes Montgomery collaborated , who was the orchestrator?

a.Lalo Schiffrin b.Oliver Nelson c.Claus Ogerman d.Gunther Schuller

5) Jimmy Smith and Grant Green only collaborated on one album .Which one ?

a.Organ Grinder Swing b.House Party c.Live at Club Mozambique d.I'm Movin' On

6) Which jazz organist had a record for Prestige entitled "Funk You !"

a.Charles Earland b.Don Patterson c.Brother Jack McDuff d.Leon Spencer

7) Which instrument does Alan Evans play ?

a.Organ b.Guitar c.Drums d.Saxophone

8) Who was Wes Montgomery 's steady organist ?
a.Mel Rhyne b.Lonnie Smith c.Shirley Scott d.Leon Spencer

9)According to Charles Kynard , what does "Wa-Tu -Wa-Zui " translate to ?

a.Walk the Walk b.Animal Instincts c.Beautiful People d.Wake Up To The Sun
10) Which Lou Donaldson album is thought to be the first soul jazz record ever recorded ?

a.Midnight Creeper b.Alligator Boogaloo c.The Naural Soul d.Everything I Play Is Funky

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JAZZ ANECDOTES
Two jazz musicians who haven't seen each other for some time meet late one night in a jazz club."Hey Man" , says one , "I hear you recorded a c.d.". "Yeah, that's right man" ; replies the other , "it was released a few months ago "."How much did you sell?" asks the first."Oh, just the house and the car".

A Drummer was asked by a journalist if he listened to anything else besides drums ."Oh yeah", he replied , "I like listening to Billie Holiday.I think he's great
Band leader: We've had a request for "Come Rain or Come Shine" .Drummer : "So , which one are we going to play?"

A piano player is rehearsing the female singer of the band : Pianist: In this tune you will sing seven bars of the first verse and then go immediately to the second ending .You will then sing four bars of the second verse a semitone higher and only half of the first ending before going to the bridge .After six bars of the bridge you will give me a five bar solo then come back in with the first six bars of the last verse followed by half of the coda .You will repeat the coda five times before finally ending on the root a semitone higher. Singer : But that's impossible . Pianist: No it isn't .That's what you do every tune .