Duke Ellington - 1938 (The Chronological Classics, 700)

By request.

01 - Stepping into Swing Society (Ellington, Mills, Nemo)
02 - Prologue to Black and Tan Fantasy (Ellington, Miley)
03 - The New Black and Tan Fantasy (Ellington, Miley)
04 - Drummer's Delight (Bigard, Ellington)
05 - If I Thought You Cared (Bigard, Jackson, Mills)
06 - Have a Heart (Lost in Meditation) (Ellington, Mills, Singer, Tizol)
07 - My Day (Heyman, Loeb, Lombardo)
08 - Silvery Moon and Golden Sands (Hald, Pease, Pease, Stock, Stock)
09 - Echoes of Harlem (Ellington)
10 - Riding on a Blue Note (Ellington, Mills, Redmond)
11 - Lost in Meditation (Ellington, Mills, Singer, Tizol)
12 - The Gal from Joe's (Ellington, Mills)
13 - If You Were in My Place (What Would You Do?) (Ellington, Mills, Nemo)
14 - Scrounch (Ellington, Mills, Nemo)
15 - I Let a Song Go out of My Heart (Ellington, Mills, Nemo, Redmond)
16 - Braggin' in Brass (Ellington, Mills, Nemo)
17 - Carnival in Caroline (Ellington, Mills, Nemo)
18 - Jeep's Blues (Ellington, Hodges)
19 - If You Were in My Place (What Would You Do?) (Ellington, Mills, Nemo)
20 - I Let a Song Go out of My Heart (Ellington, Mills, Nemo, Redmond)
21 - Rendezvous With Rhythm (Ellington, Hodges)
22 - A Lesson in C (Ellington, Mills, Nemo)
23 - Swingtime in Honolulu (Ellington, Mills, Nemo)

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Review by Scott Yanow, All Music Guide
1938 was a very busy year for Duke Ellington in the recording studios, whether making classics with his big band or being the pianist and organizer of sessions allegedly led by his sidemen. This disc has plenty of big-band sides and combo dates led by clarinetist Barney Bigard, trumpeter Cootie Williams, and altoist Johnny Hodges. Most notable among the selections are "Stepping Into Swing Society," "Echoes of Harlem," "The Gal From Joe's," "I Let a Song Go out of My Heart," and "Jeep's Blues," but there are no throwaways among these three-minute gems.

Keiko M.atsui - The best of (2005)

01 - Overture For The City
02 - Night Hawk's Dream
03 - Across The Sun
04 - Flashback
05 - Mountain Shakedown
06 - Midnight Stone
07 - Moon Circle
08 - Forever, Forever
09 - Between The Moons
10 - Tribal Boat
11 - Water Lily
12 - Deep Blue
13 - White Castle
14 - Gentle Sands
15 - Steps Of Maya
16 - Facing Up

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Keiko M.atsui is a Japanese-born instrumentalist and composer of smooth jazz and new age music.

Keiko D.oi started to compose music while she was in junior high school. Keen to pursue a career in the industry, she moved to the Yamaha Music Foundation, where she joined the jazz fusion group Cosmos. She had contributed to several Cosmos albums by the time the Foundation sent her to the US to record an album. While there she met with producer Kazu Mat.sui. They married and he has provided production duties on her albums since. The album A Drop of Water, which featured a host of US collaborators, got to No. 20 on the Billboard Contemporary Jazz charts, and a later release Sapphire got to the top spot on the same chart. Subsequent releases have done well and feature Mats.ui's jazz, classical and new age influences. — SoundUnwound

My best Michel Petrucciani - 1 (1981-84) [by Xor]

Thanks, Xor!

1 - Days of wine and roses
2 - Gattito
3 - My funny Valentine
4 - Estate
5 - Lover man
6 - Nardis
7 - To Erlinda

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Aquejado de una gravísima enfermedad ósea, - apenas llegaba al metro de altura- el pianista francés Michel Petrucciani, se consagró desde la infancia de manera casi exclusiva al estudio del piano y acabó por convertirse en uno de los músicos de jazz europeo de mayor renombre de todos los tiempos. Dotado de un virtuosismo extremo, su estilo intimista y romántico, que partía de la escuela de Bill Evans -del que era un ferviente admirador-, combinaba con inteligencia el lirismo y la sutileza con un ataque poderoso y percusivo.

Había nacido en Orange el 28 de Diciembre de 1962. Estudia piano clásico y a los 12 años actúa acompañado por su padre en la guitarra y su hermano Louis en el contrabajo. Su enorme talento le hace destacar desde muy joven y a los 17 años graba su primer disco. El año siguiente inicia con un trío de excepción con Jean-François Jenny-Clark y Aldo Romano, una serie de espléndidas grabaciones para el sello francés OWL. En 1982 se traslada a California y se convierte en el pianista del grupo del saxofonista Charles Lloyd, cuando éste regresa a la escena después de un prolongado retiro. También actúa a dúo con Lee Konitz. Aunque sigue grabando en Francia, sus estancias en Nueva York propician sus primeros discos americanos, hasta que en 1985 inicia su período en el sello "Blue Note" con "Pianism", una grabación en trío con Palle Danielson y Elliot Zigmund. El año siguiente actúa en Montreux en trío con Wayne Shorter y Jim Hall, encuentro que se publica bajo el título de "Power of Three", uno de sus grandes discos. En trabajos posteriores - "Music", "Playground"-, se acerca a las fórmulas de la fusión eléctrica con producciones en las que se diluyen sus mejores virtudes. Su último disco para Blue Note es un solo en homenaje a Duke Ellington, uno de sus compositores favoritos, y una clara influencia para cualquier pianista.

En 1994 vuelve a grabar para una compañía francesa, Dreyfus, con "Marvellous", en trío con el soberbio apoyo de Dave Holland y Tony Williams y el sorprendente añadido de un cuarteto de cuerda. Su absorbente personalidad le hacía preferir las formaciones reducidas, y en los últimos años una de las más fructíferas fue su insólito y excepcional encuentro a dúo con el organista Eddy Louiss, plasmado en los dos volúmenes de "Conference de Presse". Pero por encima de todo se vuelca en el solo, del que era un verdadero maestro. El doble CD recogido en sus actuaciones en París "Au Teathre Des Champs-Elysees" es probablemente la cima de su carrera discográfica. En 1997 da un nuevo giro formando un grupo más amplio, un sexteto en el que se integran dos jóvenes revelaciones italianas de la corriente neo-bop: Stefano Di Battista y Flavio Boltro, con el que graba "Both Worlds". Michel Petrucciani actuó con relativa frecuencia en nuestro país en solitario en varios de los festivales de jazz que se organizan en España, cautivando siempre al público con la amplitud estilística característica de su pianismo.

Su fallecimiento, el 5 de enero de 1999, a causa de una afección pulmonar, dejó un hueco dificilísimo de cubrir en el jazz europeo y en el francés en particular.

Duke Ellington - 1938 vol. 2 (The Chronological Classics, 717)

By request.

01 - Carnival in Caroline (Ellington, Mills, Nemo)
02 - Ol' Man River (Hammerstein, Kern)
03 - Swingtime in Honolulu (Ellington, Mills, Nemo)
04 - I'm Slappin' Seventh Avenue (With the Sole of My Shoe) (Ellington, Mills, Nemo)
05 - Dinah's in a Jam (Ellington, Mills)
06 - You Gave Me the Gate (And I'm Swingin') (Ellington, Farmer, Gordon, Gordon, McNeely, McNeely)
07 - Rose of the Rio Grande (Gorman, Leslie, Warren)
08 - Pyramid (Ellington, Gordon, Mills, Tizol)
09 - When My Sugar Walks Down the Street (All the Little Birdies Go ...) (Austin, McHugh, Mills)
10 - Watermelon Man (Ellington)
11 - A Gypsy Without a Song (Ellington, Gordon, Gordon, Singer, Tizol)
12 - The Stevedore's Serenade (Edelstein, Ellington, Gordon)
13 - La De Doody Do (Ellington, Lambert, Richards)
14 - You Walked out of the Picture (Little, Oppenheim, Tobias)
15 - Pyramid (Ellington, Gordon, Mills, Tizol)
16 - Empty Ballroom Blues (Bigard, Ellington, Williams)
17 - Lost in Meditation (Ellington, Mills, Singer, Tizol)
18 - A Blues Serenade (Grande, Lytell, Parish, Signorelli)
19 - Love in Swingtime (Lambert, Mills, Richards)
20 - Swingin' in the Dell (Ellington, Hodges)
21 - Jitterbug's Lullaby (Ellington, Hodges, Mills)
22 - Chasin' Chippies (Ellington, Williams)
23 - Blue Is the Evening (Akst, Clare)

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The music on this CD was all recorded within a four-month period, featuring performances by Duke Ellington's Orchestra and small groups led by trumpeter Cootie Williams and altoist Johnny Hodges that include Ellington as pianist, arranger, and organizer. Ellington fit right into the swing era yet his music was far too individual to be associated with any of the soon-dated fads the pervaded the era. In fact, these performances might be from 1938 but most still sound quite fresh today. Highlights include "I'm Slappin' Seventh Avenue," "Rose of the Rio Grande" (a longtime feature for trombonist Lawrence Brown), "Pyramid," "Empty Ballroom Blues," and "Jitterbug's Lullaby." — Scott Yanow, All Music Guide

Joel Nascimento - O passaro (1978)

01 - Não sei por quê (Joel Nascimento)
02 - Topei com você (Cláudio Jorge)
03 - Bares da cidade (João Nogueira-Paulo César Pinheiro)
04 - Doralice (Antônio Almeida-Dorival Caymmi)
05 - Saveiros (Dori Caymmi-Nelson Motta)
06 - O pássaro (Joel Nascimento)
07 - Sorriso de Cristina (Joel Nascimento)
08 - A felicidade (Tom Jobim-Vinicius de Moraes)
09 - Até pensei (Chico Buarque)
10 - Xeque-mate (Lindolfo Gaya)
11 - Canto triste (Edu Lobo-Vinicius de Moraes)
12 - Somente saudade (Joel Nascimento)

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Romantico - 49 (by Xor)

Thanks, Xor!

01 - Jan Morks - Mon homme - 1977
02 - Steve Kuhn - I want to talk about you - 2009
03 - Ximo Tebar - You don't know what love is - 2004
04 - Chano Dominguez - Cuando vuelva a tu lado - 2006
05 - Karina Kozhevnikova - Round midnight - 2007
06 - Stephane Grappelly & Diz Dizley - Lover man - 1975
07 - Diana Krall - Temptation - 199-
08 - Coleman Hawkins - Don't take your love from me - 1960
09 - Mel Torme - Born to be blue - 1961
10 - Ann Burton - Nice and easy - 1988

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Les Loups (Os Lobos) - Oscar Aleman y Gaston/Gastão Bueno Lobo (1928) [by Oscar Ruben]

Thanks, Oscar Ruben!

"Las 16 grabaciones fueron efectuadas en Bs As sello R.C.A.VICTOR en sistema electrico (ya se empleaba en Argentina desde fines de 1926) e impresos en discos de "pasta" de 25 cm de diametro dos faces a 78 rpm.

De ahi los numeros de etiquetas y al mismo numero las dos caras del mismo identificadas con caras "A" y "B" los numeros ordenados en orden crescientes responden al orden cronologico en que fueron grabados.

Los ruidos de fondo se deben al sonido original de los discos. No efectué postedición al digitalizarlos para conservar el sonido original de los mismos.

Son las primeras grabaciones mundiales del gran guitarrista argentino, para muchos la mejor guitarra de jazz que diera para el genero SUDAMERICA anteriores a su viaje a Europa donde actuara en Paris con Josephine Baker.

En un adjunto te envio un resumen biografico y una rara foto ( no conozco otra ) del duo OSCAR ALEMAN y su amigo y maestro GASTON BUENO LOBO muerto joven tragicamente al suicidarse.

Espero que sea de tu agrado el material tanto en lo estetico como en la historia del genero en tanto que son sus primeras grabaciones ( me refiero a OSCAR ALEMAN )." - Oscar Ruben

01 - D 47006 A CHIQUITA vals MABEL WAYNE
02 - D 47006 B VIVIDOR tango OSCAR ALEMAN y GASTON B LOBO
03 - D 47014 A TENGO CELOS tango E RIETTI
04 - D 47014 B EL MIRAR DE TUS OJOS vals A RUSSO
05 - D 79968 A HAWAIANITA tango GASTON B LOBO
06 - D 79968 B CRIOLLITA vals GASTON B LOBO
07 - D 79999 A FLORES NEGRAS tango FRANCISCO DE CARO
08 - D 79999 B ESTOY QUE ME MUERO foxtrot OSCAR ALEMAN y GASTON B LOBO
09 - D 80839 A GUITARRA QUE LLORA tango OSCAR ALEMAN
10 - D 80839 B EN UN PUEBLITO ESPAÑOL vals LEWIS - JOUNG y HAYNE
11 - D 80936 A LA CUMPARSITA tango GERARDO MATOS RODRIGUEZ
12 - D 80936 B NADANDO EN UN MAR DE ROSAS foxtrot OSCAR ALEMAN y GASTON B LOBO
13 - D 80950 A RAMONA vals MABEL WAYNE
14 - D 80950 B QUE VACHACHE tango ENRIQUE SANTOS DISCEPOLO
15 - D 80960 A C'EST VOUS vals GREENBERG - SILVER - RICHMAN
16 - D 80960 B LA PORTEÑA ES UNA PAPA foxtrot OSCAR ALEMAN GASTON B LOBO

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Se trata de las primeras grabaciones de Oscar Alemán
Excepcional guitarrista chaqueño, nacido en Resistencia el 20 de febrero de 1909. Su padre, Jorge Alemán Moreira, era guitarrista folklórico, integrante de un grupo familiar, el Sexteto Moreira. En 1915 decidió intentar la aventura de Buenos Aires, con su esposa y sus hijos; comenzó con suerte, consiguiendo un modesto contrato para presentarse en los escenarios del viejo Luna Park, en Corrientes y Carlos Pellegrini, en el Teatro Nuevo y en el célebre Parque Japonés de Retiro. El pequeño Oscar zapateaba malambo y hacía algunas acrobacias. Poco duró el trabajo, y Jorge Alemán fue a probar suerte como comerciante y artista en Brasil, acompañado por sus hijos. Las desgracias se sucedieron: los negocios fracasaron y las actuaciones artísticas apenas alcanzaban para subsistir. La madre de Oscar que había quedado en Buenos Aires, murió, el padre enloqueció y se suicidó, y los hermanos se separaron.

Con poco más de diez años, Oscar quedó solo en las calles de Santos. Allí pasó todas las penurias imaginables, incluyendo el hambre, cuya consecuencia fue el raquitismo que afectó su salud para toda la vida. Bailaba a cambio de unas monedas o un poco de comida hasta que aprendió a tocar el cavaquinho, la pequeña guitarra de cuatro cuerdas característica del Brasil. En forma totalmente intuitiva se transformó en un verdadero virtuoso del instrumento. Formó el dúo Los Lobos, con el guitarrista Gastón Bueno Lobo, con quien regresó a Buenos Aires en 1925, ya con cierto renombre, contratado por la compañía del actor cómico Pablo Palitos, quien afrancesó el nombre del dúo a Les Loups.

Con la compañía de Palitos debutaron en el Teatro Casino, y luego actuaron en el Chantecler, el Tabarís y otros escenarios. Oscar alternaba el cavaquinho, el ukelele, la guitarra y el contrabajo, sin olvidar instrumentos de percusión como el pandeiro, las maracas, los bongós y la batería. Cantaba en castellano, portugués y francés. Bailaba la rumba y otros ritmos tropicales. Para muchos fue el primer gran showman del país, mucho antes de que se utilizara el término.

Los Lobos también fueron atraidos por el ambiente tanguero de Buenos Aires. Con el excepcional violinista Elvino Vardaro conformaron el Trío Víctor. Alemán compuso el tango "Guitarra que Llora", con letra de Enrique Cadícamo (que estrenó Agustín Magaldi ,acompañado por el propio Oscar en una revolucionaria versión en la que utilizó una guitarra hawaiiana); actuó en radio, coincidiendo en algún programa con Carlos Gardel, y apareció fugazmente en una revista de Enrique Santos Discépolo. Grabó algunos discos para RCA Víctor, como solista e integrando Los Lobos, con música brasileña, fox trots, valses y tangos.

En 1929 Los Lobos compartieron un espectáculo con el bailarín de tap Harry Fleming, que los sumó a su conjunto para una gira por Europa. Actuaron en las principales ciudades de España, y luego siguieron por Grecia, Italia, Alemania, Holanda y Portugal. Concluido el contrato con Fleming, Oscar y Bueno Lobo retornaron a España para una nueva gira, que incluyó además presentaciones en Londres y París. Al regresar a Madrid, Bueno Lobo enfermó y regresó a Brasil, donde se suicidó poco tiempo después. Alemán, afectado por la muerte inesperada de su mentor comentó "Se me han muerto dos padres".

Alemán siguió su carrera en Europa, alternando Madrid y París. Se presentó como solista en el Casino de la capital francesa, donde coincidió nuevamente en algunas actuaciones con Carlos Gardel. En 1932 tuvo su gran oportunidad cuando fue contratado por Josephine Baker, en ese entonces auténtica reina del espectáculo europeo, con quien recorrió prácticamente toda Europa.

Desde su llegada a París comenzó a frecuentar el Hot Club de Francia, donde conoció y probablemente acompañó a dos gigantes del Jazz: Louis Armstrong y Duke Ellington, debiendo rechazar por su contrato con Josephine Baker una oferta de este último para sumarse a su orquesta. En el Hot Club se convirtió en el gran amigo de Django Reinhardt. No tocaron juntos "oficialmente", pero cuentan que eran frecuentes sus escapadas a locales de escasa categoría donde Oscar se vestía de gitano para formar un dúo con Django, o se disfrazaba de indio para presentarse como "El Indio y el Gitano".

La influencia del Quinteto del Hot Club parisino se reflejó en el quinteto que formó a su regreso a Buenos Aires, para el que convocó al extraordinario violinista chileno Hernán Oliva, Dario Quaglia en segunda guitarra, Andrés Álvarez en bajo y Ramón Caravaca en batería. En 1943 el grupo se modificó casi por completo, convirtiéndose en un sexteto. Con cambios de pianista esta agrupación grabó más de cuarenta temas hasta 1947.

Durante unos años Oscar Alemán no grabó, ocupado con actuaciones en teatros y en las confiterías Richmond y Adlon. En 1971 reapareció triunfalmente en un recital en el que lo acompañaron sus alumnos. Registró a continuación dos LP magistrales para el sello Redondel. El primero fue "Alemán '72"; en Julio de 1973 registró con el clarinetista Jorge Anders el disco "Oscar Alemán con Jorge Anders y su Orquesta". Su último LP fue "Sí... Otra Vez!", con el swing que lo caracterizó siempre plenamente vigente a sus setenta años, pese a los problemas de salud que lo aquejaron desde los duros años de su infancia. Falleció al año siguiente, el 14 de octubre de 1980.

Illinois Jacquet - 1945-46 (The Chronological Classics, 948)

By request. I don't have the scans and discography/sessions.

01 - Flying Home, Pt. 1 (Goodman, Hampton, Robin)
02 - Flying Home, Pt. 2 (Goodman, Hampton, Robin)
03 - Uptown Boogie (Jacquet, Thompson)
04 - Throw It Out of Your Mind Baby (Jacquet)
05 - Jacquet Mood (Jacquet)
06 - Wondering and Thinking of You (Jacquet)
07 - Memories of You (Blake, Razaf)
08 - Bottoms Up (Jacquet)
09 - Merle's Mood (Jacquet)
10 - What's This (Doggett)
11 - I Don't Stand a Ghost of a Chance With You (Crosby, Washington, Young)
12 - Ladies Lullaby (Thompson)
13 - Illinois Stomp (Jacquet)
14 - Don't Blame Me (Fields, McHugh)
15 - Jumpin' Jacquet (Jacquet)
16 - Blue Mood (Jacquet)
17 - Jacquet in the Box (Jacquet)
18 - Jacquet and No Vest (Savoy Blip) (Berry, Jacquet)
19 - Illinois Goes to Chicago (Doggin' with Doggett) (Doggett, Jacquet)
20 - Minor Romp (Jacquet and Coat) (Berry, Doggett, Jacquet)
21 - Berry's Blues (Jacquet Blues) (Berry, Jacquet)

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Review by arwulf arwulf, All Music Guide Although the Delmark label has done a fine job of reissuing Illinois Jacquet's Apollo recordings, a genuine understanding of this exciting music requires a more systematic appraisal of the recorded evidence. Being able to digest an entire segment of Jacquet's career, with the recordings chronologically arranged and garnished with complete discographical information, is a major treat for anyone wishing to place the music in context. This also expands the picture well beyond Apollo to include material recorded for the Philo, Savoy, and ARA labels, and clears up a few mysteries regarding personnel. The first four tracks were recorded in July of 1945 and set a standard for modern jump music combining elements that would soon be tagged as bebop and R&B. The steamy "Flying Home" was carefully arranged to fit on two sides of a 10" 78-rpm record. "Uptown Boogie" features pianist Sir Charles Thompson bolstered by excellent rhythmic support from drummer Johnny Otis. Illinois himself was always a commanding presence whether laying down a cool blues, smoothing out a ballad, or applying a blowtorch to one of his rowdy jump tunes. Trumpeter Russell Jacquet is heard singing the only two vocal tracks on the entire album, "Throw It Out of Your Mind Baby" and "Wondering and Thinking of You." The two Apollo sessions from August 1945 are driven by the pulsing bass of young Charles Mingus, Bill Doggett's double-fisted piano, and some feisty drumming by Al "Cake" Wichard. For a precious glimpse into the developing ballad philosophy of Mr. Mingus, listen carefully to his accompaniment behind Jacquet's passionate sax on "Memories of You" and "Ghost of a Chance." Ming walks briskly through "Bottoms Up," a rocking re-bop dance with howling horns and strutting rhythm. "Merle's Mood" seems to have been based upon "Paper Moon," and Mingus crowds the microphone to provide extra pushes during Bill Doggett's "What's This." Two sides waxed for ARA at the end of the same month and issued as by the Jacque Rabbits are graced with the return of Sir Charles, whose composition "Ladies Lullaby" is actually another jump tune fortified with bop ideas. "Illinois Stomp" is a very sophisticated bounce. The closing eight tracks were originally issued bearing the Savoy label, and feature trumpeter Emmett Berry, an interesting blend with the salty and often florid Mr. Jacquet. (The last three selections in fact were issued under the name of Emmett Berry's Hot Six.) "Don't Blame Me" is one of this saxophonist's great triumphs of ballad artistry. The spicy "Jumpin' Jacquet" is driven by rhythm guitarist Freddie Green, bassist John Simmons, and master percussionist Shadow Wilson, while Berry percolates using a mute. "Blue Mood" is a meditative masterpiece. Every single track on this CD is strongly presented and well worth experiencing again and again, with best wishes for loosening up, nodding your head, popping your fingers, and cracking a smile.

Duran Duran - Thank you (1995)

By request.

01 - White lines
02 - I wanna take you higher (version 1)
03 - Perfect day
04 - Watching the detectives
05 - Lay lady lay
06 - 911 is a joke
07 - Success
08 - Crystal ship
09 - Ball of confusion
10 - Thank you
11 - Drive by
12 - I wanna take you higher again (version 2)

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Romantico - 48 (by Xor)

Thanks, Xor!

01 - Sonia V - Autumn leaves - 2004
02 - Freddie Hubbard - Body and soul - 1962
03 - Abbey Lincoln - Love has gone away - 1996
04 - Dave Newman - These foolish things - 1999
05 - Joe Williams - Gee baby ain't I good to you - 197-
06 - Dianne Reeves - Willow - 1984
07 - Stefano Bollani - A kiss to build a dream on - 2008
08 - Jason Seizer - Between now and then - 2008
09 - Eydie Gorme - Almost like being in love - 1963
10 - Swing Sisters - Sentimental journey - 1993

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10 - Swing Sisters - Sentimental Journey - 1993

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VA - Sapo astronauta [re-up]

Um dos melhores discos infantis já feitos no Brasil. /

One of the best discs for childwood in Brazil ever.

Para meus irmãos e também para a Claudia, do blog Cantos e Encantos, que montou e recuperou a capa para mim.

Dividi o verso da capa em quatro partes para facilitar o escaneamento. Clique nelas para vê-las ampliadas.

Todas as letras são de Esther/Ester.

Arranjos e regência: Ivan Botticelli e Octávio Aprigliano
Direção musical: Reginaldo Bessa
Produção artística: Est(h)er

"Este disco infantil foi realizado em 1969. Tenho até hoje o maior orgulho em ter participado desse projeto maravilhoso. Fiz a direção musical e compus algumas músicas do álbum. A autora das letras foi a Esther Glanzer, uma argentina que na época era minha esposa. Muitos amigos colaboraram nesse LP: Ivan Botticelli,
Carlos Elias, Carlos Magalhães, Betinho Maciel e muitos outros, gente do maior talento. Procurem esse disco que vocês não vão se arrepender. É raro e é fundamental." -- Reginaldo Bessa

01 - Sapo astronauta (Reginaldo Bessa - Esther)
02 - Um dia depois do outro (Ivan Botticelli - Esther)
03 - História e geografia (Carlos Magalhães - Esther)
04 - Namoradinhos (Reginaldo Bessa - Esther)
05 - História em cubinhos (Betinho - Esther)
06 - Aventuras no Amazonas (Reginaldo Bessa - Esther)
07 - O saci e o tubarão (Carlos Elias - Esther)
08 - Minha rua (Carlos Elias - Esther)
09 - Caixinha de música (Betinho - Esther)
10 - O bondinho (Betinho - Valéria - Esther)
11 - Viagem supersônica [curtição generalizada]
12 - Eu vou ser (Ivan Botticelli - Esther)

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20/11/07

Eddie 'Lockjaw' Davis - 1946-47 (The Chronological Classics, 1012)

By request.

01 - Surgery (Best)
02 - Lockjaw (Davis)
03 - Afternoon In a Doghouse (Davis)
04 - Athlete's Foot (Davis)
05 - Callin' Dr. Jazz (Davis)
06 - Fracture (Davis)
07 - Hollerin' and Screamin' (Davis)
08 - Stealin' Trash (Davis)
09 - Just a Mystery (Davis)
10 - Red Pepper (Davis)
11 - Spinal (Davis)
12 - Maternity (Davis)
13 - Lover (Hart, Rodgers)
14 - Licks a Plenty (Davis)
15 - Foxy (Davis)
16 - Sheila (Davis)
17 - Real Gone Guy (Lutcher)
18 - But Beautiful (Burke, VanHeusen)
19 - Leapin' on Lenox (Davis)
20 - Ravin' at the Haven (Davis)
21 - Minton's Madhouse (Davis)
22 - Huckle Bug ()
23 - Music Goes Down Around ()
24 - Lockjaw's Bounce (Davis)

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Eddie "Lockjaw" Davis
Born: Mar 2, 1922 in New York, NY
Died: Nov 3, 1986 in Culver City, CA

Biography by Scott Yanow, All Music Guide
Possessor of a cutting and immediately identifiable tough tenor tone, Eddie "Lockjaw" Davis could hold his own in a saxophone battle with anyone. Early on, he picked up experience playing with the bands of Cootie Williams (1942-1944), Lucky Millinder, Andy Kirk (1945-1946), and Louis Armstrong. He began heading his own groups from 1946 and Davis' earliest recordings as a leader tended to be explosive R&B affairs with plenty of screaming from his horn; he matched wits successfully with Fats Navarro on one session. Davis was with Count Basie's Orchestra on several occasional (including 1952-1953, 1957, and 1964-1973) and teamed up with Shirley Scott's trio during 1955-1960. During 1960-1962, he collaborated in some exciting performances and recordings with Johnny Griffin, a fellow tenor who was just as combative as Davis. After temporarily retiring to become a booking agent (1963-1964), Davis rejoined Basie. In his later years, Lockjaw often recorded with Harry "Sweets" Edison and he remained a busy soloist up until his death. Through the decades, he recorded as a leader for many labels, including Savoy, Apollo, Roost, King, Roulette, Prestige/Jazzland/Moodsville, RCA, Storyville, MPS, Black & Blue, Spotlite, SteepleChase, Pablo, Muse, and Enja.

Review by arwulf arwulf, All Music Guide
Now why do you suppose they called him '"Lockjaw"'? Just listen. Eddie Davis based much of his style on the tough extremities of Ben Webster's gritty gutbucket tenor sax. Picking up where Ben left off, Jaws would growl, shriek and rock in ways that landed him on the cusp between bebop and rhythm & blues. Over many years he developed into a mature performer who was capable of great subtleties. We are fortunate to have this opportunity to hear his earliest recordings as a leader. Some of this stuff is startling. "Surgery," a smooth, searching, walking blues, exists in the same harmonic/thematic realm as Boyd Raeburn's quirky study for big band, "Tonsillectomy." The piece called "Lockjaw" is more of a muscle tussle, and "Afternoon in a Doghouse" is a simple finger-pop bop groove. As Gene Ramey rarely took bass solos, it's good to hear him grab a few bars during "Athlete's Foot." By December of 1946 Lockjaw was ready for two full-blown Savoy bebop sessions in the company of Theodore "Fats" Navarro. This pair of characters maintained a stimulating balance as Fats blew long bop lines of exquisite ingenuity while Jaws wrestled with his own funky textural dynamics. Wildly titled, each of these three-minute records hits you hard, right between the ears. "Hollerin' and Screaming" is the most outrageous example of this band's explosive chemistry. The record starts with a hoarse shriek from the tenor sax. The melody erupts like two cans of Sterno knocking around on the hood of an overheated bright red Chevy convertible. A sudden outburst from the trumpet is repeated verbatim on the drums. Fats and Lockjaw bark back and forth, jostling each other in cycles of friendly aggression. It's like listening in on a casual exchange of good-natured insults and creative cussing, the benevolent sort of everyday rudeness that enables trust and cooperation between individuals who exist outside of the dominant social group. In April of 1947, Jaws baked four sides for the Apollo label, sharing the melodic line with guitarist John Collins and blowing an exceptionally extroverted tenor. The extreme grooviness of both the Savoy and Apollo sessions were aided and abetted by the combination of Al Haig, Gene Ramey and Denzil Best. Now for the really rare stuff -- eight sides issued on the Lenox, Plymouth and Remington labels. "Real Gone Guy," a tasty hunk of rhythm and blues, was written by Nellie Lutcher. Lockjaw puts it to the torch, and Butch Ballard's drumming fans the flames. "But Beautiful" is the earliest example we have of Lockjaw Davis the interpreter of slow ballads. He smokes the melody with long puffs, savoring every breath. "Leapin' on Lenox," to use what would have been the correct spelling, is a strut by anybody's definition. Jaws bites his tenor until it begs for mercy. The rowdy "Minton's Madhouse" includes a long sax testimonial accompanied only by handclapping. "Ravin' at the Haven" is largely composed of frantic bop lines. The saxophone howls without restraint. "Music Goes Down Around" is recognizable as a quaint Tin Pan Alley pop tune, fitted with a new set of fangs as this gang of young toughs put new meaning on an old refrain. Gripping the mouthpiece between his chops, Lockjaw squeezes extra hard "and it comes out here."

Anita W.ardell - Straight ahead (1999)

01 - It Could Happen To You
02 - Young And Foolish
03 - Polka Dots And Moonbeams
04 - Jackie
05 - Thrill Is Gone
06 - Humpty Dumpty Heart
07 - I've Got Just About Everything
08 - But Not For Me
09 - We Kiss In A Shadow
10 - Memories Of You
11 - East Of The Sun

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Female Jazz Diva, ... simply a AAA quality vocalist
Anita Wardell sings with the sweetness of Ella, the creativity of Mark Murphy whilst using her laughter, sadness and technique to tell a story like no other. She has the ability to tear up a song like a speeding train and then stop for a walk in a country lane. Take a deep breath and experience what is sure to be a great star of jazz now and in the future. Look out for Anita at venues in London like Ronnie Scotts that is where I saw her perform. — A Customer (Amazon.com)

The best scat singer since Cleo Laine
From the extremes of tempo with "Jackie" to the haunting Ballad "Young and Foolish" you are hooked to this album from start to finish. Why is this girl such a closely kept secret? Why is she not more widely known? I have not heard a voice like this in years.... I felt every emotion in her voice, such honesty, I felt she was in the room. Surely the day is not too far away, when this lady is a household name. In a selfish way, I maybe hope not, as for one hour of beautiful listening, she was mine, all mine... — A Customer (Amazon.com)

Jazz singing from the heart
I got this CD sent to me as a present. I usually listen to instrumental Jazz. What struck me about this CD was the sincerity of Ms Wardell, she has if you like, a vulnerability that comes across found that I just wanted to keep listening to the honesty and "realness" of the voice. Scat normally doesn't appeal to me, but, Anita seems to do this extremely musically indeed and I found myself imagining that it was a instrumental solo.
I particularly loved Jason Rebellos' piano playing, who, I have to say really supports and compliments Anita. He really takes you on a journey when he solos. Haven't heard of the other Musicians,who I must add are in fine company with Jason Rebello and Anita.
Really love this fine Jazz vocal album. — falling_star48@hotmail.com (Melbourne/Australia)

Romantico - 47 (by Xor)

Thanks, Xor!

01 - Marcus Johnson - Funk Master - 2000
02 - Jane Monheit - Honeysuckle Rose - 2007
03 - Matt Dusk - It can only get better - 2009
04 - Buika & Chucho Valdes - Sombras - 2009
05 - Bobby Hackett - Softly As In A Morning Sunrise - 1957
06 - Stefano Di Battista - Stars Fell on Alabama - 1998
07 - Gustavo Bergalli - Los Mareados - 1997
08 - Wendy Rule - Cry Me A River - 2003
09 - Sergio Mendes - Look of Love - 1966
10 - Johah Jones - Three Coins In The Fountain - 1958
11 - Clef Jam Session # 3 - Ballad Medley - 1953

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Duke Ellington - 1945-46 (The Chronological Classics, 985)

01 - Perfume Suite: Coloratura (Ellington, Strayhorn)
02 - Time's A-Wastin' (Ellington, Ellington, George)
03 - Perfume Suite: Dancers in Love (Ellington, Strayhorn)
04 - Carnegie Blues (Ellington)
05 - Tell Ya What I'm Gonna Do (Blane, Green)
06 - Come to Baby, Do! (James, Miller)
07 - I'm Just a Lucky So and So (David, Ellington)
08 - Long, Strong and Consecutive (David, Ellington)
09 - The Wonder of You (Ellington, George, Hodges)
10 - Tonk (Ellington, Strayhorn)
11 - Drawing Room Blues (Strayhorn)
12 - Esquire Swank (Ellington, Hodges)
13 - C Jam Blues (Bigard, Ellington)
14 - Unbooted Character (Ellington)
15 - Rockabye River (Ellington)
16 - Suddenly It Jumped (Ellington)
17 - Transblucency (Brown, Ellington)
18 - Just Squeeze Me (But Don't Tease Me) (Ellington, Gaines)
19 - A Gathering in a Clearing (Anderson, Ellington)
20 - You Don't Love Me No More (Ellington)
21 - Pretty Woman (Ellington)
22 - Hey Baby (Ellington)

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Review by Scott Yanow, All Music Guide
There is a lot of intriguing music on this CD, which features Duke Ellington's postwar orchestra. "Dancers in Love" (from "Perfume Suite") and "Carnegie Blues" (from "Black, Brown and Beige") managed to catch on as individual pieces, "I'm Just a Lucky So and So" and "Just Squeeze Me" were hits, and both "Tonk" and "Drawing Room Blues" showcased the piano duo of Ellington and Billy Strayhorn. A few numbers are V-Discs, including a brief version of "C Jam Blues" that features the combined orchestras of Duke Ellington and Woody Herman (his First Herd). Among the changes in personnel were Russell Procope taking over for the retiring Otto Hardwick on alto and clarinet and Oscar Pettiford succeeding Junior Raglin on bass. This underrated music ranks with some of Duke's best work.

Anita W.ardell - Kinda blue (2008)

01 - I Gotta Right To Sing The Blues
02 - Loose Bloose
03 - Little Girl Blue
04 - Learnin' The Blues
05 - The Wrong Blues
06 - The Meaning Of The Blues
07 - Limehouse Blues
08 - Teenies Blues
09 - Parker's Mood (Blues)
10 - Born To Be Blue

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After the amazing response that followed Noted, Wardell's 2006 debut Specific Jazz release of vocalese arrangements of classic jazz standards - the Observer Review stated that, "The audacity and sheer cleverness of the best vocalese performances generate a special kind of euphoria and this is where Wardell succeeds brilliantly" - the English born, Australian raised vocalist decided that she could take a different approach to the material for her next record. Instead of focusing on a particular style of singing, she instead turns to the word Blues and its many connotations for the theme of her second album. The pieces here showcase Anita's exceptional ability to make a song her own while respectfully retaining the inherent spirit of the originals. "For Loose Bloose I was able to take Jim Hall's guitar solo and put lyrics to it as I'd done on Noted. Being able to connect to the music in this way, as it first appeared on record years ago, is such an important part of how I approach this material. I wanted the album to have a theme running through it and take my cue from the word Blues as an overall idea rather than as a strict musical form - these pieces aren't exactly Blues. They're just kinda blue." — Amazon.com

Romantico - 46 (by Xor)

Thanks, Xor!

01 - Inga Rumpf - Knocking on heaven's door - 2004
02 - Coleman Hawkins - Love song from Apache - 1962
03 - Yaron Herman - Joya - 2009
05 - Enrico Pieranunzi - Mi sono innamorato di te - 2006
06 - Blossom Dearie - Someone to watch over me - 1959
07 - Noon - Moonglow - 2003
08 - Hidefumi Toki - City - 1978
09 - Attila Zoller - Conradinum ballade - 1966
10 - Pedrinho Mattar - Pedacinhos do ce’u - 1983
11 - Vanessa Rubin - Easy living - 1994
12 - Hans Ulrik - A child is born - 2007

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Duke Ellington - 1946-47 (The Chronological Classics, 1050)

01 - Sultry Sunset (Ellington)
02 - Happy Go Lucky Local, Pt. 2 (Ellington)
03 - Blue Skies [Trumpet No End] (Berlin)
04 - Happy Go Lucky Local, Pt. 1 (Ellington)
05 - The Beautiful Indians, Pt. 1: Hiawatha (Ellington, Sears)
06 - Flippant Flurry (Strayhorn)
07 - Golden Feather (Ellington)
08 - Minnehaha (The Beautiful Indians) (Ellington)
09 - Overture to a Jam Session, Pt. 1 (Strayhorn)
10 - Overture to a Jam Session, Pt. 2 (Strayhorn)
11 - Jam-A-Ditty (Ellington)
12 - Tulip or Turnip (Ellington, George)
13 - It Shouldn't Happen to a Dream (Ellington, George, Hodges)
14 - Sophisticated Lady (Ellington, Mills, Parish)
15 - On the Sunny Side of the Street (Fields, McHugh)
16 - I Can't Give You Anything But Love (Fields, McHugh)
17 - It Don't Mean a Thing (If It Ain't Got That Swing) (Ellington, Mills)
18 - Hy'a Sue (Ellington)
19 - Lady of the Lavender Mist (Ellington)
20 - Women (They'll Get You) (Ellington, LaTouche)
21 - Change My Ways (Ellington, LaTouche)
22 - It's Monday Everyday (Robin)
23 - Golden Cress (Brown, Ellington)
24 - Put Yourself in My Place, Baby (Carmichael, Laine)

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Review by Al Campbell, All Music Guide
This installment of the Classics label document of the Duke Ellington story highlights recordings for the Musicraft label in November and December 1946, four V-discs recorded in New York on May 10, 1947, and the first sessions for Columbia in August and September 1947. Considering the financial challenges of keeping a large ensemble performing in the late '40s (which would have an almost devastating effect in the early '50s,) Ellington not only managed to continue creating intriguing music but he maintained a legendary horn section. These dates feature Ray Nance, Taft Jordan, Shorty Baker, Cat Anderson, Jimmy Hamilton, Johnny Hodges, Russell Procope, Tyree Glenn, Wilbur De Paris, Al Sears, and Harry Carney. Six vocal pieces are also included: one each from Kay Davis and Chester Crumpler, two featuring Al Hibbler, and Ray Nance clowns around on "Tulip or Turnip" and "Women (They'll Get You)."

Charlie Ventura/Flip Phillips - The Complete Verve/Clef Charlie Ventura & Flip Phillips Studio Sessions (1998) - 6/6

... and the last.

01 - I'll Never Be The Same
02 - Lemon Aid 21
03 - Birth Of The Blues
04 - I've Got The World On A String
05 - The Lady's In Love With You
06 - Lover Come Back To Me
07 - Topsy
08 - Undecided
09 - Broadway
10 - Jumpin' At The Woodside

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Romantico - 45 (by Xor)

Thanks, Xor!

01 - Alice Ricciardi - Comes love - 2008
02 - Art Pepper - Come rain or come shine - 1960
03 - Barney Kessel - The look of love - 1968
04 - Cassandra Wilson - The very though of you - 2008
05 - Dave Newman - What a wonderful world - 2007
06 - Ellen Kaye - Just a little lovin' - 1998
07 - Flip Phillips - I've got the world on a string - 1947
08 - Glen Gray - I left my heart in San Francisco - ca 1960
09 - Herb Jeffries - Sweet Lorraine - 1978
10 - Vivian Buczeck - Feel like making love - 2007
11 - Walter Malosetti - Nuages -1994
12 - Yosuke Yamashita - The maiden's prayer - 2009
13 - Stan Getz - Soul eyes - 1989

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Duke Ellington - 1947 (The Chronological Classics, 1086)

By request.

01 - Put Yourself in My Place (Carmichael, Laine)
02 - Cowboy Rhumba (Ellington, Reif)
03 - The Wildest Gal in Town (Fain, Yellen)
04 - I Fell and Broke My Heart (Ellington, George)
05 - Antidisestablishmentarianismist (Ellington, George)
06 - Don't Be So Mean to Baby ('Cause Baby's So Good to You) (Barbour, Lee)
07 - It's Mad, Mad, Mad! (Higginbotham, Shaw)
08 - You Gotta Crawl Before You Walk (Ellington, Fotin, Torme, Wells)
09 - Change My Ways (Ellington, Latouche)
10 - Kitty (Brier, Weinstein)
11 - Brown Penny (Ellington, Latouche)
12 - Change My Ways (Ellington, Latouche)
13 - Boogie Bop Blues (Ellington)
14 - Sultry Serenade (Ellington)
15 - Stomp, Look and Listen (Ellington)
16 - Air-Conditioned Jungle (Ellington, Hamilton)
17 - Three Cent Stomp (Ellington)
18 - Progressive Gavotte (Strayhorn)
19 - He Makes Me Believe He's Mine (Ellington, Latouche)
20 - Take Love Easy (Ellington, Latouche)
21 - I Can't Believe That You're in Love With Me (Gaskill, McHugh)
22 - How High the Moon (Hamilton, Lewis)
23 - Singin' in the Rain (Br20own, Freed)

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Review by Cub Koda, All Music Guide
The Ellington band was in transition when these sides were cut in 1947. The big-band scene was slowly winding down after World War II, but the group had just signed with Columbia, an assurance of better distribution. But the band was also being handed some pretty weird material -- commercial fare like "Kitty," "Cowboy Rhumba" (with Woody Herman guesting on vocals), and "Antidisestablishmentarianismist." There's some great music here, but file this volume under "for completists only."

Anita W.ardell - Noted (2006)

Label: Specific Jazz

Anita W.ardell – vocals
Robin Aspland – piano
Jeremy Brown – bass
Steve Brown – drums
Alex Garnett - sax

01 - Moanin’
02 - Watermelon man
03 - Autumn leaves
04 - Night and day
05 - Lonely woman
06 - Doodlin’
07 - Sidewinder
08 - Blues on the corner
09 - Wonderful, wonderful
10 - And what if I don’t

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Charlie Ventura/Flip Phillips - The Complete Verve/Clef Charlie Ventura & Flip Phillips Studio Sessions (1998) - 5/6

... and the fifth...

01 - Someone To Watch Over Me
02 - I'm Puttin' All My Eggs In One Basket
03 - Singin' In The Rain
04 - Gina
05 - Empty Ballroom Blues
06 - Cherry
07 - San Francisco Blues
08 - Love Is Just Around The Corner
09 - If I Had You
10 - Cottontail
11 - Blues For The Midgets
12 - What Is This Thing Called Love ?
13 - Carioca
14 - Three Little Words
15 - Sleepy Head
16 - Bugle Call Rag
17 - Take The A Train
18 - I Didn't Know What Time It Was
19 - Trio Boogie
20 - Almost Like Being In Love
21 - Singing The Blues
22 - All Of Me

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My best Jimmy Raney - 2 (by Xor)

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1 - Jimmy Raney & Martial Solal - It could happen to you
2 - Jimmy Raney & Martial Solal - The way you look tonight
3 - Jimmy Raney & Martial Solal - Body and soul
4 - Jimmy Raney Trio - I get a kick out of you
5 - Jimmy Raney Trio - Someone to watch over me
6 - Jimmy Raney Trio - The way you look tonight
7 - Jimmy Raney Trio - But beautiful
8 - Jimmy Raney Trio - Blues cycle

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Duke Ellington - 1939-40 (The Chronological Classics, 790)

By request.

01 - Blues (Ellington)
02 - Early Mornin' (Bigard)
03 - Killing Myself (Ellington)
04 - Your Love Has Faded (Ellington, Strayhorn)
05 - Country Gal (Ellington)
06 - Minuet in Blues (Bigard, Strayhorn)
07 - Lost in Two Flats (Strayhorn)
08 - Honey Hush (Bigard, Stewart, Taylor)
09 - Blues (Ellington)
10 - Plucked Again (Ellington)
11 - Solitude (DeLange, Ellington, Mills)
12 - Stormy Weather (Arlen, Koehler)
13 - Mood Indigo (Bigard, Ellington, Mills)
14 - Sophisticated Lady (Ellington, Mills, Parish)
15 - Pelican Drag (Carney)
16 - Tapioca (Strayhorn)
17 - Mardi Gras Madness (Bigard, Ellington)
18 - Watch the Birdie (De Paul, DePaul, Raye)
19 - Black Butterfly (Ellington, Mills)
20 - Dry Long So (Ellington, Mills, Trent)
21 - Toasted Pickle (Williams)
22 - Give It Up (Williams)

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Review by Scott Yanow, All Music Guide
This CD has Duke Ellington's final recordings for the Columbia and Vocalion labels before switching over to Victor and beginning what many consider to be his greatest period on record. During this period, Ben Webster joined the band on tenor, taking his first solo on "Solitude." The band was up to ten major soloists and, whether heard as the full orchestra or in small groups led by altoist Johnny Hodges, clarinetist Barney Bigard, or trumpeter Cootie Williams, the music was generally very rewarding. High points of this intriguing transitional disc include an Ellington piano solo on "Blues," "Lost in Two Flats," and several remakes (including "Solitude," "Mood Indigo," and "Sophisticated Lady"). In addition, a pair of unprecedented bass-piano duets ("Blues" and "Plucked Again") for the first time really show off the solo abilities of bassist Jimmy Blanton.