Art Pepper - Meets The Rhythm Section (Vinyl, LP, Album)
Also no shock is a major role for the blues. But there is much more. Like Gordon, Pepper was not only a player, but a survivor. And not to get all maniacally canonical, but even as right this very second dozens of Art Pepper releases are available, many of them digital, some on CD and a handful preferably on reissued vinyl, with the majority certainly worthy of ownership, there are also a slim few entries in his discography that any self-respecting jazz library simply cannot do without.
Any person interested in building up a fine shelf of improvisational beauty that happens to be a newbie to the work of this vastly important saxophonist, or for that matter the unfailingly amazing artistry both singularly and collectively of Red Garland, Paul Chambers, and Philly Jo Jones, might as well make Art Pepper Meets the Rhythm Section their next stop. The Vinyl District. The album is considered a milestone in Pepper's career. According to Pepper, the album was recorded under enormous pressure, as he first learned of the recording session the morning he was due in the studio, and he had never met the other musicians, all of whom he greatly admired.
Michael G. Nastos of AllMusic called the recording "a classic east meets west, cool plus hot but never lukewarm combination that provides many bright moments for the quartet during this exceptional date from that great year in music, Between them, they'd delivered a masterpiece.
Becky Byrkit, writing for AllMusicdeemed the album "a diamond of recorded jazz history. The New York Times critic Ben Ratliff described Meets the Rhythm Section as "an honest record; if you believe the story of its making, you'd have to conclude that Pepper, unprepared and unarmored, was forced to pull the music out of himself, since tepid run-throughs and stock licks weren't going to work in such exalted company.
From Wikipedia, the free encyclopedia. The All Music Guide. AllMusic 4th ed. ISBN Retrieved 20 February Miller Freeman. The Misa Criolla was first recorded in the 's, and the man who plays the charango in this version is the same old man that did it 30 years ago. Everything was put together so that the result is utterly flawless. Labels: Ariel RamirezlatinMercedes Sosasacredworldworld - folk.
Jamal ushered in a new era of melodic improvisation that stood in sharp contrast to bebop's previous innovations. These recordings were all done in trio settings, where the pianist was accompanied by guitarist Ray Crawford, and either Eddie Calhoun and or Israel Crosby on bass. The shimmering solos and light as a feather chord Album) are anything but lightweight.
Sharp, harmonic invention, economical yet intuitive phrasing, and a deft sense of time pushed Jamal's star to ascendancy. Standout cuts here are his "Surrey with the Fringe on Top," which extrapolates the melody into new harmonic terrain; LP beautiful arrangement of the traditional "Billy Boy"; Fats Waller's "Squeeze Me" with its beautiful ostinato, and Jamal's glorious read of "Perfidia.
There are period liner notes by Nat Hentoff, and a moving and appreciative essay by Randy Weston. Labels: Ahmad Jamaljazz. Count Basie - King of Swing jazz 1cd eac-flac-cue-log-cover MB Verve bit remaster Allmusic: Following a brief lull earlier in the s, Count Basie had rebuilt his big band by the time of this trio of studio sessions originally recorded for Clef.
While none of the numbers seemed to stay in the band book for all that long, the consistently swinging performances and tasty solos make this worth the attention of swing fans. Cherry Point Bubbles Righ On The Blues Done Come Back Plymouth Rock You For Me Soft Drink Two For The Blues Labels: Count Basiejazz.
Four selections utilize an advanced sextet. Of these songs, "Hambone" has overly repetitive and rather monotonous riffing by the horns behind the soloists, and Shepp's bizarre exploration of "The Girl From Ipanema" gets tedious, but the episodic "Los Olvidaos" is quite colorful, and the tenorman sounds fine on a spacy rendition of "Prelude to a Kiss. Overall, this set, even with its faults, is recommended. It is a composition by Bob Ostertag with libretto by Sara Mileswhose loops and samples are alternated with music by the quartet.
Ostertag composed the piece as a response to California governor Pete Wilson veto of pro-gay legislation in Proceeds went to AIDS research. Rob Theakston, writing for allmusic, said the interplay between Kronos and Ostertag is full of tension of potent magnitude, and called it "an eloquent tone poem that fans of both artists will enjoy.
Labels: avantgardeBob OstertagcontemporaryKronos Quartet. Her music is insperable from her voice to such an extent that the one transmutes into the other. Like Nico and Ono in rock, Cathy Berberian in her chamber music collaborations with Luciano Berio, or Karin Krog in Jazz, Monk is a vocalist with such a complex range of inflexions and nuances as to comprise a sonic palette. This parallel with painting is no mere conceit, either. She can segue effortlessly from the stark restraint of a Morandi still life to the jagged slash of a Picasso scream.
She has realised that music began with the voice and, by God, she is going to bring it a kind of end with the voice as well. In her lengthy career, Monk has combined the roles of performance artist, composer, choreographer and vocal stylist. She has absorbed a range of vocal traditions, from folk, opera, rock in the West, to Asian and Middle-Eastern styles.
Her work is not world-music, nor classical, nor is ambient or New Age, either. She was tesmed on one compilation with the work of a mediaeval composer, Hildegarde von Bingan, as 'The Abbess and the Monk', which was a cute idea, but tells only half the story. Certainly she could, as a minimalist Diamanda Galas, become a Goth pin-up because of the wind-through-stonehenge quality of her voice, but she remains too austere, and far too unknown, for this fate.
The mediaevalism of much of her work is too close to what it was actually like in the Mediaeval period for the typical Bauhausfrau. Having suggested that Monk is difficult, I should add that this is probably the most difficult of Monk's albums, though the only one currently available, it would seem. But the brave can start Album) with 'Our Lady of Late', an unusually pared-down work, even by Monk's standards.
Overlaying Art Pepper - Meets The Rhythm Section (Vinyl throb of the female voice with the piercing sob of fingers on the rims of glasses, Monk pushes the simplest of musical elements to points of beauty, pity, violence.
If this is the crystaline 'music of the spheres', it is as the spheres, our universe, truly are; not some prettified, platonic ideal. The spheres here sing of the human, not the divine, and are something expressed without the vitiation of words. My then-lover, feisty feminist and confrontative artist that she was, once made it halfway through this album, just to the point where glass and voice have suffered some pained transmogrification into the sound of a wounded animal or weeping child, when she begged me to take it off, never to play it again.
This, without guitars, without riot grrrl shrieks, was altogether too visceral, too much what it is to ache. Perversely, I can think of no better recomendation than this. The spheres were crystal, and crystal can cut. Labels: avantgardecontemporaryMeredith Monk. Stan Getz - Serenity jazz 1cd eac-flac-cue-log-cover MB Emarcy Allmusic: From the same sessions that resulted in Anniversary, Stan Getz celebrated his 60th birthday as he had his 50th, with a gig at the Cafe Montmartre in Copenhagen.
Joined by pianist Kenny Barron, bassist Rufus Reid and drummer Victor Lewis, Getz who only had four years left plays in peak form, really stretching out on lengthy versions of three standards, Victor Feldman's "Falling in Love" and Kenny Barron's "Voyage. Labels: jazzStan Getz. This enjoyable set mostly lengthy versions of standards finds the veteran tenor still very much in his prime and greatly assisted by pianist Kenny Barron, bassist Rufus Reid and drummer Victor Lewis.
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