Bill Evans - Portrait (1997)
EAC | FLAC+CUE+LOG+Artwork -> 270 Mb
Blue Note Records
Post-Bop | Piano Jazz
Many thanks to my friend, Oceandrop
Descripstion
A compilation CD about great Bill Evans; with George Russell and His Orchestra, The Miles Davis Quintet,
The Dave Pike Quartet, and his trio with Eddie Gomez, Marty Morrell.
Selection: Steve Berkowitz, Kevin Gore et Mike Berniker.
Bill Evans - The Paris Concert (Edition Two) (2001)
EAC | FLAC+CUE+LOG+Artwork -> 260 Mb
Blue Note Records
Post-Bop | Piano Jazz
Many thanks to my friend, Oceandrop
Descripstion
Bill Evans' death in 1980 ended the career of the most influential (along with McCoy Tyner) acoustic pianist in jazz of the previous 20 years. This second of two LPs features Evans, bassist Marc Johnson, and drummer Joe La Barbera closely interacting on four of the pianist's originals, Gary McFarland's "Gary's Theme" and Miles Davis' "Nardis." The music is sensitive and subtly exciting. Until the release of some later live sessions from 1980, this could be considered Bill Evans' final recording and serves as evidence that, rather than declining, he was showing a renewed vitality and enthusiasm in his last year.
Bill Evans - The Paris Concert (Edition One) (2001)
EAC | FLAC+CUE+LOG+Artwork -> 260 Mb
Blue Note Records
Post-Bop | Piano Jazz
Many thanks to my friend, Oceandrop
Descripstion
There's a misleading myth about Bill Evans that seems to be gaining acceptance, if the increasing references to his drug problem are any indication. The necessary inference is that Evans' genius and career fall within the familiar patterns of the tragic romantic artist--a burst of youthful, inspired creativity followed by gradual decline and eventual disrepair.
Nothing could be further from the truth, as these recordings from a late 1979 Paris concert should make abundantly clear. In fact, they are every bit as impressive as the celebrated Vanguard recordings with LaFaro and Motion in 1961. Evans is one of those rare artists who experienced an unparallelled surge of creative energy and passionate lyricism in his so-called autumnal period, which makes these late sessions as essential as the early Vanguard ones.
Compare his performance here of "I Loves You Porgy" with his Vanguard performance (or any intermediate recording) of the same tune. It's every bit as nuanced and fresh as the early recordings yet possesses a boldness and confidence not always present in the earlier work. One thing Bill Evans was NOT about was "ego". Unlike many of the younger, heavily promoted pianist/keyboard players he influenced, Bill did not require grunts and groans, physical contortions, funny clothes, production special effects, etc., to make his musical statement. In fact, he preferred not to have the spotlight on himself. The lowered position of his head (or, in the 70s, his shoulder-length hair) concealed his face and, in effect, required the listener to focus only on the hands and the keys, on the music itself. And notice the size of his hands! As lean and slight as Bill appeared in the 50s and 60s, his hands seemed to belong to another creature--not just the length of the fingers but their thick diameter and sheer bulk. He had but to stroke the keys to extract from a grand piano the purist, fullest, most vibrantly warm sounds it was capable of producing.
More than any other major musician, Evans' aesthetic was the counterpart to that of John Keats, whose poetic credo of "negative capability," association of joy and sorrow, and equation of beauty and truth ("Truth is beauty") resulted in some of the purest poetry in the English language. But because of his virtual self-effacement, Bill was especially susceptible to the ready criticism of a Scottie LaFaro, who could be a punishing task-master in his insistence on perfection. Bill not only expanded the bass-player's role but developed a deference that could result in the bass player practically supplanting the pianist as the primary solo voice! This unselfishness soon became habit, leading to a certain unassertive sameness in many of his mid-career recordings. ("The Tokyo Concert" I'd single out as an example of the trio's tedious and tepid virtuosity--much busy-ness but little action or swing.) With the final trio of Marc Johnson and Joe La Barbera, however, Bill assumed, along with an appreciation of his companions, a mentor's responsibility for them. On the Paris Concert he's a teacher/master as much as a student, and the result is perhaps the most satisfying trio performance of his entire career. He's not merely drawing upon fresh blood as a source of inspiration but using his experience to guide his proteges while bringing his own instrument into the prominence it deserves.
Good learners become teachers, but in that role remain forever learners themselves. In one of his very last recordings, Evans manifests the fruits of a lifetime of learning yet produces music that registers freshness and discovery in each passing note.
Betty Carter - I'm Yours, You're Mines (1996)
EAC | FLAC+CUE+LOG+Artwork -> 320 Mb
Polygram Records
Bop | Vocal Jazz
Many thanks to my friend, Oceandrop
Descripstion
Coming up in the shadow of Sarah Vaughan and Ella Fitzgerald, Betty Carter realized early on there was no point competing on that terrain, and slowly but surely eked out one of her own. Carter's vocal world has been one of ferocious scat and luxuriously slow ballads, of relentless swing and angular melodic lines unafraid to dip into dissonance. Her sophisticated approach and the tight, shifting arrangements she works out for her backing trio lend themselves to an interpretation of lyrics which is ambiguous, abstract and often ironic. However, this is not most people's idea of what jazz singing should be about, and so after something like 45 years in the business she remains the most controversial of the major jazz singers.
This CD, and live performances over the past couple of years, give the impression that Carter's voice, in terms of control and stamina, may not be what it once was. She sings quietly at slow to medium tempo, sticking to her middle register and taking no chances physically. The result is a soft and dreamy set, pure Betty and highly satisfying, but definitely a change from the days she used to race along at lightning speed as musicians the caliber of John Hicks, Kenny Washington or Lewis Nash worked hard to keep up with her. Whether this is simply a temporary problem remains to be seen.
Carter has been touring with Mark Shim on tenor, and he appears here along with Andre Hayward, trombone, on all the tunes. Some illustrious alumni of the Carter band include pianists Mulgrew Miller, Benny Green, Stephen Scott, Cyrus Chestnut and Jacky Terrasson, bassists Michael Bowie and Ira Coleman, and drummers Washington, Nash, Wynard Harper and Clarence Penn. In other words, she has an eye for talent, and Shim and Hayward are no exception to her rigorous recruiting standards. They have a full, handsome tone on their respective instruments and solo with taste and strength.
Of the seven tunes here, the ringer is Kurt Weill's "Lonely House," with lyrics by Langston Hughes. Carter's attempt at atmospherics and a "poetic" reading are not memorable Antonio Carlos Jobim's "Useless Landscape" is a lovely tune, and the swaying beat is one that Carter handles well—but she chose, unwisely, to sing it partly in the language in which it was written. You don't have to be fluent to sing a tune in a language not your own, but Carter's attempt at Brazilian Portuguese sounds strained and all wrong. Once she's into the English, though, she's home.
The other songs get typical Carter treatments, somehow managing to be both lush and lean. Unable or unwilling to try for the explosive dynamic contrasts and fiendish tempos that were once her forte, she has streamlined her phrasing, taking her playful way with rhythmic tricks to a calmer level and proving yet again her unwillingness to sing anybody's standard licks but her own. For me the high point of the CD is the title tune, a new one she co-wrote with bassist Curtis Lundy. It's a slow, lyrical scat vehicle, sung in a way that is casual, but casually intense, like a dream, to an accompaniment that starts with a simple cadence and gradually opens up. Before it fades out after almost ten minutes, Carter eases into a couplet from "What's New": "We haven't met since then/Gee, but it's nice to see you again." It's different, surprisingly moving, but wholly unsentimental. That's Betty for you.
Al Grey & Jesper Thilo Quintet - Al Grey & Jesper Thilo Quintet (1987)
EAC | FLAC+CUE+LOG+Artwork -> 310 Mb
Storyville Records/STCD 4136
Bop | Trombone Jazz
Many thanks to my friend, Oceandrop
Descripstion
This studio session in which the great swing trombonist Al Grey leads a fine quintet through a set of mostly standards is exactly what journalist Eddie Cook calls "Happy Jazz" in the liner notes. Grey is right at home with tunes such as "God Bless the Child," "The Girl From Ipanema," and "A Night in Tunisia." The surprise of the session is "On the Sunny Side of the Street," which is played at a slow though compelling pace. Grey came to favor the tenor-bone front line in his small groups, and the Dane, saxophonist Jesper Thilo, does a commendable job as his partner. Thilo's thick, rich tone recalls Coleman Hawkins, a perfect foil to the trombonist's brash, brassy sound. While Grey's best work was performed as a big-band sideman, both with Dizzy Gillespie and Count Basie, his excellent solo work here and in other intimate settings is nonetheless an important part of his discography. His unique tone and style are in full bloom, and this recording should appeal to anyone who enjoys the sound of the jazz trombone in a joyous, no frills, and straight-ahead role.
Antonio Carlos Jobim - Verve Jazz Masters 13 (1994)
EAC | FLAC+CUE+LOG+Artwork -> 320 Mb
Verve/Polygram Records
Bossa Nova | Latin Jazz | World Fusion
Many thanks to my friend, Oceandrop
Descripstion
13th of the Verve Jazz Masters series. Great Jobim's compositions, performed by; Stan Getz, Joao Gilberto, Tommy Williams, Milton Banana, Astrud Gilberto, Claus Ogerman's orchestra, Jimmy Cleveland, Leo Wright, Luiz Bonfa, George Duvivier, Jose Carlos, Paolo Fereira, Maria Toledo, Elis Regina, Cesar Camargo Mariano, Helio Delmiro, Oscar Castro Neves, Luizao Maia, Paolo Braga, Danilo Caymmi, Paul Jobim, Jacques Morelenbaum, Sebastiao Neto, Maucha Adnet, Simone Caymmi, Ana Lontra Jobim, Elizabeth Jobim, Paul Morelenbaum, Cesar Camargo Mariano, Bill Hitchcock, Ohana Braga, and Jobim himself. This compilation includes one nice standard from Gershwin brothers; "Fascinating Rhythm".
Compilation selected and sequenced by, Gene Lees.
Abdullah Ibrahim - Cape Town Flowers (1997)
EAC | FLAC+CUE+LOG+Artwork -> 290 Mb
Tip Toe / Enja Records | Catalog#: TIP-888-826-2
African Jazz | Post-Bop | World Fusion
Many thanks to my friend, Oceandrop
Descripstion
Cape Town Flowers is an enchanting effort from Abdullah Ibrahim, finding the pianist in a trio setting performing 11 original compositions. With the exception of the nine-minute title track and "Monk In Harlem," most of the album's songs clock in at under five minutes, many under four. Each of the pieces is understated, lovely, and nearly dreamlike. The length of the tracks may make Cape Town Flowers seem like a slight record, but the truth is, that very brevity and the way the songs form a sonic tapestry is exactly what makes the record a modest gem.
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