Time Has Come - Cosmic Groove Orchestra

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Perfect Toys
Year Released: 2010
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Note From Dada!

Ώτα μου καλημέρα.

Στην περίπτωση που αυτό το περσινό δισκάκι (η 37η έκδοση της "Perfect Toys Records" η οποία έχει κάποια πολύ καλά album στον κατά τ' άλλα μικρό της κατάλογο) του γερμανικού κουαρτέτου "The Cosmic Groove Orchestra" δεν έχει πέσει στην αντιληψή σας, σας προτείνω ανεπιφύλακτα να του "ρίξετε ένα αυτάκι" καθώς είναι ένα από τα πιο ωραία-πρόσφατα (Μάϊος 2010) album που άκουσα.

Στην περίπτωση όμως που το έχετε ακούσει, νομίζω ότι θα συμφωνήσετε ότι πρόκειται για έναν αρκετά καλό και "φρέσκο" δίσκο. Και βάζω σε εισαγωγικά το φρέσκο σχετικά με τον ήχο τους, γιατί οι επιρροές τους κρατάνε από παλιά. Αυτή η "ανάμειξη" της άρπας σε jazz μονοπάτια είναι σίγουρα πολύ παλιά ιστορία και μπορεί να μην "εφευρέθηκε" από την Alice Coltrane (με διασκευή πάνω στο δικό της "Journey in Satchidananda" ξεκινάει ο δίσκος) ή από την αγαπημένη μου Dorothy Ashby (που η λυρικότητα του παιξίματος της είναι αρκετά αναγνωρίσιμη στα "Harp Song" και "Kanon") σίγουρα όμως σ' αυτές τις δύο οφείλεται σε μέγιστο βαθμό η "ανάδειξη" αυτού του οργάνου μέσα από jazz, soul και psychedelic ακούσματα.

Πρωταγωνιστικό ρόλο στο σχήμα εκτός από την άρπα παίζει και η κιθάρα η οποία σε γενικές γραμμές κινείται μεταξύ jazz και ψυχεδέλειας και σε κάποιες στιγμές, ο ήχος (περισσότερο και λιγότερο το παίξιμο) του κιθαρίστα Alex Czinke θυμίζει λίγο κι από Gabor Szabo.

Αν εξαιρέσω την αξιοπρεπή διασκευή του "Journey in Satchidananda" (στην οποία ένα όργανο άλλων συχνοτήτων - όπως το σοπράνο σαξόφωνο του Pharoah Sanders της αρχικής εκτέλεσης - μπορώ να πω ότι μου φάνηκε απαραίτητο) τα δικά μου αυτιά ξεχώρισαν τη "ταξιδάρικη εκδοχή" στο "You Know, You Know" των John McLaughlin/Mahavishnu Orchestra και τα πολύ καλά "Walzer Fur Ilse Proskauer" και "Time Has Come".

Παρακάτω σας ποστάρω ένα βιντεάκι (που είναι μία "μίξη" μερικών κομματιών του δίσκου) για να πάρετε μία ιδέα πως ακούγεται αυτή η μπάντα.

Αυτιά

Σας φιλώ στο μόντεμ!
Radiodada

The Cosmic Groove Orchestra
Σύνθεση:
Kathrin Pechlof: Concert Harp
Alex Czinke: Guitar
Jekrer Kluge: Bass
Matthias Gmelin: Drums

Bad Bossa Nova - Gene Ammons

Rating: 5.5/10 
Sound Quality: Lossless
Format: Flac
Record Label: Prestige
Year Released: 1963
Album Covers: Included
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Note From Dada!

Ώτα μου οι μουσικές έχουν την εποχή τους. Είναι λίγο σάϊκο να ακούς samba δίπλα απ' το τζάκι ή να παίζεις χιονοπόλεμο με reggae υπόκρουση κ.ο.κ. Επειδή όμως ο καιρός τα έχει παίξει εντελώς, ακούστε ένα εξαιρετικό (και αρκετά καλοκαιρινό) "Bossa Nova" δισκάκι του σαξοφωνίστα Gene Ammons για να εναρμονιστείτε λίγο με το κλίμα. Κι αν πάλι κι αυτό σας φαίνεται άκυρο, δεν πειράζει. Αν δηλαδή κάποιος του τη βαρέσει να αγοράσει μαγιώ μες το καταχείμωνο εεεε...δεν σημαίνει κιόλας ότι πρέπει να το φορέσει επιτόπου.

Άντε καλή ακρόαση!

Radiodada

Υ.Γ. Όταν πρωτοάκουσα αυτό το δισκάκι κατευθείαν το μυαλό μου πήγε σε ένα αρκετά αντίστοιχο και εφάμμιλο δίσκο του επίσης εξαιρετικού Charlie Rouse - το "Bossa Nova Bacchanal". Αν τύχει λοιπόν και σας αρέσει αυτό το album του Ammons είμαι σχεδόν σίγουρος ότι ο δίσκος του Rouse θα σας γοητεύσει πολύ περισσότερο. Φυσικά και είναι ποσταρισμένο εδώ και αρκετό καιρό στο blog καθώς πρόκειται για ένα από τα πιο αγαπημένα μου δισκάκια του είδους. Σε όσους λοιπόν κίνησα την περιέργεια το "Bossa Nova Bacchanal" μπορείτε να το βρείτε εδώ.

(http://dadaisback.blogspot.com/2008/09/bossa-nova-bacchanal-charlie-rouse_5664.html)

About Gene Ammons

Eugene "Jug" Ammons (April 14, 1925 – July 23, 1974) also known as "The Boss," was an American jazz tenor saxophonist, and the son of boogie-woogie pianist Albert Ammons.

Ammons began to gain recognition when he went on the road with trumpeter King Kolax band in 1943, at the age of 18. He became a member of the Billy Eckstine and Woody Herman bands in 1944 and 1949 respectively, and then in 1950 formed a duet with Sonny Stitt. His later career was interrupted by two prison sentences for narcotics possession, the first from 1958 to 1960, the second from 1962 to 1969. He recorded as a leader for Mercury (1947-1949), Aristocrat (1948-1950) and Chess (1950-1951), Prestige (1950-1952), Decca (1952), and United (1952-1953). For the rest of his career, he was affiliated with Prestige.

Ammons and Von Freeman were the founders of the Chicago School of tenor saxophone. His style of playing showed influences from Lester Young as well as Ben Webster. These artists had helped develop the sound of the tenor saxophone to higher levels of expressiveness. Ammons, together with Dexter Gordon and Sonny Stitt, helped integrate their developments with the emerging "vernacular" of the bebop movement, and the chromaticism and rhythmic variety of Charlie Parker is evident in his playing.

While adept at the technical aspects of bebop, in particular its love of harmonic substitutions, Ammons more than Young, Webster or Parker, stayed in touch with the commercial blues and R&B of his day. The "soul Jazz" movement of the mid-1960s, often using the combination of tenor saxophone and Hammond B3 electric organ, counts him as a founder. Often using a thinner, drier tone than Stitt or Gordon, Ammons could at will exploit a vast range of textures on the instrument, vocalizing it in ways that look forward to later artists like Stanley Turrentine, Houston Person, and remarkably Archie Shepp. Ammons showed little interest, however, in the modal jazz of John Coltrane, Joe Henderson or Wayne Shorter that was emerging at the same time.

Some fine ballad performances in his oeuvre are testament to an exceptional sense of intonation and melodic symmetry, powerful lyrical expressiveness, and mastery both of the blues and the bebop vernacular which can now be described as, in its own way, "classical."

"Answer Me, My Love" written by Fred Rauch, Carl Sigman and Gerhard Winkler, performed by Gene Ammons is featured on the soundtrack for Romance & Cigarettes (2005). Equipment: "Jug" played on a Bb Conn 10M Tenor Saxophone and a Brilhart Ebolin mouthpiece. Ammons is considered a major influence on the style of popular jazz tenor saxophonist Joshua Redman.

Ammons died in 1974, at the age of 49, after a battle with cancer.

Sarah Vaughan At Mister Kelly's - Sarah Vaughan & Her Trio

 
















Rating: 5.5/10 
Sound Quality: Lossless
Format: Flac
Record Label: Mercury (Original),  Verve (Reissue)
Year Released: 1957(Original), 2007 (Reissue)
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About Sarah Vaughan

Sarah Lois Vaughan (March 27, 1924 – April 3, 1990) was an American jazz singer, described by Scott Yanow as having "one of the most wondrous voices of the 20th century". She had a contralto vocal range.

Nicknamed "Sailor" (for her salty speech), "Sassy" and "The Divine One", Sarah Vaughan was a Grammy Award winner. The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1989.

Finger Poppin' - The Horace Silver Quintet

Rating: 6/10
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Record Label: Blue Note
Year Released: 1959
Album Covers: Included
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About Horace Silver

When Horace Silver once wrote out his rules for musical composition (in the liner notes to the 1968 record, Serenade to a Soul Sister), he expounded on the importance of "meaningful simplicity." The pianist could have just as easily been describing his own life. For more than fifty years, Silver has simply written some of the most enduring tunes in jazz while performing them in a distinctively personal style. It's all been straight forward enough, while decades of incredible experiences have provided the meaning.

Silver was born in Norwalk, Connecticut on September 2, 1928. His father had immigrated to the United States from Cape Verde---and that island nation's Portuguese influences would play a big part in Silver's own music later on. When Silver was a teenager, he began playing both piano and saxophone while he listened to everything from boogie-woogie and blues to such modern musicians as Bud Powell and Thelonious Monk. As Silver's piano trio was working in Hartford, Connecticut, the group received saxophonist Stan Getz's attention in 1950. The saxophonist brought the band on the road and recorded three of Silver's compositions.
In 1951, Silver moved to New York City where he accompanied saxophonists Coleman Hawkins, Lester Young and many other legends. In the following year, he met the executives at Blue Note while working as a sideman for saxophonist Lou Donaldson. This meeting led to Silver signing with the label where he would remain until 1980. He also collaborated with Art Blakey in forming the Jazz Messengers during the early 1950s (which Blakey would continue to lead after Silver formed his own quintet in 1956).
During these years, Silver helped create the rhythmically forceful branch of jazz known as "hard bop" (chronicled in David H. Rosenthal's 1992 book, Hard Bop: Jazz and Black Music, 1955-1965). He based much of his own writing on blues and gospel---the latter is particularly prominent on one of his biggest tunes, "The Preacher." While his compositions at this time featured surprising tempo shifts and a range of melodic ideas, they immediately caught the attention of a wide audience. Silver's own piano playing easily shifted from aggressively percussive to lushly romantic within just a few bars. At the same time, his sharp use of repetition was funky even before that word could be used in polite company. Along with Silver's own work, his bands often featured such rising jazz stars as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. Some of his key albums from this period included Horace Silver Trio (1953), Horace Silver and the Jazz Messengers (1955), Six Pieces of Silver (1956) and Blowin' The Blues Away (1959), which includes his famous, "Sister Sadie." He also combined jazz with a sassy take on pop through the 1961 hit, "Filthy McNasty."
But it was a few years later when Silver would record one of his most famous songs, the title track to his 1964 album, Song For My Father. That piece combined his dad's take on Cape Verdean folk music (with a hint of Brazilian Carnival rhythms) into an enduring F-minor jazz composition. Over the years, it has become an American popular music standard, covered not only by scores of instrumentalists, but also such singers as James Brown.
As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these changes through music. He commented directly on the new scene through a trio of records called United States of Mind (1970-1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic philosophy as his group, Silver 'N Strings, recorded Silver 'N Strings Play The Music of the Spheres (1979).
After Silver's long tenure with Blue Note ended, he continued to create vital music. The 1985 album, Continuity of Spirit (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered the urban popular music that had been largely built from his influence on It's Got To Be Funky (Columbia, 1993). On Jazz Has A Sense of Humor (Verve, 1998), he shows his younger group of sidemen the true meaning of the music.

Now living surrounded by a devoted family in California, Silver has received much of the recognition due a venerable jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award. Silver is also anxious to tell the world his life story in his own words as he just completed writing his autobiography, Let's Get To The Nitty Gritty (University of California Press, scheduled for fall 2006 release).

Takin' Off - Herbie Hancock

 
Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Blue Note
Year Released: 1962
Album Covers: Included
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Note From Dada!

Εεεεε...και κανένα κλάσικ που και που δεν βλάπτει...
Καλή ακρόαση!
Radiodada

About Herbie Hancock
Herbert Jeffrey Hancock ("Herbie," born April 12, 1940) is a jazz pianist and composer. He embraces elements of rock and soul while adopting freer stylistic elements from jazz. As part of Miles Davis's "second great quintet," Hancock helped redefine the role of a jazz rhythm section, and was one of the primary architects of the "post-bop" sound. Later, he was one of the first jazz musicians to embrace synthesizers and funk. Yet for all his restless experimentalism, Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaria), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit". His 2007 tribute album, "River: The Joni Letters" won the 2008 Grammy Award for Album of the Year, only the second jazz album to win the award.

Jazz In Paris (No.96): Parisian Sketches - Max Roach Quintet

Rating: 5.5/10 
Sound Quality: Lossless
Format: Flac
Record Label: Mercury (Original), Gitanes (Reissue)
Year Released: 1960 (Original), 2002 (Reissue)
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Note From Dada!

Γεια σας ώτα μου,
Επιστρέφουμε λιγάκι πίσω σε jazz μονοπάτια και από την δημοφιλή σειρά της Gitanes Jazz Productions με τίτλο "Jazz In Paris" σας ποστάρω μία επανέκδοση του εξαιρετικού album του ντράμερ Max Roach  με τίτλο "Parisian Sketches" ο οποίος αν δεν κάνω λάθος είναι ο τελευταίος δίσκος του για λογαριασμό της Mercury (στην οποία όπως αναφέρω και παραπάνω ανήκει η αρχική έκδοση του δίσκου). Ένα απ' τα καλύτερα album του κουϊντέτου του Roach της περιόδου εκείνης της οποίας μέλη του ήταν τα αδέρφια Stanley και Tommy Turrnentine.
Hope to enjoy!
Radiodada

Σύνθεση:
Bob Boswell: Κοντραμπάσσο
Max Roach: Τύμπανα
Stanley Turrentine: Τενόρο Σαξόφωνο
Julian Priester: Τρομπόνι
Tommy Turrentine: Τρομπέτα

About Max Roach

Maxwell Lemuel Roach (January 10, 1924 – August 16, 2007) was an American jazz percussionist, drummer, and composer.

A pioneer of bebop, Roach went on to work in many other styles of music, and is generally considered alongside the most important drummers in history. He worked with many famous jazz musicians, including Coleman Hawkins, Dizzy Gillespie, Charlie Parker, Miles Davis, Duke Ellington, Charles Mingus, Sonny Rollins and Clifford Brown.

Roach also led his own groups, and made numerous musical statements relating to the civil rights movement of African Americans.

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Legends Of Benin - Afro-Funk, Cavacha, Agbadja, Afro-Beat 1969-1981

Rating: 6/10
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Record Label: Analog Africa
Year Released: 2009
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Note From Dada!
Γεια σας ώτα μου.
Επειδή ξέρω ότι άνοιξα σε κάποιους την όρεξη με τις εκδόσεις της Analog Africa, σας ποστάρω λοιπόν  μία ακόμα εξαιρετική συλλογή από την ίδια σειρά,  αυτή τη φορά με μουσικές από το Benin.

Καλή ακρόαση!
Radiodada

Palenque-Palenque Champeta Criola & Afro Roots In Colombia (1975-1991)

Rating: 6.5/10
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Record Label: Soundway
Year Released: 2010
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Note From Dada!

Ώτα μου γεια χαρά και καλή χρονιά,

Πρώτη ανάρτηση για φέτος και λέω να σας τρατάρω μία ακόμα αξιόλογη και σχετικά πρόσφατη συλλογή της  Soundway. Ένα cdάκι λοιπόν με μουσικές από την Κολομβία της περιόδου 1975-91 που (αρκετές από αυτές)  ακούγονται βέβαια περισσότερο σαν να βρίσκεσαι στο Congo ή στην Ghana παρά στην Νότια Αμερική και σου δίνουν την εντύπωση ότι "ξεσηκώνουν" τον ήχο τους από τα μουσικά αφρικανικά ρεύματα της αντίστοιχης περιόδου. Η πραγματικότητα όμως είναι εντελώς διαφορετική καθώς όπως άλλωστε διαβάζει κανείς και στο κατατοπιστικό ένθετο βιβλιαράκι της έκδοσης, οι ρίζες αυτής της μουσικής ξεκινάνε πέντε αιώνες νωρίτερα και συγκεκριμένα οταν άρχισαν να φτάνουν στην περιοχή οι πρώτοι σκλάβοι από την Αφρική.

Σε κάποια tracks του δίσκου το αφρικανικό στοιχείο κυριαρχεί (εώς και απόλυτα θα έλεγα...) ενώ σε κάποια άλλα ο μουσικό-γεωγραφικός προσανατολισμός επιτυγχάνεται πολύ πιο εύκολα, όπως με τα εξαιρετικά: "Esclavo Moderno" (Manuel Alvarez Y Sus Dangers) και "El Sucusu" (La Nelda Pina) τα οποία ενώ σας σερβίρω στους προγευστικούς αναπαραγωγούς, δεν θα έλεγα με σιγουριά ότι πρόκειται για τα αντιπροσωπευτικότερα αυτής της συλλογής...
Anyway.
Όπως και να 'χει....Σας εύχομαι καλή ακρόαση και ότι χειρότερο σε όσους προσπαθούν να σας κάνουν τη νέα χρονιά ανάξια ευχών.

Σας φιλώ στο μόντεμ!

Radiodada

Esclavo Moderno - Manuel Alvarez Y Sus Dangers


El Sucusu - La Nelda Pina

Orchestre Poly-Rythmo De Cotonou (Volume No.2) - Echos Hypnotiques

Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Analog Africa
Year Released: 2009
Album Covers: Included
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Note From Dada!

'Ωτα μου καλημέρα.

Κλείνω τη χρονιά με το δεύτερο μέρος αυτής της συλλογής των Orchestre Poly-Rythmo De Cotonou από την Analog Africa. Σας εύχομαι ότι καλύτερο (ασχέτως αν αλλάζουν απλά τα ημερολόγια ή όχι), καλή ακρόαση και....του χρόνου με ηχεία.
Radiodada

Υ.Γ. Το εξαιρετικό "Gbeti Madjro" που ακολουθεί σε μορφή youtube-βίντεο βρίσκεται στο Vol.3 της Analog Africa με τίτλο "African Scream Contest" που ευελπιστώ να ποστάρω στο προσεχές μέλλον.

About Orchestre Poly Rythmo De Cotonou

Orchestre Poly Rythmo de Cotonou are a band from Benin, which plays Afrobeat, Funk, Soukous and other styles, often based on Vodun ryhtmns. Active since the late 1960s, and having recorded around 500 songs, they are still touring around the world today, playing in venues such as London's Barbican Centre. Compilations of their work have recently been issued through Analog Africa, Soundway Records and Popular African Music.

Orchestre Poly-Rythmo De Cotonou (Volume No.1) - The Vodoun Effect

Rating: 6/10
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Record Label: Analog Africa
Year Released: 2008
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About Orchestre Poly Rythmo De Cotonou

Orchestre Poly Rythmo de Cotonou are a band from Benin, which plays Afrobeat, Funk, Soukous and other styles, often based on Vodun ryhtmns. Active since the late 1960s, and having recorded around 500 songs, they are still touring around the world today, playing in venues such as London's Barbican Centre. Compilations of their work have recently been issued through Analog Africa, Soundway Records and Popular African Music.