Milt Jackson And The Hip String Quartet (1968)
2 Comments Published by Ronaldo Evangelista on sexta-feira, 10 de setembro de 2010 at 3:40 PM.
01) You got to pay when the deal goes down (Tom McIntosh)
02) The morning after (Bernard Ebbinghouse)
03) For all we know (J. Fred Lewis / Sam M. Coots)
04) A walkin' thing (Benny Carter)
05) In walked Bud (Thelonious Monk)
06) A little too much (Don Henry / Mike Appel)
07) Bags and strings (Milt Jackson)
08) New rhumba (Ahmad Jamal)
Arranged and conducted by Tom McIntosh
Vibes - Milt Jackson
Piano - Cedar Walton
Bass - Ron Carter or Bob Cranshaw
Drums - Mickey Roker or Grady Tate
Flute - Hubert Laws or James Moody
Tenor saxophone - James Moody
Violin - Sanford Allen
Viola - Alfred Brown
Cellos - Ronald Lipscomb
Kermit Moore or Sidney Edwards
"It's always bothered me," says McIntosh, "that people say strings can't swing. Why is it a bass player can swing? It's just a matter of knowing the language. And I wanted to extend the jazz language to non-conventional jazz instruments."
Even the set-up of the quartet varies slightly from the usual string quartet of two violins, viola and cello. Here, McIntosh employed one violin, viola and two cellos. "I've always felt there was a gap between viola and cello," he says. "What we did was to tune one cello one octave below the violin to close that gap. Many composers have had the idea; it's one of the things that makes the string quartet Hip. And the flute is there to add another color."
AQUI
Marcadores: Contracapa, dj evan, dl, Milt Jackson, Olé, Vitrola
Getz/Gilberto, por Getz e Gilberto
0 Comments Published by Ronaldo Evangelista on sexta-feira, 23 de abril de 2010 at 4:08 PM.
Gene Lees, Getz/Gilberto, cê tá ligado que ele escreveu o texto na capa interna do LP, pra não falar da letra em inglês de "Corcovado", né? Mas tá ligado que o encarte tem também textos de próprio punho (ha!) dos próprios Stan e João? Don't let that gentleness fool you. Getz meio reaça, tentando vender a bossa pelo conservadorismo, acertando na espontaneidade e despretensão. Gilberto todo hippie zen comunicativo derretido pelo gringo, por Caymmi, por Ary Barroso recém-partido, pelo amigo Donato.
Paul Hindemith often expressed his disbelief in abstraction in music. Music should concern the making of music, not the speculative transcending of its limits. "The ear," he said, "should remain the first and the last court of appeal."
The songs of João Gilberto and Antonio Carlos Jobim came to American like a breath of fresh air. Their music arrived here ate a time when anemia and confusion were becoming noticeable in our music to anyone who knew enough to be concerned. The desperate craze for innovation had been overextending itself. Jazz literature was becoming increasingly pompous, complex and chauvinistic, theorizing and analyzing itself into a knot. Musical groups were disintegrating into an every-man-for-himself egomania. Soloists and sidemen were engaged in endurance tests os repetitious and/or outlandish endeavours. Sometimes they lost the audience. Worse, they often lost musical contact with one another.
A discerning minority of greats and true jazz aficionados everywhere remained in a state of apprehension concerning this questionable trend. Was it inevitable that jazz would lose its initial charm in the process of growing up? Did approaching maturity herald the eventual loss of the refreshing qualities which kept jazz apart from traditional music?
Then came the music of these Brazilians with an impact much the same as the one caused by the child's classic comment in H.C. Anderssen's Emperor and His New Clothes. If nothing else the music world is indebted to them for exposing "the emperor" in all his nakedness.
Thus the ultimate making of this record was inevitable. We discovered an indestructible bond between us. Sebastiao and Milton as well as João and Ton understood little more english than I did portuguese, but it didn't matter. We had the music, the excitement of playing together, and the feeling of mutual respect for one another.
Unpretentiousness, spontaneity and the poetry os honest emotion belong back in jazz. And don't let that gentleness fool you. These guys know how to swing harder than most, and they do it without pushing.
Had this record never been released, the making of it would have been gratification enough.
--STAN GETZ
Peace is a beautiful feeling.
To understand and be understood is a kind of peace.
I find great peace in real communication with another person. Getz is a person I understand, and who understands me even though we speak different languages. I would say that even if we could not exchange a word, the love that we have for music would be enough to make us friends.
Our talks - generally through our wives - are sometimes amusing. I do my best to speak english, and Stan uses all his knowledge of Latin languages: "Diga ao João..." When Stan gives an opinion I often exclaim, "Exactly what I was going to say!" This happened so often one night that I thought to myself, "I had better disagree once in a while or it will sound silly." The truth is that we agree on most everything.
Some years ago when I was young and searching in my country, I knew about Stan though he didn't know about me. I was introduced to his music through Donato, a pianist friend of mine. Time and again we listened to Getz records with stirred emotions.
Despite our good friendship I never forget that Stan Getz is a great artist. There isn't any American whom I'd rather hear playing the music of my country. Jobim said "It's unbelievable the way Getz assimilates the spirit of the Brazilian music!" My good friend Dorival Caymmi, composer of Doralice, will be amazed at the swing and feeling Getz gives his authentic samba, so typical for Bahia.
Ary Barroso wrote the composition P'ra Machucar Meu Coraçao. Barroso is an outstanding figure in the history of Brazilian music. Ary was ill when we recorded this album. I told Getz how happy I thought it would make Ary feel to hear his composition recorded by us. He will not hear it. Today as I write this, I know that he is dead. Now our version will remain as a humble homage to Ary Barroso from myself and from Getz who came to love him through his music without ever having met him.
Finally just a word about Astrud, my wife. She always liked to sing and we often sing together at home. I like the way she sings The Girl from Ipanema. Getz heard her sing it and asked her to record it with us. This is her first recording date, and I am glad she was among friends.
In many ways, then, this is more than a record. It is friendship communicated by music.
--JOÃO GILBERTO
O primeiro sax-tenor dos Estados Unidos e o grande jovem cantor Brasileiro, no LP mais vibrante do ano
Paul Hindemith often expressed his disbelief in abstraction in music. Music should concern the making of music, not the speculative transcending of its limits. "The ear," he said, "should remain the first and the last court of appeal."
The songs of João Gilberto and Antonio Carlos Jobim came to American like a breath of fresh air. Their music arrived here ate a time when anemia and confusion were becoming noticeable in our music to anyone who knew enough to be concerned. The desperate craze for innovation had been overextending itself. Jazz literature was becoming increasingly pompous, complex and chauvinistic, theorizing and analyzing itself into a knot. Musical groups were disintegrating into an every-man-for-himself egomania. Soloists and sidemen were engaged in endurance tests os repetitious and/or outlandish endeavours. Sometimes they lost the audience. Worse, they often lost musical contact with one another.
A discerning minority of greats and true jazz aficionados everywhere remained in a state of apprehension concerning this questionable trend. Was it inevitable that jazz would lose its initial charm in the process of growing up? Did approaching maturity herald the eventual loss of the refreshing qualities which kept jazz apart from traditional music?
Then came the music of these Brazilians with an impact much the same as the one caused by the child's classic comment in H.C. Anderssen's Emperor and His New Clothes. If nothing else the music world is indebted to them for exposing "the emperor" in all his nakedness.
Thus the ultimate making of this record was inevitable. We discovered an indestructible bond between us. Sebastiao and Milton as well as João and Ton understood little more english than I did portuguese, but it didn't matter. We had the music, the excitement of playing together, and the feeling of mutual respect for one another.
Unpretentiousness, spontaneity and the poetry os honest emotion belong back in jazz. And don't let that gentleness fool you. These guys know how to swing harder than most, and they do it without pushing.
Had this record never been released, the making of it would have been gratification enough.
--STAN GETZ
Peace is a beautiful feeling.
To understand and be understood is a kind of peace.
I find great peace in real communication with another person. Getz is a person I understand, and who understands me even though we speak different languages. I would say that even if we could not exchange a word, the love that we have for music would be enough to make us friends.
Our talks - generally through our wives - are sometimes amusing. I do my best to speak english, and Stan uses all his knowledge of Latin languages: "Diga ao João..." When Stan gives an opinion I often exclaim, "Exactly what I was going to say!" This happened so often one night that I thought to myself, "I had better disagree once in a while or it will sound silly." The truth is that we agree on most everything.
Some years ago when I was young and searching in my country, I knew about Stan though he didn't know about me. I was introduced to his music through Donato, a pianist friend of mine. Time and again we listened to Getz records with stirred emotions.
Despite our good friendship I never forget that Stan Getz is a great artist. There isn't any American whom I'd rather hear playing the music of my country. Jobim said "It's unbelievable the way Getz assimilates the spirit of the Brazilian music!" My good friend Dorival Caymmi, composer of Doralice, will be amazed at the swing and feeling Getz gives his authentic samba, so typical for Bahia.
Ary Barroso wrote the composition P'ra Machucar Meu Coraçao. Barroso is an outstanding figure in the history of Brazilian music. Ary was ill when we recorded this album. I told Getz how happy I thought it would make Ary feel to hear his composition recorded by us. He will not hear it. Today as I write this, I know that he is dead. Now our version will remain as a humble homage to Ary Barroso from myself and from Getz who came to love him through his music without ever having met him.
Finally just a word about Astrud, my wife. She always liked to sing and we often sing together at home. I like the way she sings The Girl from Ipanema. Getz heard her sing it and asked her to record it with us. This is her first recording date, and I am glad she was among friends.
In many ways, then, this is more than a record. It is friendship communicated by music.
--JOÃO GILBERTO
O primeiro sax-tenor dos Estados Unidos e o grande jovem cantor Brasileiro, no LP mais vibrante do ano
Marcadores: Antonio Carlos Jobim, Ary Barroso, capismo, Contracapa, Dorival Caymmi, João Donato, João Gilberto, Stan Getz, Verve
uma outra vida e um gostoso sabor de ineditismo
0 Comments Published by Ronaldo Evangelista on sábado, 3 de abril de 2010 at 1:23 PM.
Eis aqui um disco da genuína música brasileira. Da autêntica, da legítima, da típica, ou que outros adjetivos existam para qualificá-la. Sim, porque a nossa verdadeira música não é aquela que se escuta nas "boites" ou nos bailes da alta sociedade, travestida de granfinismo, com orquestra puxada a "black-tie", gemendo nas cordas de um violino de heráldico "pedigree", com harpas e "cellos" de contrapeso. É esta que aqui está.
Natural, simples, espontânea, sem se escravizar à partitura, brotando dos instrumentos em que ela se sente à vontade, como um barnabé num pijama dominical e matutino. É a música que desconjunta as cadeiras das cabrochas nos "assustados" das gafieiras cariocas. Que, como o nosso futebol, é cheia de improvisações e de imprevistos.
Subitamente, todos os instrumentos recolhem-se à insignificância de um modesto "brackground", enquanto um deles, como um demônio que saltasse para o centro da roda, pede a palavra e executa um solo endiabrado dentro do tema melódico - bordando-o de variações inesperadas, retorcendo-os em espirais alucinantes, colorindo-o de matizes novos, imprimindo-lhe, enfim, uma outra vida e um gostoso sabor de ineditismo.
E tudo ali, feito na hora, nascendo no momento, brotando de repente, chiando na frigideira do improviso - e por isso mesmo, quente, apetitoso, de fazer água no ouvido.
A Turma da Gafieira eram os Jazz Messengers brasileiros, os novos músicos mais interessantes fervendo em solos revolucionários, em plena década de 50 pré-bossa nova. Pelo menos cinco anos antes d'O LP d'Os Cobras, d'O Som do Meirelles e os Copa 5, do Você Ainda Não Ouviu Nada do Bossa Rio Sexteto do Sérgio Mendes, que qualquer disco de trio, do próprio Edison Machado é Samba Novo, totalmente vanguarda no conceito e no som, a Turma da Gafieira é samba-jazz antes do estilo ser sonhado.
Dois discos lançados pela Musidisc, cheios de acompanhamentos e improvisos musculares de Raul de Souza no trombone, Cipó e Zé Bodega nos saxes, Sivuca na sanfona, Altamiro Carrilho na flauta, Baden Powell no violão. E na cadeira de Art Blakey, acelerando o eixo do samba, Edison Machado, com sua pegada pra frente, bebop, pratos chiando, convenções e viradas nervosas.
Jazz no Brasil na época? Só muito timidamente, diluído nas orquestras de baile e gafieira, no máximo ebulindo em encontros informais entre os músicos, jam sessions nas horas vagas ou nos bares mais moderninhos. Dali alguns anos, chegando aos músicos mais antenados da jovem classe média-alta carioca no pequeno Beco das Garrafas, mas até então se confundindo com os regionais de choro, Orquestras Tabajaras, pianistas de cocktail, pequenos combos para acompanhar cantores.
O texto anônimo entre aspas ali em cima é do 10" com composições de Altamiro Carrilho. Tanto ele como o LP lançado pela mesma época, com versões de Caymmi, Tito Mati, Wilson Batista e Tom Jobim, não se avexam de ser revolucionários discos de pequena formação gravados ao vivo com músicos criativos livres para improvisar sobre temas interessantes - para todos os efeitos, dois discos de jazz.
Marcadores: Contracapa, Edison Machado, Play, Raul de Souza, samba-jazz, Sivuca, Turma da Gafieira, Você Ainda Não Ouviu Nada
ooooooh! norma
0 Comments Published by Ronaldo Evangelista on quinta-feira, 12 de novembro de 2009 at 3:51 PM.
luz de buate
música de buate
ritmos de buate
voz de veludo
voz de mulher
voz de norma benguell
...para você
oh! norma...
-- é uma voz sentada ao colo
cantando no seu ouvido --
* Na produção normal de uma Fábrica Gravadora, ocasiões se apresentam que nos levam a provar que não existem fronteiras quando se trata de talento. O disco pode e deve transmitir ao público qualquer tipo de personalidade. E procura fazer isso somente com o sentido da audição, sem a ajuda de nossa visão e o que "ela" nos pode oferecer de côr e beleza. Êste LP foi providenciado com esta finalidade: procurar captar, unicamente, em som, o talento indiscutível de NORMA BENGUELL. Confiamos na inteligência e imaginação do ouvinte dêste disco, certos de que uma surpresa bastante agradável os espera.
Marcadores: Cesar Villela, Contracapa, Norma Bengell
Viva Donato!
0 Comments Published by Ronaldo Evangelista on sábado, 12 de setembro de 2009 at 12:14 PM.
"Close your eyes" is a ballad favored by American jazz musicians. Chombo, assisted by some engaging obligati from Rolando's flute, gives this the full jazz treatment. Again the bongo drum is skillfully worked into the background. The jazz-wise piano solo is by João Donato, a Brazilian who, like Mongo himself, is musically at home in all the Americas.
Marcadores: A melhor música do mundo, Contracapa, João Donato, Mongo Santamaria, Play, WWDD?
Upendo Ni Pamoja
0 Comments Published by Ronaldo Evangelista on domingo, 8 de fevereiro de 2009 at 10:50 AM.
I have always thought that music goes back to the simple heartbeat; to the time before man could speak and had to communicate through the use of elemental noises. What would have been closer to man that the sound of his being alive.
I have always thought that after listening to the sound of his heartbeat man began to listen to other sounds; the sounds that birds made singing in the trees; the sounds that breezes made as they blew their way through the endless forests; sounds that animals, both friendly and hostile, made as they went about their daily lives.
I have always felt that even after man learned how to talk he never lost the memory of that primeval heartbeat, or the birds, or the breezes, or all the animals he came to know so long ago. And that memory drew man to music and to the noises and rhythms of music, because music expressed something from the very beginnings of his time on Earth.
And music still expresses these things and, as a result, draws from all the most basic emotions from far inside men. And probably without music much of what we know as society would rot and fall away. We take music for granted now since it has been such an elemental part of all our lives, but we should stop for a moment and, not taking it for granted, understand something of why it soothes and plays upon the savage beast within our soul.
And I think that ever since I began to play, I have thought that music should make people look within themselves and think about the meaning of life. That it should make them think about how fine it is to be loved or to love another; that it should make them think about how really insignificant we are and at the same time how important each of us is on this Earth we live on and in the universe that our Earth goes spinning through.
So close your eyes and let our music speak to you in colors and sounds and familiar and not so familiar emotions and let it tell you how much all three of us love to be alive and love to talk about being alive in our music.
-Ramsey Lewis
*
Ramsey Lewis-Steinway Concert Grand Piano and Fender Rhodes Electric Piano
Cleveland Eaton-Acoustical Bass and Electric Bass
Morris Jennings-Drums and Percussions
*
Do Upendo Ni Pamoja, disquinho especial, com o trio do Ramsey fazendo funk-jazz elétrico, suave, dubem e com muito, muito groove.
Marcadores: 1972, Contracapa, Ramsey Lewis
Gil-Chico-Veloso
1 Comments Published by Ronaldo Evangelista on sexta-feira, 30 de janeiro de 2009 at 1:28 PM.
Boa, xará! (trabalhar com êsse cara é uma tranqüilidade, hem, Mané?). O xará Gauss, nessa mesa de Cabo Kennedy, enriquece o tropicalismo. E a Claudete bolou bem essa do Veloso de Holanda (disco bacana, mundo complicado, mil idéias, trecos vários...
Pata, Pedro (pedreiro), Pedro, pata! Domingô de um summer que não is gone, donde sei gudebai às canzones psico-idílicas; vesti Ludwig de azul (porta aberta!), magnólias e margaridas: Hip (pie)! Hip (pie)! Hurraaaaaaa! Rei da Roda (velas mortas): Viva!
E o bacana foi o côro de quatro maestros (no Domingou) com o Gil regendo (Medaglia, Gregori, Cozzella e eu).
Pela aí, rollin monkacos beatolados.
Salve, lindo sapato branco e panamá!
Viva (em pó) tôdas as mini (inclusive a Claudete)!!!
Rogério Duprat
*
Do Gil-Chico-Veloso, da Claudete, arranjo e regência do Duprat.
Marcadores: Caetano Veloso, Chico Buarque, Contracapa, gilberto gil, Rogério Duprat
Songs in the Key of Life
2 Comments Published by Ronaldo Evangelista on domingo, 2 de novembro de 2008 at 10:47 AM.
Songs in the Key of Life is only a conglomerate of thoughts in my subconscious that my Maker decided to give me the strength, the love + love - hate = love energy making it possible for me to bring to my conscious an idea. An idea to me is a formed thought in the subconscious, the unknown and sometimes sought for impossibles, but when believed strong enough, can become a reality. So let it be that I shall live the idea of the song and use its words as my sight into the unknown, but believe positive tomorrow and I shall so when in evil darkness smile up at the sun and it shall to me as if I were a pyramid give me the key in which I am to sing, and if it is a key that you too feel, may you join and sing with me.
Stevland
*
Do Songs in the Key of Life, do Stevie.
Marcadores: Contracapa, Stevie Wonder
Caetano 68
0 Comments Published by Ronaldo Evangelista on sábado, 1 de novembro de 2008 at 10:03 AM.
Que maravilhoso país o nosso, onde se pode contratar quarenta músicos para tocar um uníssono.
(Miles Davis, durante uma gravação)
Antes havia Orlando Silva & flautas e até mesmo no meio do meio dia. Antes havia os prados e os bosques na gravura dos meus olhos. Antes de ontem o céu estava muito azul e eu e ela passamos por baixo desse céu, ao mesmo tempo com medo dos cachorros e sem muita pressa de chegar do lado de lá. Do lado de cá não resta quase ninguém. Apenas os sapatos polidos refletem os automóveis que, por sua vez, polidos, refletem os sapatos assim per omnia até que (por absoluta falta de vento) tudo sobe num redemoinho leve, me deixando entrever um resto de rosto ou outro, pedaços, amém. Marina sabe a história do pelicano etc. etc. o peito aberto e rasgado etc. etc. mas que nada: quando a gente não tem nenhuma necessidade de ir para os States não há mesmo mais esperança. Eu gostaria de fazer uma canção de protestos de estima e consideração, mas essa língua portuguesa me deixa rouco. Os acordes dissonantes já não bastam para cobrir nossas vergonhas, nossa nudez transatlântica. E, no entanto, Ele é um gênio: quem ousaria dedicar este disco a João Gilberto? Quantos anos você tem? Como é que você se chama, quando é que você me ama, onde é que vamos morar? Os automóveis parecem voar, os automóveis parecem voar por cima (mas mais alto que o Caravelle) dos telhados azuis de Lisboa, dos teus olhos, dos mais incríveis umbigos de todas as mulheres em transe, dos teus cabelos cortados mais curtos que os meus, meu amor, porque eu não quero, porque eu não devo explicar absolutamente nada.
Caetano Veloso
P.S.: Gil, hoje não tem sopa na varanda de Maria.
*
Do primeiro solo do Caetano.
Marcadores: Caetano Veloso, Contracapa, João Gilberto, Miles Davis
Cuffed, Collared & Tagged
0 Comments Published by Ronaldo Evangelista on sexta-feira, 31 de outubro de 2008 at 9:08 AM.
This album is by far the greatest piece of writing, arranging, producing and sequencing genius that I've ever encountered. Anyone who has heard the first two Swamp Dogg albums will possibly say impossible, but after listening to this one will make the cross-over to incredible. The only album that may possibly compare with this one, is the one that I'm contemplating doing in the late future.
Everything that is necessary to make a hit album I have; ego, talent, originality, humor and I am dynamic, articulate, defiant, altruistic, considerate, warm, wonderful & humble. My reputation speaks for itself, having either written, produced or both, hit records for Gene Pitney, Z.Z. Hill, Freddie North, Doris Duke, Wilson Picket, Arthur Conley, Lulu, Stoneground, Johnny Paycheck, Conway Twitty, Dee Dee Warwick, Little Richard, Whispers, Gary Bonds, Joe Tex, Donnie Elbert, Lightning Slim, Irma Thomas, John Rowles, Tommy Overstreet, and Loretta Lynn, just to scratch the surface.
I have also been a Grammy nominee for the last two years. I'm also a Cancer (July 12) and twenty nine years in the world.
What you've just read is my trip and if you can't tolerate it, that's your trip.
Jerry Williams, Jr / P/K/A Swamp Dogg
*
Do Cuffed Collared & Tagged, do Swamp Dogg.
Marcadores: Contracapa, Swamp Dogg
Eu também
0 Comments Published by Ronaldo Evangelista on sexta-feira, 16 de maio de 2008 at 2:22 PM.
Eu acredito em João Gilberto porque ele é simples, sincero e extraordinariamente musical.
(Tom, na contracapa do Chega de Saudade.)
Marcadores: abre aspas, Contracapa, JG aka Deus, João, João Gilberto, Tom
