JUAN CARLOS CACERES & TANGO NEGRO TRIO ''NO ME ROMPAS LAS BOLAS'' (ARGENTINA) @ [320k]




JUAN CARLOS CACERES & TANGO NEGRO TRIO  
''NO ME ROMPAS LAS BOLAS'' 
(ARGENTINA) @ 

Poseído por una suerte de magnetismo telúrico, Cáceres ha estado siempre en el ojo del huracán.

Llegó a Paris - ¿casualidad? - en Mayo del '68. No buscaba la playa bajo los adoquines, pero la encontró. Antes, en su Buenos Aires natal, había sido el factótum de la escena existencialista. Estudiante de Bellas Artes durante el día, pianista y trombonista por la noche, agitador, fenómeno de la naturaleza, se convirtió en el Alma Mater de la mítica cueva de Pasarotus, club de jazz y epicentro de las tendencias revolucionarias.

Ahí se mezclaban beatniks, cachorras de la oligarquía y futuros guerilleros maoístas, muchas veces en la misma persona. Cáceres, tsunami de magma y champagne, llevaba la batuta. Hasta que un día oyó la llamada. En París acompañó a Marie Laforet, fundó los grupos Malón y Gotán, pintó, expuso, enseñó Historia del Arte y profundizó en las raíces de la música rioplatense. Hoy da conferencias sobre el tema, pero sobre todo compone y canta, con voz de león, las canciones más representativas del imparable resurgir del tango, el candombe, la murga y la milonga. Cáceres es el más inspirado, el más impetuoso, el más apasionado y el más ardiente. Este joven nacido en 1936 es la referencia obligada para los creadores, dentro y fuera de Argentina y Uruguay.

El Río de la Plata, el más ancho del mundo, separa a estos dos países que una vez fueron uno. Cáceres se bebe de un trago esas aguas y se escucha un rugido: es la tormenta de ritmos africanos y europeos que trae del pasado para conmover el presente y preparar el futuro.
La modernidad está en los orígenes.
Texto de Sergio Makaroff

************************

Possessed by a strong magnetic tellurism, Cáceres was always to be found within the limits of the hurricane’s eye.

He arrived in Paris – was it mere chance? – in May 1968. He was not looking for a beach under the cobblestones, but he found one. In Buenos Aires, where he was born, he had been the factotum of the Existentialist Scene. Student of Fine Arts during day time, trombonist at night, agitator, a force of nature, he became the attraction of the mythic Cueva de Passarato, a jazz club and epicentre of revolutionary trends. There converged beatniks, upper class chicks and future Maoist guerrillas, often combined in a single individual.

Cáceres, a tsunami of magma and champagne, was the man in charge. Until one day he answered the calling. In Paris he played with the artist Marie Laforêt, founded the bands Malon and Gotan, painted, produced shows, taught History of Art and did research on the roots of the River Plate’s music. Today he still lectures on the subject, but, above all, he composes and sings, with a lion’s voice, the most relevant pieces that mark the rebirth of tango, candombe, murga and milonga. Caceres is inspired, impetuous, passionate and fiery at this. This youngster, born in the 40s, is the reference for creators in and out of Argentina and Uruguay.

The River Plate, the widest river in the world, separate these two countries, that once were one. Cáceres drinks these rhythms that Cáceres brings from the past, to move the present and point to the future.

Modernism is found in the beginnings.
Text by Sergio Makaroff
Fuente/Source


01. Suena el tambor
02. Mandinga milonga
03. No me rompas las bolas
04. La Maga
05. Paso el tiempo
06. Que milonga mi amor
07. En Paris me quedo
08. Qumaste todo (solo piano)
09. Tango negro
10. Sudacas
11. Camila
12. Murga cruel
13. Toca tango
14. La Pulpera de Santa Lucia
15. Plaza de Mayo


NAOYA MATSUOKA ''BEST SELECTION'' (JAPON,1992) @[320]




NAOYA MATSUOKA  
''BEST SELECTION'' 
(JAPON,1992) @



NAOYA MATSUOKA BANDA GRANDE ''SEARCHING FOR VENUS'' (JAPON,1994) @ [211k VBR]




NAOYA MATSUOKA BANDA GRANDE  
''SEARCHING FOR VENUS'' 
(JAPON,1994) @ 




1. THE STRIKER ~Striker of Victory
2. Excitement Love
3. Orange Espadrille
4. Carrying Thoughts of Eternity
5. Searching For Venus
6. Temptation of Madrid ~NIGHT IN MADRID
7. SPACE NAVIGATION
8. MOON DRIVE
9. "P-KAN" Dance
10. SUNSET KISS

BONUS TRACK
11. Mi Amore (NEW RECORDING)

Related Artists:::
(NAOYA MATSUOKA BANDE GRANDE)

NAOYA MATSUOKA / Piano, Percussions & Steel Drum
GETAO TAKAHASHI / Bass & Percussions
NORIYUKI HIROSE / Drums
ISAMU OHASHI / Guitar
TOSHIAKI OTSUBO / Sythesizer
AKIHIRO TSUZUKI / Percussions
KOICHI SUZUKI / Trumpet & Flugel Horn
YASUSHI GOTANDA / Trumpet & Flugel Horn
SYUCHIRO ISE / Trumpet & Flugel Horn
MASATO MOCHIZUKI / Trombone
HIROYUKI NOMURA / Trombone
YOSHITAKA KURATOMI / Alto & Tenor Sax, Flute
MASAKUNI TAKENO / Alto & Tenor Sax, Flute

ISAMU OHASHI appears by courtesy of SONY RECORDS



NAOYA MATSUOKA & HIS ALL STARS ''DAY BREAK'' (JAPON,1978) @ [320k]





NAOYA MATSUOKA & HIS ALL STARS  
''DAY BREAK'' 
(JAPON,1978) @ 




NAOYA MATSUOKA ''50th ANNIVERSARY - AN AFFAIR TO REMEMBER'' (JAPON,2002) @ [192k]






NAOYA MATSUOKA  
''50th ANNIVERSARY - AN AFFAIR TO REMEMBER''  
(JAPON,2002) @ 

Música Latina con Naoya Matsuoka
Los japoneses siempre han apreciado la música latinoamericana. Desde el "Tango en Kimono" hasta la "Orquesta de la Luz" de salsa, en Japón gustan los ritmos latinoamericanos. Recuerdo un sitio en Tokyo llamado "La Bodeguita", mitad restaurante, mitad taverna, donde servían platos cubanos, y en días especiales había banda de salsa, todos japoneses, interpretando temas conocidos.

Uno de los compositores e intérpretes japoneses actuales de música latina es el pianista Naoya Matsuoka. En los 1980s tocaba composiciones originales, pero con ritmos latinos (bossas, salsas), al estilo de Enrique Chía en piano y sintetizador. Más recientemente, está tocando temas estándares con cantantes.
Fuente

STAN KENTON ''CUBAN FIRE!'' (USA,1956) @ [FLAC]




STAN KENTON  
''CUBAN FIRE!'' 
(USA,1956) @ 
[FLAC]

En el verano de 1.941, el salón de baile Rendezvous, situado frente a la playa de Balboa en la costa de California, conocía un acontecimiento que, en principio, nada tenía de extraordinario. Una nueva banda se encargaría de amenizar las largas veladas del estío californiano. La playa de Balboa es un lugar de vacaciones y centenares de jóvenes,  pasan el día al sol, tumbados en las finas arenas del pacífico mientras por la noche acuden a clubes y salones de baile. Frente al club Rendezvous, se extiende la playa, a unos pocos metros de su puerta, puedes pisar la arena. Ya antes de entrar, se escuchan los acordes del piano de Stan Kenton, un joven de apenas treinta años, el líder de la nueva orquesta. Aunque se trata de un desconocido, los propietarios del club, han apostado por él y no se han equivocado. La orquesta triunfa en Balboa Beach y ya no dejaría de hacerlo en los siguientes treinta años.

 Stan Kenton estaba destinado a convertirse en una figura de culto en la historia del Jazz,  con una orquesta que ya en sus inicios mostraba alguno de los elementos distintivos que justificarían su éxito. Pero es a partir de 1943, cuando bajo contrato con Capitol Records, la banda muestra todo su potencial, definiendo de forma definitiva sus especiales características: un sonido mas cool que el de la mayoría del las big bands de la época, con arreglos de mayor complejidad y sofistificación, la incorporación de una temática mas variada, menos centrada en el swing y en especial de composiciones de inspiración clásica, especialmente impresionista y respeto a la figura del solista, que prácticamente había desaparecido en las grandes bandas de baile blancas de la época.   Con esta banda registra Kenton en el periodo 1943-47, algunos de las mejores grabaciones de su carrera, incorporando los arreglos del genial Pete Rugolo, que fueron decisivos para definir el peculiar sonido de la orquesta y con solistas de la talla de Art Pepper, los tenores Vido Musso y Bob Cooper, los trompetistas Al Porcino o Chico Alvarez, el guitarrista Laurindo Almeida y el batería Shelly Manne y las cantantes Anita O´Day y la encantadora June Christy.  El tema, Artistry in Rhythm, da nombre a la banda. Inspirado en una melodía de Debussy, se convierte en caballo de batalla, tema de apertura y cierre en sus conciertos, una y otra vez reinventado con distintos ritmos, ambientes y texturas. Entre los temas registrados con esta magnífica orquesta destacan Eager Beaver, con el que ya triunfó en el Balboa, Opus in Pastels,  Balboa Bash, Minor Riff, o el superventas Penaut Vendor. La orquesta suena sorprendemente moderna y orginal en una época en la que apenas acababa de surgir el be-bop. Composiciones como Concerto to End All Concertos,  con sus complejas armonías y sus solos de la mano de Musso o del altista Boots Mussuli, parecen ir un paso por delante de su tiempo. Los ritmos latinos y caribeños, que serían una constante en la carrera de Kenton, se manifiestan ya en esta primera etapa en los sofisticados acordes del tema Machito, dedicado al percusionista cubano, Cuban Carnival o en el ya citado Penaut Vendor.

 Tras un año sabático, Kenton da un paso mas en su búsqueda de nuevos sonidos, en su afan de enriquecer y “ennoblecer” el sonido de la big band de jazz, incorporándola a un entorno cuasi-sinfónico. La Innovations Orchestra, creada en 1.950,  la integran un total de 40 músicos, entre ellos, una sección de cuerdas. Se trata de un enorme desafío organizativo y económico. Solo en los primeros meses de existencia, Kenton sufre pérdidas por importe de 125.000 dólares.  En este período se suman a la banda algunos de los mejores solistas de toda su historia, Art Pepper sigue en la cuerda de saxos, en la que encontramos también a Bud Sank. Entre los trompetistas Conte Candoli y por supuesto el espectacular Maynard Ferguson, que se convierte en el gran reclamo de la orquesta. Por otra parte incorpora cada vez Kenton composiciones y arreglos del trompetista Shorty Rogers.

 Se ha afirmado que la música de este período es abstracta, clasicista y pretenciosa, carente de swing, ingrediente básico del jazz. Sin duda algo hay de cierto en ello,  pero no puede olvidarse que elgunos de los temas de la época como Maynard Ferguson o In Veradero, son ejemplos de explosión de ritmo e intensidad jazzistica y ello sin olvidar la indiscutible belleza de otros temas como Amazonia o Solitarie y la originalidad de las composiciones dedicados a los mejores solistas de la banda: Selly Manne, Art Pepper, Conte Candoli o Maynard Ferguson.

 Transcurrido este período parece Kenton renunciar temporalmente a sus orquestas innovadoras y a partir de 1953, con el álbum New Concepts in Artistry in Rhythm, desarrolla la etapa mas jazzística y ortodoxa de su carrera con una big band convencional que nos deja notables grabaciones como Kenton in Hi-Fi, Cuban Fire o Contemporary Concepts. La relación de solistas y arreglilstas de esta etapa, no deja dudas sobre la calidad del proyecto: Lennie Niehaus, Charlie Mariano,  Bill Perkins, Gerry Mulligan, Jack Sheldon, Shorty Rogers, Sam Noto o Mel Lewis entre otros muchos.

 No cesan aquí las inquietudes musicales de Kenton y en 1.960 forma su Mellophonium Orchestra, el último gran reto de su carrera. La originalidad de la banda estriba en incorporar una sección completa de cuatro Mellophoniums, extraño instrumento diseñado por el propio Kenton en colaboración con el fabricante de instrumentos de viento Conn, híbrido entre trompa, trombón y trompeta. La nueva fórmula desató críticas que atacaban ya su sonoridad, o su entonación sin perjuicio de los conflictos internos que se produjeron entre las distintas secciones de viento de la orquesta. Aún así  se registraron con esta orquesta algunos discos de la trascendencia de Adventures in Jazz o West Side Story.

 A mediados de los años sesenta la progresión musical de Kenton, pierde impulso. Volcado cada vez mas en la formación, transforma su orquesta en una escuela, incorporando jóvenes músicos y perdiendo con ello el aliciente de los grandes solistas. A finales de la década de los sesenta rompe su contrato con Capitol y crea su discográfica Creative World Records, manteniéndose en activo con su orquesta hasta poco antes de su muerte en 1.979.

 En el verano de 1.991, hace ya muchos años, que el Rendezvous Sallon en la playa de Balboa, es solo una leyenda. De hecho en 1.966 fue derribado y sustituido por un bloque de apartamentos. Sin embargo ese año, decenas de alumnos de las bandas de Kenton de todas las épocas, regresan a Balboa para rendir a su maestro un homenaje de ocho días, en los que se suceden conferencias, mesas redondas, actuaciones orquestales y de combos. La relación de músicos que se dan cita en la playa californiana es abrumadora: Mynard Ferguson, Conte Candoli, Bob Cooper, Lee Konitz y muchos otros. Regresan a Balboa para demostrar que Stan Kenton, no es solo una parte importante del pasado del Jazz, sino un legado de enorme trascendencia que extiende sus efectos sobre el presente y el futuro del Jazz.  
Fuente


1. Fuego Cubano (Cuban Fire)
2. El Congo Valiente (Valiant Congo)
3. Recuerdos (Reminiscences)
4. Quien Sabe (Who Knows)"
5. La Guera Baila (The Fair One Dances)
6. La Suerte de los Tontos (Fortune of Fools or Fools Luck)
7. Tres Corazones (Three Hearts)
8. Malibu Moonlight (Sonatine)
9. El Panzon
10. Carnival (Carnival Square)
11. Wagon (original score entitled "On The Wagon")
12. Early Hours (Lady Luck)




VV.AA. ''AFRO-CUBAN JAZZ - THE LEGACY'' (2012) @ [320k]






VV.AA.  
''AFRO-CUBAN JAZZ - THE LEGACY'' 
(2012) @ 

Tracklist
---------
01. Llego La Orquesta - Spanish Harlem Orchestra
02. Manteca - Dizzy Gillespie
03. Escucha Mi Encanto - Machito
04. Aprovecha Que Me Voy - John Calloway
05. Mambo In - Raul Gutierrez and His Cuban Big Band
06. Luz - Patato
07. Rose Room - Richie Pratt
08. Perfume De Gardenias - Noro Morales
09. La Suerte De Los Tontos (fortune of Fools) - Stan Kenton
10. Descarga Cubana - Cachao
11. Pito Joe - Tito Puente
12. One Alone - Stan Getz
13. Cuban Fantasy - Raul Gutierrez and His Cuban Big Band
14. Siboney - Xavier Cugat & His Orchestra
15. Sorimao - Herbie Mann
16. Cubano-Be. Cubano-Bop (Live) - Dizzy Gillespie
17. Desde el Fondo del Rio - Patato
18. Estrellita - Stan Kenton

JOHN ZORN ''THE CONCEALED ESOTERIC SECRETS AND HIDDEN TRADITIONS OF THE EAST'' (USA,2012) [320k]





JOHN ZORN  
''THE CONCEALED ESOTERIC SECRETS AND HIDDEN TRADITIONS OF THE EAST'' (USA,2012) 

The Concealed es un álbum que motiva varias celebraciones. Una, que es el cuarto título (Rimbaud; A Vision In Blakelight; Music And Its Double, los primeros) en una serie de entregas impecables con la que retoma la exquisitez de los brillantes años inaugurales de Tzadik. Dos, que The Concealed es un regreso más experimentado sobre los seminales Bar Kokhba y The Circle Maker, reensayando la propuesta de un sexteto donde buena parte del protagonismo lo ocupa el chelista Erick Friedlander y al violín Mark Feldman, teniendo a la base a Joey Baron en la batería, Kenny Wollesen en el vibráfono, John Medeski al piano y Trevor Dunn en el bajo. Casi nada. El trabajo del ensamble es uno de sus mejores este año -o quizá el mejor. Se celebra también que John Zorn casi llega a los 60 años, y, amén la repetición, se reintroduce en la alquimia sin perder, muy particularmente en esta entrega, la elegancia.

Las ausencias de Marc Ribot, Greg Cohen y Cyro Baptista, músicos de cabecera que imprimieron buena parte del carácter en los discos más afamados de estilo yiddish-jazzístico de Zorn, si bien se extraña, también se agradece. Ello permite precisamente recrear expresión según las formas y los medios con base en un mismo eje temático.

Por cuanto a la portada, resalta la simplicidad respecto a lo habitual para sus publicaciones. Ésto, por que el tema místico del proyecto es la pureza matemática y el misticismo religioso, aquí, dispuesto en una iconografía que ostenta la relación. Seguro un conocedor de la cábala puede a bien explicarlo.
Fuente


Tracklist:
1. Persepolis 4:02
2. The Hidden Book 2:57
3. Passage to Essentuki 3:44
4. Pathway of Fire 4:01
5. Towards Kafiristan 3:29
6. Kavanah 5:03
7. Back to Bokhara 5:24
8. The Silver Thread 4:28
9. The Dervish 6:33
10. The Way of the Sly Man 3:50
11. Amu Darya 4:45
12. A Portrait of Moses Cordovero 5:37
13. Visitation of the Night Angels


AVISHAI COHEN ''TRIVENI II'' (ISRAEL,2012) @ [320]




AVISHAI COHEN  
''TRIVENI II'' 
(ISRAEL,2012) @ 

"Cohen is a multicultural jazz musician, among whose ancestors is Miles Davis. Like Davis, he can make the trumpet a vehicle for uttering the most poignant human cries." — The New York Times

Trumpeter Avishai Cohen – voted a Rising Star in the 2012 DownBeat Critics Poll – has earned renown as a musician with an individual sound and a questing spirit, an ever-creative player-composer open to multiple strains of jazz and active internationally as a leader, co-leader and sideman. The New York Times described him as “an assertive, accomplished trumpeter with a taste for modernism.” Avishai played a headlining set at the 2011 Newport Jazz Festival, leading his bold, thrilling trio Triveni with double-bassist Omer Avital and drummer Nasheet Waits. Anzic Records will release the trio’s second album, Triveni II – Avishai’s sixth recording as a leader – in October 2012. The trumpeter also records and tours the world as part of the prestigious SF Jazz Collective, as he does with The 3 Cohens Sextet – the hit family band with his sister, clarinetist-saxophonist Anat, and brother, saxophonist Yuval. With The 3 Cohens, Avishai has twice headlined the hallowed Village Vanguard, as well as appeared on the cover of the January 2012 issue of DownBeat. He is also co-leader of Third World Love, a longstanding multicultural venture with bassist Omer Avital, pianist Yonatan Avishai and drummer Daniel Freedman.

Reviewing Triveni live at the Jazz Standard, The New York Times praised Avishai as “an extravagantly skilled trumpeter, relaxed and soulful. . . deftly combining sensitivity and flair.” The trio’s debut album, Introducing Triveni, set Avishai’s originals alongside standards, including classics by Duke Ellington and John Coltrane. New York City Jazz Record called the album “easily one of the best jazz recordings of 2010,” and DownBeat listed it in the magazine’s year-end top 10. Although Triveni is a vehicle for high-energy improvisation, Avishai says: “My approach to this trio has been to challenge ourselves to stay lyrical and true, to balance freedom with self-restraint. The discipline of that is an art itself.” Both Triveni albums were recorded in the same blockbuster two-day session in Brooklyn, with Triveni II featuring not only more exciting originals by Avishai but inspired interpretations of tunes by Dizzy Gillespie, Charles Mingus, Don Cherry and Ornette Coleman. One of the Coleman pieces had never been recorded before, with the iconic saxophonist teaching the tune directly to the trumpeter. With his clarion tone, harmonic sophistication, playful rhythmic sensibility and ability to play both inside and outside the tradition, Avishai has become a favorite of several veteran jazz stars. Italian trumpet sage Enrico Rava has called him “my favorite young trumpeter.”

Born and raised in Tel Aviv, Israel, Avishai began performing in public in 1988 at age 10, playing his first solos with a big band and eventually touring with the Young Israeli Philharmonic Orchestra to perform under the likes of maestros Zubin Mehta, Kurt Masur and Kent Nagano. Having worked with Israeli folk and pop artists in his native country and appeared on television early on, Avishai arrived as an experienced professional musician when he took up a full scholarship at Berklee College of Music in Boston. In 1997, the young musician established an international reputation by placing third in the Thelonious Monk Jazz Trumpet Competition. Avishai came of age as a jazz player as part of the fertile scene at Smalls, the storied club in New York’s West Village, where he developed his artistic vision alongside such friends and colleagues as pianist Jason Lindner and bassist Omer Avital. The trumpeter’s artistic stance was informed by the fresh, broad-minded legacy of this vital 21st-century scene. Avishai also toured and recorded with the avant-punk Lemon Juice Quartet, experimenting with effects and collaborating with friends, a common thread throughout his career; the band’s 2002 release Peasant Songs earned praise from the likes of DownBeat, which applauded the album’s “rollicking joi d’vivre.”

Growing up in Israel, Avishai says, “We didn’t really have any real-deal jazz musicians whom we could see in a club, or look up to. I learned jazz mostly from records. But this at least meant that I learned from the greatest: Louis Armstrong, Miles Davis, John Coltrane, Sonny Rollins, Thelonious Monk. Theirs was the language I learned to speak. Then saxophonist Arnie Lawrence came to Israel, and I started playing with him at age 14. He was the only real mentor I had there. But in Israel, there was something else that was important to my musical development: this rich sense of lyricism in older Israeli music. The radio would play certain songs for certain days, with a melancholy vibe on the memorial days. Most of that music was vocal, and you couldn’t help but soak up that fluid, singing feel. And, of course, Israel is a real crossroads of East and West, with the different melodic sensibilities of Eastern Europe and Sephardic culture mixing – and the rhythms of North Africa are right there, too. My music doesn’t sound Israeli, and I left at 18, but that broader sense of music is definitely in me.”

Avishai’s discography as a leader includes: The Trumpet Player (Fresh Sounds New Talent, 2002), After The Big Rain (Anzic, 2007), Flood (Anzic, 2008), Seven (Anzic, 2008), Introducing Triveni (Anzic, 2010) and Triveni II (Anzic, 2012). His debut, The Trumpet Player, saw him lead a session with bassist John Sullivan and drummer Jeff Ballard plus guest saxophonist Joel Frahm, mixing originals with interpretations of John Coltrane’s “Dear Lord” and Ornette Coleman’s “Giggin’.” A harbinger of his future chord-less trio projects, The Trumpet Player was lauded by the likes of The New York Times, which said: “Cohen’s album is a thrown gauntlet. . . He’s got some of the confident tone and rhythm of Clifford Brown under his fingers, and plays battling, hard-hitting figures and intervals.”

Deeply influenced by West African grooves, Flood and After the Big Rain are part of an ongoing conceptual trilogy featuring all original compositions by Avishai. A spare and contemplative album, Flood set the trumpeter in an uncommon format with Yonatan Avishai on piano and Daniel Freedman on percussion. The more expansive, extrovert After the Big Rain featured guitarist-vocalist Lionel Loueke, keyboardist Jason Lindner, bassist Omer Avital, drummer Daniel Freedman and percussionist Yosvany Terry. Speaking to the wide purview of these two albums, JazzTimes declared: “Cohen is a multi-cultural jazz musician, among whose ancestors is Miles Davis. Like Davis, he can make the trumpet a vehicle for uttering the most poignant human cries.” And Hot House Jazz magazine said: “This music succeeds as a finely realized ambitious chamber project showcasing the virtuosity and stylistic range of a trumpeter who’s one of the most exciting voices on the horn to emerge in this new century.” The album Seven saw Avishai demonstrate another facet of his compositional talents. The digital-only release showcases an entrancing three-hour minimalist soundscape for trumpet, harp, cello, piano, bass clarinet and electric guitar written for a video installation at the Times Square Building by artist Elinor Milcham.

With Avishai performing alongside his two elder siblings, The 3 Cohens Sextet has enjoyed wide acclaim for the albums One (self-released, 2003), Braid (Anzic, 2007) and Family (Anzic, 2011). Declared All About Jazz: “To the ranks of the Heaths of Philadelphia, the Joneses of Detroit and the Marsalises of New Orleans, fans can now add the 3 Cohens of Tel Aviv.” The 3 Cohens band has toured from across the U.S. and Europe to Brazil and Australia. Avishai has contributed several fine original compositions to The 3 Cohens repertoire. One of the highlights of Braid is his melodically gorgeous “Gigi et Amelie,” while the recent Family album features Avishai's loving title showcase for the group's telepathic three-horn interweave and his Charles Mingus-inflected number “With the Soul of the Greatest of Them All.” About the experience of performing in a unit with his siblings, Avishai says: “The 3 Cohens is very close to my heart in that I’m creating music not only with incredible musicians but with people I know so well and love unconditionally. It’s a rare thing. And playing the Village Vanguard was such a milestone – this place I’d always dreamed of performing, where the walls reverberate with the sounds of Coltrane, Sonny, on and on. Playing there with my sister and brother is something I’ll be proud of forever.”

For Avishai and his partners in Third World Love, the band isn’t just about exploring a wider world of grooves – from the Middle East, Africa, Iberia and beyond – “it’s about a brotherhood, about evolving in music with kindred spirits,” says the trumpeter. Third World Love has produced five albums in 10 years, becoming a more cohesive unit with each release. The band’s most recent album is Songs & Portraits (Anzic, 2011), with its highlights including Avishai’s lyrical original “Song for a Dying Country.” Third World Love’s previous release, New Blues (Anzic, 2007), featured Avishai’s West African-accented “Nature’s Dance,” as well as the second appearance of his lovely ballad “Gigi et Amelie” – which “is fit to be a future standard,” declared All Music Guide.

Avishai has recorded two albums as a member of the SF Jazz Collective, tributes to Horace Silver and Stevie Wonder. About his work in collective groups, the trumpeter says: “I like the power and freedom of a collective, where the show isn’t run by one man or woman. I think it creates a different sort of bond with the audience, and with various people writing, there’s a lot of variety in the music, a lot of different challenges. And the democratic give-and-take can only help you grow.”

As a sideman, Avishai has recently toured in headlining bands led by Kenny Werner and Mark Turner. The trumpeter goes into the studio with Turner to record an ECM album this winter. Avishai plays regularly in the Mingus Big Band and Mingus Dynasty ensemble, and he has lent his trumpet to recordings by Anat Cohen, Yuval Cohen and Jason Lindner, along with collaborating on stage and in the studio with singer-songwriter Keren Ann. His playing has also appeared on such soundtracks as American Gangster and Soul Man. As a teacher, Avishai gives courses at Siena Jazz in Italy, along with holding masterclasses from Israel and Barcelona to Winnipeg and Berklee in Boston. Avishai was a chosen artist for the Israel Cultural Excellence Foundation (IcExcellence), from 2004 to 2010.

Through his diverse musical experiences and what he calls the satisfying “slow burn” of his career so far, Avishai has come to appreciate that “music isn’t a product – it’s a process,” he says. “Music takes time to develop organically, which is why I prefer to work with family and friends who are like family. I really like being in a place musically where nothing’s a given and there is always something new ahead.”
Source



AGUSTÍ FERNÁNDEZ & RAMÓN LÓPEZ ''AZUL'' (ESPAÑA,2012) @ [320k]





AGUSTÍ FERNÁNDEZ & RAMÓN LÓPEZ  
''AZUL'' 
(ESPAÑA,2012) @

El inagotable pianista mallorquín Agustí Fernández continúa maravillándonos a todos y tras haber dejado un muy grato recuerdo con su última incursión en solitario con ‘El laberint de la memòria” ahora nos deleita con un gran dúo volviendo a colaborar con el baterista alicantino residente en Paris, Ramón López en ‘Azul’ (Universal).

Bellos aires de marcado carácter hispano llenan una parte importante de los temas que componen la última grabación de este impactante dúo que como siempre dejan las cosas en un nivel francamente difícil de superar.

Ya desde el inicial ‘Ramón en Paris’ la nostalgia parece flotar en el ambiente de este bello ejercicio de exploración abierta que supone escuchar las composiciones de ‘Azul’.

Estamos ante otra magnifica demostración de las capacidades de estos músicos para deleitarnos con todas las posibilidades de sus instrumentos.

En esta grabación encontramos temas de marcado carácter abstracto como ‘Ámbar’, ‘Joan Miro’ firmado por Ramón López donde las percusiones alcanzan un punto álgido o el atrevido ejercicio de deconstructivismo flamenco que supone ‘Lucero del Alba’.

Un austero minimalismo llena ‘Carámbano’ y sabe contrastar con el carácter folclorico que impregna ‘Sa Ximbomba’ y otras composiciones tan raciales como ‘La Processio’, el lírico ‘Polvo Enamorado’ a piano solo o el bello ‘Azul’.


También queda espacio para homenajear a un grande: Bill Evans, del que se hace ‘We Will Meet Again’ dándole un aire hispano que seguro haría retornar al pianista norteamericano de donde esté con mucha alegría.

La grabación se completa con unos temas como ‘Concilio de Sueños’ y el final ‘Una Leve Luz’ que es un dechado de belleza que parece no tener fin al quedar literalmente colgado en el infinito.

Podemos afirmar que estamos ante un perfecto regalo para el oído y el alma, un trabajo que deja con ganas de más, un disco que estará entre los mejores del jazz nacional de este 2012 que va terminando.

Como nota final comentar que Agustí acaba de editar otro disco en solitario llamado ‘Pianoactivity One’ un trabajo ‘en progreso’ hecho con la idea de ir editando más volúmenes a lo largo del tiempo. Esto es hiperactividad.

I.Ortega
Fuente


Personnel

Agustí Fernández: piano
Ramón López: drums

Tracks List

01. Ramón En París (Agustí Fernández) 07:45
02. Ambar (Agustí Fernández, Ramón López) 03:41
03. Carambano (Agustí Fernández, Ramón López) 04:16
04. Sa Ximbomba [Traditional] 05:30
05. Joan Miró (Ramón López) 03:32
06. La Processó (Agustí Fernández) 05:17
07. Polvo Enamorado (Agustí Fernández) 02:29
08. Azul (Agustí Fernández, Ramón López) 04:19
09. Lucero Del Alba (Agustí Fernández, Ramón López) 04:22
10. We Will Meet Again (Bill Evans) 04:49
11. Concilio De Sueños (Agustí Fernández, Ramón López) 02:55
12. Una Leve Luz (Agustí Fernández, Ramón López) 02:36



Rose Garden - Block 5 - Wild Rose

Are you ready for the next block?  Yes, it is early, but I like to work ahead when I can and then I am not rushing at the last minute.

Hope you like this little block.  The leaves are a bit fiddly, but just take your time with them and they will look lovely.

I am already planning the next block.  I figure that December will be a busy month, so had better get in now while I can.  It is also getting really hot where I am, and I might not feel like much sewing in the weeks to come.  Just this week, we had a whole week of temperatures over 30C, and it is not even officially Summer yet.



VV.AA. ''THE LATIN JAZZ EXPERIENCE Vol.1'' (2012) @ [320k]





VV.AA.  
''THE LATIN JAZZ EXPERIENCE Vol.1''  
(2012) @ 

Curiosa recopilación de varios artistas que se ha publicado recientemente. Son mayormente brasileños, aunque incluyen a Tito Puente, a Cascaríta y al Compay Segundo. 



Label: Gold Class | Genre: Jazz | Release: 2012
Quality: CBR 320 kbps Stereo | Time: 56 minutes 37 seconds | Size: 136 Mb

Tracklist:
1. Luiz Bonfa - Uma Prece (2:25)
2. Trio Surdina - Felicidade (2:45)
3. Laurindo Almeida - Choro Triste (2:41)
4. Cascarita - La Ultima Noche (3:26)
5. Tito Puente - Mambo With Me (2:56)
6. Tito Madi - Crove la Fora (3:03)
7. Claudia Morena Com Orquestra - So' Saudade (2:16)
8. Tito Puente - Babaratiri (3:00)
9. Orquestra Almendra - Almendra (2:54)
10. Compay Segundo - Guananey (2:39)
11. Sylvia Telles - Foi a Noite (2:37)
12. Dora Lopes - Samba Nao e Brinquedo (2:26)
13. Elizete Cardoso - Modinha (1:59)
14. Conjunto - Cangrejo Fue a Estudiar (2:58)
15. Orquesta Perdo Via - A Centavo el Mazo (2:49)
16. Tito Puente - Mambo Diablo (3:07)
17. Trio Surdina - Ninguem Me Ama (2:52)
18. Maysa - Segredo (3:17)
19. Luiz Bonfa - Over the Rainbow (2:52)
20. Sylvia Telles - Por Causa de Voce (3:35)

what's inside my brain



1. i have the world's worst dishwasher. when you pull out the bottom rack, it immediately slides back in. so every time i unload it, i have to stand with my leg propping the bottom rack out. do you know how annoying that is!?!?!?! #firstworldproblems

2. JJ wants another dog. ANOTHER DOG. a puppy. to take with him to work. like, no! NO! buyohmygodyouguys A PUPPPPPPPYYYYY! what in this world is cuter than a puppy??

3. i was in line at Costco for a slice of pizza. i always pick the wrong lines. i waited 25 minutes for this slice of deliciousness and my sister was extremely annoyed that she had to wait for me while i waited for the slice. anyway, i made a friend in the line. an older squatty woman who wanted a chicken bake. we kept chatting about how the guy in front of us must be ordering 100 hotdogs because it was taking so long. we kept tossing witty comments back and forth and it was quite fun. then i took it too far. i really don't know why i felt comfortable enough to shout at her, "IF THAT GUY DOESN'T HURRY UP I'M GOING TO TURN INTO THE INCREDIBLE HULK AND RIP MY SHIRT OFF AND SCREAM!" she frowned at me and turned away.

4. Gemma was so hungry in Target that i just opened up a baby food packet and let her eat it while we shopped. i paid for it obviously, but really, is that an acceptable thing to do?

5. my sister owes me her life for slaving away over her wedding favors while i ignore my child.

6. Costco pretzel rolls. i cannot even...THEY ARE SO GOOD I COULD EAT A HUNDRED

7. how many presents are you supposed to get a baby for Christmas?

8. it's really hard to travel alone with a baby and a dog. even harder is trying to nurse a baby on the plane while in the middle seat, between two men. harder than that is trying not to die of embarrassment while the baby screams and everyone on the plane is plugging their ears and glaring angrily. harder still, is trying to relax one's sphincter enough to take a poop in the airport with a crying baby strapped to your chest while the dog growls at the toilet from her carrier. i am never traveling without JJ again. never. ever.

9. why are miniature marshmallows so much better than the big ones?

10. cottonheadedninnymuggins

KOUYATÉ - NEERMAN ''NOIRLAC'' (MALI-ALEMANIA,2012) @ [320k]






KOUYATÉ - NEERMAN  
''NOIRLAC'' 
(MALI-ALEMANIA,2012) @

Lansine Kouyaté comenzó a tocar el balafón a los cuatro años. A los trece ya era miembro de la prestigiosa Orquesta Nacional de Malí. Desde entonces colaboró con grandes artistas africanos como Salif Keita, Baaba Maal o Mory Kanté… Su talento y curiosidad innata le permitieron tocar también con prestigiosos músicos occidentales como Joe Zawinul, Carlos Santana, Omar Sosa o el Ballet Bejart. Entre sus grabaciones destaca "Sarala" con Hank Jones y Cheik Tidiane Seck.

David Neerman estudió percusión clásica en Ginebra antes de tocar jazz y música improvisada con el vibráfono en la escena parisiense, también fue músico de sesión. Después de trabajar para Youn Sun Nah y la compañía del teatro Phrenesis de París fue cuando ocurrió el encuentro con Lansine en 2003.

El entendimiento fue instantáneo, hasta que después de jornadas enteras de improvisación comenzaron a construir gradualmente un repertorio personal inspirado en canciones tradicionales mandinga, en el afrobeat, el son y la música popular francesa de 1930. Después de algunos conciertos todo cristalizó en su  álbum titulado Kangaba.
Fuente


*****************

Biography
On one side, you have David Neerman, vibraphone player and free spirit in Europe's fledgling creative scene. On the other side, we find Lansiné Kouyaté, a Maestro of Malian music and an undisputed master of the balafon. The band has played at numerous prestigious events in France, Morocco, Spain, Switzerland and Senegal, such as Printemps de Bourges, Jazz au Chellah (Rabat) or Africolor Festival. In the second episode of their adventures, Neerman and Kouyaté manage to square the circle : they invent the world of today’s world-music, where the material possibility of going anywhere faster must not make us forget that we must travel lightly and always deeply, like an explorer, on a quest for mystery, hallucinations and the thrill of a fever.
Source

***************


L'avis de Mister Moods:
Tout beau, tout chaud.
Il est arrivé dans ma boîte aujourd'hui, petite nouveauté savoureuse de plus de l'excellent label No Format , celle-ci avec, en plus, un bon petit gout d'inédit puisque réservée aux abonnés du Pass du label (dont je suis, veinards que vous êtes !).
Qui dit petite nouveauté dit petite durée, seulement 16 minutes, mais l'émotion de ces quelques enregistrements captés à l'Abbaye de Noirlac (sans public) suffit amplement à rattraper le déficit horaire via les performances de deux instrumentistes/percussionniste qui se sont particulièrement bien trouvés : le balafoniste malien Lansiné Kouyaté et le vibraphoniste français David Neerman. Ensemble, auteurs de deux albums toujours recommandés et de nombreuses performances publiques remarquées, ils rallongent gracieusement la sauce. Et c’est tout au benef de l’auditeur qui a ainsi le loisir d’apprécier leur fusion moderno-traditionnaliste et rêveuse.

4 songs recorded in the Abbey of Noirlac while practising, that's Kouyaté - Neerman's gift for their followers and those of the No Format label. Built on melodic percussion, it's a dreamy, if too short, 16 minutes of graceful world music.

NB: N'ayant pas trouvé la pochette sur la toile et mon scanner étant HS, il faudra vous contenter de cette photo promo.

Personnel:
- Lansiné Kouyaté: balafon
- David Neerman: vibraphone




Il fait si froid dehors!

Pues sí, ayer fue uno de estos días fríos en los que no apetece levantar tan temprano; era el día ideal para poner un jersey de lana, así que puse uno de mis preferidos, en rosa. Me encanta porque no es el típico jersey de lana, tiene un escote en la espalda que se cierra con un lazo. Aunque hacía frío he optado por combinarlo con unos shorts que en mi opinión dan al outfit un punto sofisticado sin dejar de ser casual. ¿Qué opináis? ¿Os gusta esa combinación?

Pois sim! Ontem foi um dia bastante frio por aqui, desses que a gente prefere ficar na cama uns minutinhos a mais. Era o dia ideal para vestir um suéter de lã, assim que vesti um dos meus preferidos, em rosa. Eu o adoro porque não é aquele modelo de suéter comum, ele tem um decote nas costas que se fecha com um laço. E apesar do frio, combinei com um short que na minha opinião dá um toque sofisticado ao visual, sem deixar de ser causal. O que vcs acham? Gostaram dessa combinação?




 



Jersey/Suéter: Mango
Shorts/Short: Mango
Botines/Ankle Boots: Mustang
Bolso/ Bolsa: Parfois

4 months

baby emmie is four months old.  time is flying by.  days, weeks and months pass & i just can't keep up.  i feel like i'm going to turn around tomorrow and she'll already be one!  which may be why this crazy mom [yes, i am self-aware] has already purchased some items for her first birthday party.  yes that is real.  hey, they were on sale and totally not extravagant, premature, but not extravagant.  here is a little record of all that's happened in the last month with our little princess bean.

your tiny, pudgy fingers are perfection.  you like to do a lot with your hands.  you stare at them when you're laying on your back, you fold them like you're praying, touch your face and rub your tiny baby eyes, you like to feel along my face and your poppa's scruffy beard.  you like to rub your hand along my shirts and sweaters to feel the different textures and now you grab at things that you want to hold like dolls, rings and toys. you love love love to hold hands.  my favorite is when you're trying to fall asleep and you let your little fingertips tap each other real sweetly.

you're very alert and curious, always checking things out.  this has made eating a little...interesting.  if anything is going on around you, you want to be a part of it.  you hold your head up like a big girl and stare all around.  you follow us around the room even when we're far away.
your reaction when i chant "Ohhh C-A-T-S, CATS! CATS! CATS!
you smile all the time - it is absolutely precious. melts your momma and poppa's heart.  you're giggling a little bit more but still have a gasp as a laugh.  i cannot wait until it is a real hearty laugh.  i'm gonna tickle all kinds of squeals out of you!

speaking of squeals, you have all kinds of words and stories now.  you have super high pitch squeals and loooong grunts [hilarious].  you like to babble a lot and when you're not babbling fake works you move your mouth like you're talking with no sound.
i think i said this a month ago but i swear you are about to roll over from your back to your belly any moment.  you get like thiiiiis close [finger smidge] to flipping and then stop.  your entire body will be on your side and then...you just roll to your back.  you still roll belly to back like it's your job.  you try and sit up constantly.  when you grunt and strain to sit up it is pretty hilarious.  work baby ab muscles, work!  if you take a hold of two fingers you can pull yourself right up and if you start on an incline you can sit up by yourself.
 everyday it looks like you have more, darker hair.  i like to brush it back and make it look all fluffy.
this was a big month for you as an author.  you wrote your first text and your first love note.  yes, she clicked onto the emjois & scrolled to different pages and picked that little creeper face and the mouse-hamster.  i'm so proud.
she also wrote a love note to a friend.  i thought the friend would know who she is by the time i posted this but i just found said love note on my sofa table, so i suppose i forgot to send it.  err, emmie forgot to send it.
 
you've now celebrated your first thanksgiving dinner, i think that you really enjoyed it.  you got to spend the whole weekend with the brzinski's and you love it there.  you especially like to play with nonna mary.  who, by the way, got you a jumperoo.  you were a little overwhelmed at first but after we stuck a book under your feet, you were set to go.  well at least for about 10-15 minutes.

you also decorated your first christmas tree.  we can't wait to teach you all about what christmas is all about.  i'm going to read you the christmas story before bed each night i think.  it that excessive?

my husband and daughter = the most asian, non-asians in existence.  how precious are they?  this is not staged, this is just real life.
you still sleep through the night but we have had a couple hiccups.  you were sleeping until at least 8 every morning until the time change happened.  that should mean that you wake up at 7 every morning, still not bad, no complaints but for about 2 weeks you started waking up earlier and earlier, 6:30, then 6:15,  then 5:30, 5:00am... "OH. NO." was my reaction, this could get real bad.  thankfully we're getting back on track and waking between 7 and 8 has commenced once more.  you go to sleep around 8 or 8:30p most nights these days and that is kind of fun for me and your pop.  we're able to get a little more time together than we used to when you went to bed at 10, which also happens to be your poppa's bedtime.
2.5 months vs. 3.5 months - you're so big!
naps are starting to change a little too and i like it.  you now take a really good morning nap, right after you wake up, and a really good afternoon nap [at least two hours each, sometimes more].  the others are kind of unpredictable but you generally fall asleep between each feeding, i just never know for how long.  you sleep really well in momma's room so i'm contemplating getting you a queen sized fluffy bed with blackout curtains and see what happens.
i didn't really notice that you stopped laying your head on me to cuddle until you started doing it again in the past week or so.  i love when you lay your little head on my shoulder to snuggle.  i think for a little while you just had to work those neck muscles out and for whatever reason this week you were ok with a little down time with momma.  i'm soaking it in because i know it won't be like this always.

you really like toys now.  you play on your activity mat and love all the things that you can bat around.  i surround you with toys [newest addition, mr. crinkle-feet] and you're usually really content.  you love things that you can grab or that make noise.  we've also tried out your bumbo and you seem to enjoy that pretty well!  you're definitely in the stage now where everything you reach for goes in your mouth so i think baby-proofing needs to begin now. 
speaking of baby safety, you had your first fall.  it was literally one of the worst days ever for me [and maybe your dad].  we were about to take you for a walk because it was gorgeous out and i stuck you in your carseat on the couch, as was our custom.  well you weren't all strapped in because that's not necessary for a walk.  poppa was in the room with you but what working on something else and i left you on the couch to go gather my things for our adventure.  a few wiggles toward the end of your carseat and you just flipped yourself right over, face planting on the floor.  one big thud and a "oh shh.." later i rushed in to find you and your poppa both a mess.  you were fine, scared and hurt but fine.  you had a little imprint on your forehead of our hard rug.  i was so scared something would be wrong and i wouldn't know what to do.  you seemed sad and not exactly yourself for a bit.  after a nap sleeping with your poppa you perked right up though.  you were all smiles and giggles which is just what i needed to know you were alright.  it was just the most heart-wrenching 2 hours waiting for that smile.  i felt so guilty.  so so guilty, like the worst mom ever.  needless to say, i don't really leave you anywhere anymore unless you're surrounded by soft things.  i can't relive that.
you watched your first kids' movie, brave.  your poppa loved it because it had a little girl in it.  anything that is about a little girl tugs at his heartstrings now.  just so you know, your poppa used to have a heart of stone before you.  he never tears up, he never has emotions [jk...but seriously] but now, well, let's just say:  he's going to be wrapped around your teeny little fingers.  you giggled at the end which was really cute.

you're in 6 month clothes and are kind of pushing it in those if they have feet.  you still wear a few 3 month things - but i think momma is really stretching it...literally.  you wear size two diapers but are about a pound away from being out of those too.  it has gotten really cold here, really really cold so i've gotten to dress you in lots of sweaters, bundle you in blankets and keep you in socks, which you always seem to wiggle out of.  babies in sweaters are ridiculous, and perfect. 
well hello there cutie pie!

i've taken pictures of you each month in your room in hopes of capturing how you've grown from month to month.  i've planned on putting them on here each time but have continued to default to camera pics because it's so darn easy and picking from 40 pictures instead of 1,000 seems easier.  i hope to post some of your darling little face so very soon.
baby emmie, i think it is probably needless to say but you are just precious to your poppa and i.  i'm really excited about lots of things for your little life.  one being that many of your parents' friends have littles [just like you] that are waiting to be your best friends.  i can't wait to see you all grow up together.  i know there will likely be a time when we embarrass you and you think that we're lame, that you won't want to hangout with us and you'll want some independence from us.  i pray that that time will be brief and that you'll kind of like us even though we're crazy.  someone today also reminded me that we need to be praying for your little heart.  that you'll be brave and courageous, that you'll stand up for what is right, fight for good, love people well.  i hope that even if you have to do that on your own [seemingly] that you'll be faithful and stand firm - even if it's not popular.  i pray that you'd do all that with the Lord's strength and that you'd choose Jesus for yourself.  i pray that you know His goodness and that His love is better than life [psalm 63:3], and most definitely superior to what this world has to offer.  you are a doll and we love watching you grow.  you are a great joy in our home.

Australian Quilt Market

Last week I took my friend Marilyn with me, and we went to the Australian Quilt Market in Melbourne.  I had been before as a "buyer" but this is the first time I had been as a seller.  This is Australia's quilt wholesale market - not open to the general public.

 You know that when things can go wrong, they usually do.  I placed a large order for Karen Kay Buckley Perfect Scissors and Circles ages before the event, planning on a large display.  Of course they did not arrive in time and I had to revert to Plan B - which was just use everything I could get my hands on to display.


 Everything I could lay my hands on, got pinned up on the walls














I borrowed small blocks made by one of my students, Julie M, that are a collection of circles to pin on the wall.  I also used my quilt "Pom Pom Tree" to display how you can use circles.









 On another wall I pinned the wheel blocks I have been working on

 And the final half wall, I put a few of the Cherry Tree blocks I had been working on.

We ran Karen's DVD continuously, and did demos (see the iron in the photos) most of the time, and talked to lots and lots of people.  I met some new friends and some old ones.  We had visits from Lynette Anderson, Christine Abela, Linda Collins, Janet O'Dell and Margaret Mew.  Forgive me if I missed anyone.

The shipment of scissors and circles has still not arrived, but I am confident they will be here by the end of the week.  On a brighter note, the new Perfect Curved Scissors have arrived.  They were in a seperate box, and did not get caught up with the other things.

If you have ordered any of these new scissors, they will be dispatched in the next day or two.