Escuela de Jazz

ESCUELA DE JAZZ : GEORGE BENSON - Cook Book 1967

Abril 30, 2008

Escuela de Jazz: George Benson -Cook Book 1967

Track list01 The Cooker
02 Benny’s Back
03 Bossa Rocka
04 All Of Me
05 Big Fat Lady
06 Benson’s Rider
07 Ready And Able
08 The Borgia Stick
09 Return Of The Prodigal Son
10 Jumpin’ With Symphony Sid
11 The Man From Toledo
12 Slow Scene
13 Let Them Talk
14 Goodnight

Para descargarlo pincha aqui.

Guardado en: Discografía, bebop, George Benson | Comentarios (0)

ESCUELA DE JAZZ : GEORGE BENSON - Blue Benson 1967

Abril 29, 2008

Track list
1. Billie’s Bounce
2. Low Down and Dirty
3. That Lucky Old Sun (Just Rolls Around Heaven All Day)
4. Thunder Walk
5. Doobie Doobie Blues
6. What’s New?
7. I Remember Wes

Para descaraglo pincha aqui.

Guardado en: Discografía, bebop, George Benson | Comentarios (0)

ESCUELA DE JAZZ : GEORGE BENSON - It´s uptown 1966

Abril 28, 2008

Track list1. Clockwise
2. Summertime
3. Ain’t That Peculiar
4. Jaguar
5. Willow Weep for Me
6. Foggy Day
7. Hello Birdie
8. Bullfight
9. Stormy Weather
10. Eternally
11. Myna Bird Blues
12. J.H. Bossa Nova
13. Clockwise [Alternate Take]
14. Eternally [Short Version]
15. Sideman
16. Minor Chant

Para descargar pincha aqui.

Guardado en: bebop, George Benson | Comentarios (0)

ESCUELA DE JAZZ : GEORGE BENSON - The new boss guitar 1964

Abril 27, 2008

Track list

1. Shadow Dancers
2. The Sweet Alice Blues
3. I Don’t Know
4. Just Another Sunday
5. Will You Still Be Mine?
6. Easy Living
7. Rock-A-Bye
8. My Three Sons

Para descargarlo pincha aqui.

Guardado en: Discografía, bebop, George Benson | Comentarios (0)

ESCUELA DE JAZZ: GRANT GREEN - Born to be Blue

Abril 25, 2008

1 Someday My Prince Will Come
2 Born to Be Blue
3 Born to Be Blue (Alternate Take)
4 If I Should Lose You
5 Back in Your Own Backyard
6 My One and Only Love
7 Count Every Star
8 Cool Blues
9 Outer Space

Grant Green - Guitar
Ike Quebec - Tenor Sax
Sonny Clark - Piano
Sam Jones - Bass
Louis Hayes - Drums

Para descargarlo pincha aqui.

Guardado en: Discografía, Grant Green | Comentarios (0)

ESCUELA DE JAZZ: GRANT GREEN - Street of Dreams (1965)

Abril 23, 2008

Grant Green - Street of Dreams (1965)
MP3 ~ 192kbps ~ RS.com ~ 46mb
con cubiertas originales del Blue Note LP

Cduniverse.com:
Next to the immensely popular IDLE MOMENTS, STREET OF DREAMS is quite possibly Grant Green’s most significant Blue Note album. Returning from the earlier IDLE MOMENTS session is the always-intriguing Bobby Hutcherson on vibraphone, an excellent match for Green’s melodic guitar. Also reappearing from a previous session, the lesser-known TALKIN’ ABOUT, are organ wonder Larry Young and the incomparable Elvin Jones on drums.

Although Green is the leader here, this is a quartet of masters, and the result is a magical session. Green’s clean tone defines the foreground of the four selections on this set with Hutcherson’s vibes providing a shimmering backdrop. Young and Jones, meanwhile, hold together a sonic tug-of-war that ebbs and flows like a rhythmic tide. Green is at his best on the opening “I Wish You Love” and the bouncing title track, with smartly conceived melodic statements and authoritative rhythmic precision. Hutcherson and Young also shine on concise solo spots of their own, following Green’s lead with their own highly individual styles. Ultimately, though this is a brief session, it contains a wealth of masterful performances that typify the golden age of hard bop.

Personnel:
Grant Green (guitar);
Bobby Hutcherson (vibraphone);
Larry Young (organ);
Elvin Jones (drums).

Tracks:
1. I Wish You Love
2. Lazy Afternoon
3. Street Of Dreams
4. Somewhere In The Night

Para descargar pincha aqui.

Guardado en: Discografía, bebop, Grant Green | Comentarios (0)

ESCUELA DE JAZZ: GRANT GREEN - Idle Moments

Abril 22, 2008

Grant Green - Idle Moments (1964)
MP3 ~ 192kbps ~ RS.com ~ 92mb

If you’re never heard Grant Green’s guitar work before, this is the place to start. Not only because Green is playing at his finest, but so his is his all-star supporting cast which includes Joe Henderson on tenor sax, Bobby Hutcherson on vibes, and Duke Pearson on piano. The Pearson penned title-cut may be my single favorite recorded cut in jazz history. Each of the aforementioned soloists does some incredible work. The piece is laid-back and languid, but with incredible soul. The rest of the tunes vary in tempo but most have the same lazy, smoky feel to them while sounding fiercely inspired.

Cduniverse.com:
It was always a part of Blue Note’s development and marketing to introduce new artists as sidemen on more well-known leaders’ projects before giving them dates of their own. The system worked pretty well, and the irony is that a release like 1963’s IDLE MOMENTS looks likes more of an all-star session in retrospect. Sure, we get to hear Grant Green stretching out. But we also get Bobby Hutcherson and Joe Henderson, who were just winning their first Downbeat polls at the time.

Green himself had come through this system, appearing with organ combos and on other hard bop sessions, before graduating to his own Blue Note dates. IDLE MOMENTS may be one of his finest dates in the studio, simply on the strength of the elegant melancholy of the title cut and the deep groove the band settles into on “Django.” Green’s playing has much in common with that of such labelmates as saxophonist Stanley Turrentine and pianist Gene Harris. He manages to bring solid bebop sensibilities to a spare, down-home approach and delivers it all with an oaken tone at once dry, dark, and full of character.

Amazon.com:
Time is suspended on these four haunting, extended tunes by this brilliant guitarist with the aid of an all-star cast. Unique in Green’s discography for its relaxed, lengthy performances and almost dream-like lyricism, this Blue Note classic could well be called “Ballads for the Ages.”

The alluring title track alone makes this CD a must-have. A 15-minute dreamscape laid down by pianist Duke Pearson, the song features enchanting solos by tenor saxophonist Joe Henderson and vibraphonist Bobby Hutcherson. Guitarist Grant Green’s single-note melody heightens the song’s suspense. Grant’s original “Jean de Fleur” finds the ensemble in brisker tempo, while their cover of John Lewis’s “Django” exudes the spine-tingling coolness of Lewis’s brand of bop. — John Murph

Personnel:
Grant Green (guitar);
Joe Henderson (tenor saxophone);
Bobby Hutcherson (vibraphone);
Duke Pearson (piano);
Bob Cranshaw (bass);
Al Harewood (drums)

Tracks:
1. Idle Moments
2. Jean De Fleur
3. Jean De Fleur - (alternate take, CD only)
4. Django
5. Django - (alternate take, CD only)
6. Nomad

Para descargarlo pincha aqui.

Guardado en: Discografía, bebop, Grant Green | Comentarios (0)

ESCUELA DE JAZZ: GRANT GREEN - Solid

Abril 21, 2008

Grant Green - Solid (1964)
MP3 ~ 320kbps ~ RS.com ~ 97mb

Allmusic.com:
Solid is a companion piece to the Grant Green classic Matador, recorded about a month later with the same rhythm section, and also not issued until 1979. Green is once again accompanied by the Coltrane supporting team of pianist McCoy Tyner and drummer Elvin Jones, plus bassist Bob Cranshaw; this time, however, Green is also joined on the front line by James Spaulding on alto sax and Joe Henderson on tenor. Both saxophonists really seem to light a fire under the proceedings, for in comparison with the relatively subdued Matador, Solid is a bright, hard-charging affair. There’s a little modal jazz, but Solid’s repertoire is chiefly complex hard bop, full of challenging twists and turns that the players burn through with enthusiasm. Green didn’t tackle this kind of material — or play with this kind of group — very often, and it’s a treat to hear him do so on both counts. The compositions — highlighted by Duke Pearson’s “Minor League,” Henderson’s “The Kicker,” and a storming, ten-minute exploration of George Russell’s “Ezz-Thetic” — provoke some intricate improvisations from Green, and his perfectly controlled soloing is an interesting contrast with the passionate Spaulding and Henderson. Tyner and Jones are once again telepathic in their support, elevating the whole package to one of Green’s strongest jazz outings and a unique standout in his catalog. Oddity: the CD bonus track “Wives and Lovers” seems to be the same one included on Matador, where it was a better fit.

Cduniverse.com:
After his untimely death in 1979, Blue Note published a number of Grant Green’s previously unreleased ’60s recordings. One of these astounding sessions is SOLID, an energetic outing that finds Green leading a large ensemble, including Coltrane band members and Blue Note regulars. Green shows his mettle with fire and precision, his bright, clear tone cutting through the dense sonic backdrop.

The set consists of several intriguing tunes, opening with Duke Pearson’s intricate “Minor League,” a swinging epic that allows for some powerful blowing, while modal pioneer George Russell’s sizzling “Ezz-Thetic” is a fast-paced burner that stretches the group nearly to its limit and offers an engaging harmonic foundation. Green’s own “Grant’s Tune” and Sonny Rollins’ “Solid” are relaxed blues that swing and sway with flavorful statements by all concerned. Joe Henderson’s swinging classic “The Kicker,” and the Bacharach-David waltz “Wives and Lovers” round out this highly enjoyable session.

Personnel:
Grant Green (guitar);
James Spaulding (alto saxophone);
Joe Henderson (tenor saxophone);
McCoy Tyner (piano);
Bob Cranshaw (bass);
Elvin Jones (drums)

Tracks:
1. Minor League
2. Ezz-Thetic
3. Grant’s Tune
4. Solid
5. Kicker, The
6. Wives And Lovers - (CD only, bonus track)

Para descargarlo pincha aqui.

Guardado en: Discografía, bebop, Grant Green | Comentarios (0)

ESCUELA DE JAZZ: GRANT GREEN - Talkin´About

Abril 20, 2008

Grant Green - Talkin’ About! (1964)
MP3 ~ 192kbps ~ RS.com ~ 54mb

Allmusic.com:
On the heels of Matador and Solid, two of his most advanced albums, Grant Green decided to continue the more modal direction he’d begun pursuing with the help of members of Coltrane’s quartet. Accordingly, he hooked up with organist Larry Young, who was just beginning to come into his own as the first Hammond B-3 player to incorporate Coltrane’s modal innovations into his own style. Talkin’ About is the first of three albums the Green/Young team recorded together with Coltrane drummer Elvin Jones, and it’s exceptional, one of the most underrated items in Green’s discography. With just a basic organ trio lineup, the album works a fascinating middle ground between the soul-jazz of Green’s early days and the modal flavor of his most recent work. Though Young’s style wasn’t quite fully formed yet, he’s no longer the in-the-pocket Jimmy Smith disciple of his earliest sessions; his playing here is far more adventurous than the typical soul-jazz date, both harmonically and rhythmically. Jones and Young often play off one another to create an intricate, percolating pulse that’s miles ahead of the standard soul-jazz groove. The trio’s interplay is best showcased on Young’s Coltrane tribute, “Talkin’ About J.C.,” a monster jam that’s worth every one of its nearly 12 minutes, and the cheerful “I’m an Old Cowhand,” popularized as a jazz tune by Sonny Rollins. Meanwhile, Young and Green positively shimmer together on the ballad numbers, “People” and “You Don’t Know What Love Is.” It all makes for a terrific album that ranks in Green’s uppermost echelon.

Personnel:
Grant Green (guitar);
Larry Young (organ);
Elvin Jones (drums)

Tracks:
1. Talkin’ About J. C.
2. People
3. Luny Tune
4. You Don’t Know What Love Is
5. I’m An Old Cowhand

Para descargarlo picha aqui

Guardado en: Material de estudio, Discografía, bebop, Grant Green | Comentarios (0)

Escuela de Jazz: Lectura a primera vista

Abril 18, 2008

Quien no tenga ningún problema de lectura rítmica a primera vista que tire la primera piedra: (….)

Para los demas un libro que os facilitara mucho a comprender la lectura rítmica.

A disfrutar!

Para bajartelo pincha en el tresillo!

Guardado en: Material de estudio, Partituras, lenguaje musical | Comentarios (0)

Escuela de Jazz: Jimmy Smith and Wes Montgomery

Abril 15, 2008

Track list

01 - Caravan
02 - The preacher
03 - Tequila
04 - Four on six
05 - Stey loose
06 - Surrey with the fringe on top
07 - Got my mojo workin
08 - Theme from ‘joy hours

Para descargalo pincha aqui

Guardado en: Discografía, bebop | Comentarios (0)

Escuela de jazz: nueva sección para bajistas

Abril 14, 2008

Escuela de jazz abre sus horizontes incluyendo una sección para los bajistas de la Escuela.

Debido a la alta demanda de funk por parte de los alumnos de la escuela, presento esta colección de líneas disco funk. He de decir que para sacar prrovecho de este material es necesario un buen nivel de lectura y un trabajo específico de técnica. Las líneas son muy interesantes aunque en mi opinión el libro escasea de información sobre la aplicación de estas lineas. Para descargartelo gratis picha aqui.

Guardado en: funky, bajo | Comments Off

METODO COMPLETO DE JAZZ

Abril 6, 2008

Hoy Escuela de Jazz presenta otro libro fundamental para el estudio de la guitarra de Jazz:desde acompañamientos, chord voicings, como hacer un solo y las herramientas necesarias para comprender los estandards de jazz.

Viene con partituras y tablaturas y por supuesto acompañado de un CD.

LIBRO PARTE I

LIBRO PARTE II

CD AUDIO MP3

Guardado en: Blues, Material de estudio, Ciclo de quintas, Partituras, bebop, IIm7-V7-Imaj7 | Comentarios (2)

ULF WAKENIUS

Marzo 29, 2008

01.- Have you met Miss Jones

02.- Cherokee

03.- Smoke get in your eyes

04.- Blues for O.P

05.- Sweet Georgia Brown

06.- Little right foot

07.- Barney goes to Brazil

08.- Li´l Darlin

09- When you wish upon a star

10.- On green dolphin street

11.- How deep is the ocean

Para descargalo pincha aqui.

Ulf Wakenius was born in Halmstad, Sweden on April 16, 1958. He began playing the guitar at the age of 11, inspired by other guitarists in the neighbourhood of his new hometown, Gothenburg.

After picking up the guitar Ulf never looked back. In the beginning he was inspired by virtuoso electric blues guitar players but soon moved to more jazz-orientated music. John McLaughlin became Ulf’s new guitar hero. (John later wrote liner notes for one of Ulf’s solo-albums).

At the age of 17 Ulf was already established as a jazz musician playing with different Swedish groups. During the following years he toured all over Europe. In the beginning of the ’80s Ulf founded the duo “Guitars Unlimited” together with Peter Almqvist. They toured in many parts of the world and appeared frequently on Swedish Television. The highlight in their career was a performance in the 1985 Melody Grand Prix, a historic event which was seen by 600 million viewers, (probably the the largest audience a jazz-guitar duo has ever had).

In the mid-’80s Ulf also received the opportunity to record a solo album in Rio De Janeiro, Brazil. He was fortunate to be able to gather together such fantastic musicians as Sivuca, Luizao, Paolo Braga (Elis Regina), Nico Assumpcao (Milton Nascimento) among others. The record became a hit in Sweden with considerable airplay, even making it to the Swedish Top - “Svensktoppen”, a programme where one seldom hears any jazz. The “Brazil venture” was the beginning of a life-long love of the Brazilian culture. Later Ulf returned with Oscar Peterson and performed for 35, 000 people in Sao Paolo.

In the late ’80s Ulf began playing with the Danish bass giant Niels-Henning and with whom he still plays. Their collaboration has been very fruitful, resulting in concerts all over the globe, several recordings, playing for the then-President of the United States, Bill Clinton, and numerous international TV-shows.

In the beginning of the ’90s Ulf started to work in different projects together with American and European top musicians. The group Grafitti was formed with the rhythm section from the John Scofield group, the members being the phantom drummer Dennis Chambers, bassist Gary Grainger, Hkon Graf on keyboards and Ulf on guitar. They toured in the United States and Europe and recorded a CD which was very well received. He also started a collaboration with the bass icon Ray Brown. Ulf has 10 solo albums to his name and has recorded several albums as a sideman together with many jazz legends.

Born: April 16, 1958

Escuela de Jazz

Comentarios, consultas, sugerencias, datos de interes general en

el FORO de ESCUELA DE JAZZ

Guardado en: Blues, Material de estudio, Video, Partituras, bebop | Comments Off

Introduccion a la Jam Session

Marzo 11, 2008

Escuela de Jazz

“Do re mi mezclado con un poco swing y… vualá!”

Muestra de la clase: introducción a la Jam Session

Fotografias de Pablo

Guardado en: Clases especiales | Comments Off

Clase de Introducción a la Jam Session

Marzo 4, 2008

Clase: Introducción a la Jam Session

Profesor: Gabriel Mirelman Karger

Dia: VIERNES 07 MARZO

hora: 21.30

Bar Bluesy

Plaza del Biombo S/N

La clase es abierta a tod@s y gratuita.

Trae tu instrumento musical!

Al finalizar la clase habrá degustación de rica comidita italiana a cargo del Cheff Steffano.

Os esperamos!

Guardado en: Clases especiales | Comments Off

The Jazz Theory Book

Febrero 18, 2008

Hoy presento un libro bastante completo que considero un buen libro de consulta. Lo podeis conseguir en el siguiente enlace:

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-The Jazz Theory Book-

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Además puedes encontrar todos los Real Books aqui:

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Real books

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Spaces Fake Book Vol.01

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Spaces Fake Book Vol.02

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Spaces Fake book Vol.03

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Y para no perderse entre la inmensidad del universo musical, nada mejor que un Super indice que contiene más de 5000 Standards.

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Master Index

Guardado en: Material de estudio, Partituras, bebop, IIm7-V7-Imaj7 | Comments Off

Re-Armonzación escala bebop: X6 - Xdim7; Xm6 - Xdim7

Febrero 15, 2008

Barry Harris’ theory of reharmonization

Barry Harris is one of the most influential Jazz educators of all time . He has profoundly influenced several generations of Jazz musicians, including one of my all-time favorite saxophonists- Charles McPherson. Over the years Barry has developed his own unique system of reharmonization techniques.

Barry Harris’ harmonic and improvisational teaching is based on the theory that chords come from scales. The scales at the foundation of his theory are the major sixth diminished scale, the minor sixth diminished scale, the seventh diminished scale and the seventh flat 5 diminished scale. Barry’s teaching methodology emphasizes that 98% of the chords we play come from one of these scales.

Here are a few links to a few articles about Barry’s reharm theories by clinician Howard Reese:
Evolutionary Voicings, Part I -Barry Harris Keeps Things Movin’

Evolutionary Voicings, Part II -Applying the Barry Harris Method to Tunes

Chord Explorations- Looking for a way to master chord voicings?
Diminished Dimensions

Scale reminder Java tool

Guardado en: Material de estudio, Partituras, bebop | Comments Off

Master Class - Introducción al Jazz: Conservatorio Alcorcón

Febrero 8, 2008

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Introducción al Jazz en el conservatorio de Alcorcón

Improvisando sobre un Blues en Bb con guitarra, vibráfono, marimba, trombón, trompeta, saxo, contrabajo, piano y batería.

Guardado en: Blues | Comentarios (0)

Modern Jazz Quartet

Febrero 5, 2008

Formado inicialmente en 1952 por el vibrafonista, Milt Jackson, el pianista y director musical del mismo, John Lewis, el baterista, Kenny Clarke y el bajista, Ray Brown, el “Modern Jazz Quartet” es uno de los combos de jazz mas populares e influyentes de la historia del jazz moderno.

     Todos ellos habían pertenecido a la bigband de Dizzy Gillespie, a mediados de los años cuarenta y se establecieron como grupo por primera vez en el verano de 1951 bajo el nombre de “Milt Jackson Quartet” y solo con ocasión de una sesión de grabación. En 1952, la formación adoptó el nombre con el que pasó a la posteridad en el jazz y al poco, Percy Heath, reemplazó a Ray Brown al contrabajo. En 1954, el grupo ya estaba suficientemente consolidado y empezó a obtener el favor del público y comenzaron las grabaciones y conciertos con cierta asiduidad. A finales de ese año, Kenny Clarke, fue reemplazado en la batería por Connie Kay, quedando así configurado definitivamente el MJQ.

     El “MJQ” como ha llegado a ser conocido universalmente, consiguió alcanzar un equilibrio perfecto entre arreglos e improvisaciones debido al magnifico trabajo en la dirección musical de John Lewis, quien aportó construcciones magníficamente concebidas para que el grupo brillara con ellas. La influencia de la música y la cultura europea en Lewis, dieron al MJQ, una sucesión de formatos musicales que iban desde una suite clásica propia del Siglo XVIII como queda plasmado en su extraordinario álbum “Fontessa”, hasta bandas sonoras para filmes como “No Sun In Venice”. El MJQ también disfrutaba haciendo música con sus invitados produciendo en los años cincuenta álbumes notables con Sonny Rollins o Jimmie Giuffre, o en los sesenta con Paul Desmond.

Milt Jackson (vibraphone)
John Lewis (piano)
Ray Brown (bass)
Percy Heath (bass)
Kenny Clarke (drums)
Connie Kay (drums)
Al Johns (drums)

1. Softly, As In A Morning Sunrise
2. Love Me Pretty Baby
3. Autumn Breeze
4. Milt Meets Sid
5. Moving Nicely
6. D And E
7. Heart And Soul
8. True Blues
9. Bluesology
10. Yesterdays
11. ‘Round About Midnight
12. Between The Devil And The Deep Blue Sea

Guardado en: Biografias, bebop | Comentarios (1)

Material de Estudio

Febrero 4, 2008

Clic en la imagen para descargar

Más documentos clic aqui

Guardado en: Blues, Material de estudio, Partituras, IIm7-V7-Imaj7 | Comments Off

Notas de salida y de llegada sobre IIm7, V7 Imaj7

Enero 30, 2008

Si quieres leer el artículo completo pincha aqui

Guardado en: Material de estudio, Partituras, bebop, IIm7-V7-Imaj7 | Comments Off

BLUESEY BURRELL with COLEMAN HAWKINS

Enero 15, 2008

Personnel:
Kenny Burrell - guitar
Coleman Hawkins - tenor sax
Tommy Flanagan - piano
Major Holey - bass
Eddie Locke - drums
Ray Barretto - conga

Tracks:
1. Tres Palabras 6:43
2. No More 1:51
3. Guilty 4:16
4. Montono Blues 4:44
5. I Thought About You 4:39
6. Out Of This World 4:52
7. It’s Getting Dark 6:53

This session is valuable for the majestic playing of tenor great Coleman Hawkins, who performs on four of the seven tracks. While originally released on the Prestige subsidiary Moodsville — a label that specialized in recordings with an intimate, reflective atmosphere — the Moodsville sound doesn’t sit comfortably on Hawkins. His playing is brilliantly relaxed, but it’s not mood music. Leader Kenny Burrell’s playing is much more in line with the Moodsville groove. The guitarist is not amplified as much as he is on his Prestige dates from this time. In fact, he performs on a nylon-string instrument almost as much as he does on his hollow-body electric. Unlike Hawkins, Burrell’s subdued contribution is made to measure for this date. Listeners expecting to hear Burrell the hard bopper won’t. The key moments come during the interaction between the guitarist and tenor player, especially during their exchanges on Burrell’s “Montono Blues.” The rhythm section, Hawkins’ working band from this period (pianist Tommy Flanagan, bassist Major Holley, and drummer Eddie Locke), provide impeccable, sublime support.

—-

Gran disco de Kenny Burrell que comienza con el tema “tres palabras”: Rítmicamente curioso por mezclar la clave de bossa con swing. Kenny burrell toca una guitarra clásica recreandose en los acordes de la introducción “Bm maj7/9″.

Intro

“A”

Bm7 - % - Ebm7- %

% - Ab7-Dbmaj7 - Cm7b5 F7

Bm Ab- Gb - C#dim7- %

Cm7b5 - % - F7 -%

“A´”

Bm7 - % - Ebm7- %

% - Ab7-Dbmaj7 - Cm7b5 F7

Bm Ab- Gb - C#dim7- %

Cm7b5 - F7 - Bm maj7 / 9 -%

—–

Despues de presentar el tema entra un solo de Tommy Flanagan en el piano de dos chorus, pasando a una entrada magistral de Hawkins con su saxo. Le toma el relevo Burrell comenzando su solo con Chord-melody acoplándolo a la breve re-exposición del tema y acabando con el acorde de la intro “Bm maj7/9“

“No more” es un tema de guitarra clásica sola.

En la segunda parte del disco Burrell nos deleita con todo el sonido de blues de su guitarra de caja:

Montono blues contiene un solo de exótico timbre, a mi parecer se trata de un contrabajo con vocoder.

Interesante el juego de pregunta y respuesta entre Burrell y Hawkins.

“It’s Getting Dark” cierra el disco con un sabor a Blues con el clásico sonido de Burrell.

Guardado en: Blues, Material de estudio, Discografía | Comments Off

Sonny Red - Red, Blue and Green

Enero 14, 2008

Sonny Red (alto sax)
Barry Harris, Cedar Walton (piano)
Grant Green (g)
George Tucker (b)
Jimmy Cobb (d)

1. Moon River
2. I Like The Likes Of You
3. Super-20
4. Bye, Bye Blues
5. The Mode
6. Never, Never Land
7. Ko-Kee
8. Images
9. Blues For Donna
10. Dodge City
11. Blue Sonny
12. The Rhythm Thing
13. Bewitched, Bothered And Bewildered

In the early ’60s, modal improvisation was still controversial in the jazz world — not as controversial as free jazz, but controversial nonetheless. Some hard boppers found the modal breakthroughs of John Coltrane, Miles Davis, and Yusef Lateef exciting and decided to take up modal playing themselves, while others vehemently disliked modality and refused to play anything but bop. Sonny Red was among those who opted to explore modal improvisation in the early ’60s, although the alto saxman never gave up the sort of fast, chordal, Charlie Parker-based bop he was known for. On 1961’s The Mode, Red fulfills both needs: the need to investigate modal playing and the need to deal with bop’s swift, demanding chord changes. Red is joined by Grant Green on guitar, Barry Harris or Cedar Walton on piano, George Tucker on bass, and Jimmy Cobb on drums, a team that handles chordal bop and modal post-bop equally well. Red is in good form on post-bop offerings like the title song (which is based on the standard “Out of This World”) and a contemplative interpretation of Jule Styne’s “Never Never Land,” which he approaches in a Kind of Blue-like fashion. But a bop outlook prevails on the Parker-ish “Super-20″ and a perky, upbeat version of “Moon River,” the Henry Mancini piece that Audrey Hepburn fans will forever associate with her portrayal of the flighty yet charming Holly Golightly in the 1961 film Breakfast at Tiffany’s. This vinyl LP isn’t a masterpiece, but it’s decent and certainly likable. In 2000, Fantasy reissued The Mode and another Red LP, Images, on the CD Red, Blue & Green. ~ Alex Henderson

The Rhythm Thing es un claro ejemplo de Rhythm Change, estructura musical basada en la armonía de I Got Rhythm, compuesta por G. Gershwin.

Guardado en: Material de estudio, Rhythm Changes, Discografía, bebop | Comments Off

Escuela de Jazz: Bossa Nova Jazz Samba (1963)

Enero 7, 2008

Hoy presento otro disco imprescindible: Bossa Nova Jazz Samba de The Bossa Nova Modern Quartet.

Componentes:

Jorginho (saxo, flauta), Plinio (bateria), Luiz Marinho (bajo) and Claudio das Neves (vibráfono)

Recordando al famoso Modern Jazz Quartet nos presentan una selección de bossanova con todo el lenguaje del bop y la elegancia del vibráfono y la flauta travesera.

Repertorio:

01 - Bossa Nova Jazz Samba (Ed Lincoln)
02 - Brincando Gostei (Waltel / Orlandivo)
03 - Fim de Semana Em Eldorado (Johnny Alf)
04 - Sambette N° 3 (Ed Lincoln)
05 - Chora Tua Tristeza (Oscar Castro Neves / Luvercy Fiorini)
06 - Corcovado (Tom Jobim)
07 - Garota de Ipanema (Tom Jobim)
08 - Do Jeito Que a Gente Quer (Ed Lincoln)
09 - Vira Lata (Orlandivo / Roberto Jorge)
10 - Reduíno (Waltel)

Es fácil encontrar relaciones entre las músicas ya sea por su ritmo, su melodía o su armonía. Personalmente encuentro una influencia clara de “Four” de Miles Davis en Sambette Nº3.

Es destacable también el trabajo rítmico de la batería con las escobillas en Corcovado y Garota de Ipanema. Nótese también el interesante trabajo armónico sobre la reexposición de Corcovado.

Para acabar destacar la pieza Reduíno con sabor oriental sobre una bossa terminando con un gran acorde de tipo misterioso tocado por el vibráfono: Cm9/#11/13

Escuela de Jazz

Guardado en: Material de estudio, Discografía, Bossa nova | Comments Off

Carlos Franzetti - GRAFITTI

Enero 6, 2008

Carlos Franzetti nos deleita con “Grafitti“, un LP con sabor a funk, sonido de música disco de los años ´70 con Fender Rhodes y piano. Beatriz es una pieza con sabor brasileño, una Bossa con unisonos de viento y voz. Cocoa Funk es todo un homenaje a la música Club: bajo, bateria, acompañado por violines sinteticos propios de la época y un despliegue de groove y buen gusto el las improvisaciones del pianista.

Grafitti tiene un caracter latino de tiempo medio con lineas de improvisacion tocadas y cantadas simultaneamente a unisono.

Guardado en: Material de estudio, Discografía, funky | Comments Off

Round midnight - Wes Montgomery

Diciembre 12, 2007

Sin restarle meritos a toda una serie de grandes guitarristas del jazz como Barney Kessel, Tal Farlow, Kenny Burrell, Jim Hall o Jimmy Rainey, es sin duda, Wes Montgomery, (1923-1968), quien recoge con mas fuerza y propiedad el testigo que dejara en la guitarra de jazz, el gran maestro, Charlie Christian.      Nacido en el seno de una amplia y modesta familia, Wes Montgomery, se trasladó con su padre a Ohio junto a su hermano mayor Monk, cuando el matrimonio se separó. Con diecinueve años compró su primera guitarra y se maravillaba del solo que Charlie Christian había grabado con Benny Goodman titulado “Solo Flight”. Dotado de un oído excepcional, tuvo sus primeros trabajos como guitarrista en algunos clubes de Indianápolis como el “440 Club”. En mayo de 1948, Lionel Hampton lo incorpora a su banda con quien permaneció durante dos años lo que le valió la posibilidad de tocar con Charles Mingus, Fats Navarro e incluso acompañó a la guitarra a la gran Billie Holiday y pudo grabar sus primeros discos con Hampton y con su vocalista, Sonny Parker.      Padre de familia numerosa, sus obligaciones domesticas le condicionaban a trabajar muchas horas al día para mantener a su familia. Sus hermanos, Buddy Montgomery (vibrafonista y pianista) y Monk (contrabajista eléctrico) le propusieron formar un grupo para tocar en la Costa Oeste y en 1957 formaron el cuarteto “The Mastersounds” consiguiendo algunos contratos de grabación con el sello “Pacific Jazz”. Wes Montgomery, participó en cinco álbumes, el primero de ellos titulado: “The Montgomery Brothers plus Five Others” que fue también la primera grabación del trompetista, Freddie Hubbard.       A pesar de su calidad, el éxito tardó en llegar. Tuvo que intervenir casualmente el saxo alto, Cannonball Adderley, que venía de un concierto en Indianápolis y había escuchado a Wes, tocar en el “Missile Room”, un club local, para recomendárselo al director musical de sui compañía de discos. Así empezó una fructífera relación de Wes Montgomery con el sello Riverside que duro cinco años. Dos semana después de firmar, Wes Montgomery grababa en New York su primer disco para Riverside con el organista, Melvin Rhyne y el baterista, Paul Parker, el mismo acompañamiento que tenía en el “Missile Room”. En 1960 realiza la grabación del que muchos consideran el mejor disco de su carrera titulado “The Increíble Jazz Guitar”. La aparición de aquella grabación entusiasmo a críticos, especialistas y aficionados y las revistas, Down Beat y Metronome le otorgaron los premios anuales al mejor guitarrista de jazz. Con el éxito alcanzado, volvió a tocar con sus hermanos grabando otros tres discos como “The Montgomery Brothers” y otro mas con el pianista ciego, George Shearing. Durante 1961 y 1962 participó en el Festival de Jazz de Monterey y también tocó con el cuarteto de John Coltrane.      Cuando el sello Riverside se colapsó tras la muerte de su presidente, Bill Grauer, Wes ficha por la compañía Verve quien en aquella época era dirigida por Creed Taylor, propietario poco tiempo después del sello CTI. Con Verve consiguió un premio Grammy al álbum “Goin’ Out Of My Head” en 1965, un registro demasiado edulcorado, pero antes había dejado grabado en directo en el club neoyorkino “Half Note” un álbum extraordinario titulado: “Smokin’ at The Half Note”. Ya apenas tuvo tiempo pra grabar su ultimo disco titulado “Road Song” grabado a primeros de mayo de 1968 y que fue publicado tras la muerte del guitarrista, fallecido repentinamente de un ataque al corazón apenas veinte días después, el 15 de junio de 1968 con tan solo 45 años.      En palabras del critico de jazz, Ralph Gleason, “….Wes Montgomery fue lo mejor que le sucedió a la guitarra de jazz desde la muerte de Charlie Christian.” Y hoy en pleno Siglo XXI, esa frase conserva plena vigencia

Guardado en: Blues, Material de estudio, Biografias | Comments Off

Autumn leaves

Diciembre 5, 2007

Guardado en: Material de estudio, Ciclo de quintas, Partituras | Comments Off

One Mint Julep Kessel Barney 1964

Diciembre 2, 2007

Guardado en: Blues, Material de estudio, Video | Comments Off

I’ve got rhythm - John Pizzarelli

Noviembre 29, 2007

Guardado en: Material de estudio, Rhythm Changes, Video | Comments Off

Blues

Noviembre 28, 2007

BLUES53.c.pdf

BLUES54.c.pdf

Guardado en: Blues, Material de estudio | Comments Off

Discografia

Noviembre 28, 2007

George Benson - Burner

Guardado en: Discografía | Comments Off

Rhythm Changes

Noviembre 28, 2007

Estudios sobre Rhythm Changes:

rhythm60.c1.pdf

rhythm59.c1.pdf

rhythm55.c1.pdf

Guardado en: Material de estudio, Rhythm Changes | Comments Off

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