SUN RA - Live at the Horseshoe Tavern Toronto (1978)

Calling Planet Earth: non-stop selections from 
"Live at the Horseshoe Tavern Toronto" (1978)


The Sound Projector radio show,
originally broadcast on Resonance 104.4 FM
http://www.thesoundprojector.com/2008/05/02/sun-ra-live/

Letieres Leite & Orkestra Rumpilezz (2009)

http://www.mediafire.com/?mmxmmmn3gmt

BUD POWELL Jazz Quotes

• "No one could play like Bud; too difficult, too quick, incredible!" - Thelonious Monk

• "Bud was the most brilliant that a spirit might be, a unique genius in our culture." - Max Roach

• "Bud is a genius." - Charlie Parker

• "He laid down the basis of modern jazz piano." - Dizzy Gillespie

• "Bud is a genuine genius." - Duke Ellington

 

THELONIOUS MONK Jazz Quotes

“I don’t consider myself a musician who has achieved perfection and can’t develop any further. But I compose my pieces with a formula that I created myself. Take a musician like John Coltrane. He is a perfect musician, who can give expression to all the possibilities of his instrument. But he seems to have difficulty expressing original ideas on it. That is why he keeps looking for ideas in exotic places. At least I don’t have that problem, because, like I say, I find my inspiration in myself.” - Thelonious Monk


"At this time the fashion is to bring something to jazz that I reject. They speak of freedom. But one has no right, under pretext of freeing yourself, to be illogical and incoherent by getting rid of structure and simply piling a lot of notes one on top of the other. There’s no beat anymore. You can’t keep time with your foot. I believe that what is happening to jazz with people like Ornette Coleman, for instance, is bad. There’s a new idea that consists in destroying everything and find what’s shocking and unexpected; whereas jazz must first of all tell a story that anyone can understand." - Thelonious Monk 


Interviewer: 'What other interests do you have?'
T.Monk: 'Life in general.'
Interviewer: "What do you do about it?"
T.Monk: 'Keep breathing.' "
"Interviewer: 'What do you think the purpose of life is?'
T.Monk: 'To die.'
-- Down Beat magazine

“I say, play your own way. Don’t play what the public want — you play what you want and let the public pick up on what you doing — even if it does take them fifteen, twenty years.” - Thelonious Monk

“Where’s jazz going? I don’t know? Maybe it’s going to hell. You can’t make anything go anywhere. It just happens.” - Thelonious Monk

FATS NAVARRO & TADD DAMERON - The Complete Blue Note and Capitol Recordings (1947-48)

One of the greatest jazz trumpeters of all time, Fats Navarro had a tragically brief career yet his influence is still being felt. His fat sound combined aspects of Howard McGhee, Roy Eldridge, and Dizzy Gillespie, became the main inspiration for Clifford Brown, and through Brownie greatly affected the tones and styles of Lee Morgan, Freddie Hubbard, and Woody Shaw.

Many valuable performances from the height of the bop era are included on this double CD. Subtitled "The Complete Blue Note and Capitol Recordings" and comprised of 23 songs and 13 alternate takes, the reissue features the great trumpeter Fats Navarro in peak form with three groups headed by pianist/arranger Tadd Dameron, in trumpet battles with one of his major influences, Howard McGhee, and on a remarkable all-star quintet with pianist Bud Powell and the young tenor Sonny Rollins; among the other sidemen are altoist Ernie Henry; tenors Charlie Rouse, Allen Eager, Wardell Gray, and Dexter Gordon; and vibraphonist Milt Jackson. In addition to such gems as "Our Delight," "Lady Bird," "Double Talk," "Bouncing With Bud," "Dance of the Infidels," and "52nd Street Theme," Fats is heard with the 1948 Benny Goodman septet ("Stealin' Apples") and Dameron leads a group with the 22-year-old Miles Davis. On a whole, this double CD has more than its share of essential music that belongs in all historical jazz collections. (allmusic.com)

part one

part two

MUSICAL PAINTINGS

I said to you that quality is much better than quantity, and that I'm totally absorv with my Traditional Brazilian music band, but I'll sugest for you an amazing blog from adorable Mara with an exceptional Jazz section. Enjoy: http://pintandomusica4.blogspot.com.br/

Best wishes,

Augusto Senna.

Jimmy Smith - The Cat (1964)

Jimmy Smith - The Cat (1964)

Tracklist:

1.Theme from Joy House
2.Cat
3.Basin Street Blues
4.Main Title from "The Carpetbaggers"
5.Chicago Serenade
6.St. Louis Blues
7.Delon's Blues
8.Blues in the Night

One of the essential Jimmy Smith albums that all record collections should contain. Moving from Blue Note to Verve, Smith swapped the small band for the large orchestra. The instrument Smith pioneered was the Hammond B3 organ, which had been labelled
"the poor man's orchestra" because of the depth of sound it could create, so when that met a real orchestra under the guidance of arranger Lalo Schifrin the result is explosive. Especially when the orchestra itself contains musicians of the class of Kenny Burrell and Thad Jones. Now remastered the album hasn't a dull moment, with blues, pop and two cracking film scores (The Cat and "Main Title from The Carpetbaggers", which is used on BBC2's Money Programme). Then of course there is Smith's masterful playing that never fails to raise the hairs on the spine or get the fingers clicking. A cool, swinging, fun and indispensable record.
http://www.mediafire.com/?ymmo3nf19yc

BANDA BLACK RIO (1983)

http://pt.wikipedia.org/wiki/Banda_Black_Rio

Jacob do Bandolim & Época de Ouro - Vibrações (1967)

Jacob do Bandolim & Época de Ouro - Vibrações, é uma obra-prima do choro realizada em 1967, considerado o melhor trabalho de Jacob Bandolim, e um dos melhores discos de choro já feitos.

Músicas: 
01- Vibrações (Jacob Bittencourt)
02- Receita de samba (Jacob Bittencourt)
03- Ingênuo (Benedito Lacerda - Pixinguinha)
04- Pérolas (Jacob Bittencourt)
05- Assim mesmo (Luis Americano)
06- Fidalga (Ernesto Nazareth)
07- Lamento (Pixinguinha)
08- Murmurando (Fon)
09- Cadência (Joventino Maciel)
10- Floraux (Ernesto Nazareth)
11- Brejeiro (Ernesto Nazareth)
12- Vésper (Ernesto Nazareth)

http://www.mediafire.com/?0uvwr1eodzz

Hitler against Jazz

FOR THAT HISTORY DOES NOT REPEAT ITSELF ...

... Here are some of the conditions that the Ministry of Popular Education set during Hitler's government to the granting of licenses for dance's music performances:

DEPARTMENT OF POPULAR EDUCATION AND ART

Conditions Governing the Grant of Licenses for Dance Music

NEGROID: Belonging to a Negro race. This includes the African Negroes (and also those living outside of Africa), also Pygmies, Bushmen and Hottentots. NEGRITO: In the wider sense of the term, the short-statured, curly or frizzy-haired, dark-skinned inhabitants of Southeastern Asia, Melanesia and Central Africa.

1. Music: The Embargo on Negroid and Negrito Factors in dance Music and Music for Entertainments.

2. Introduction: The following regulations are intended to indicate the revival of the European spirit in the music played in this country for dances and amusements, by freeing the latter from the elements of that primitive Negroid and/or Negrito music, which may be justly regarded as being in flagrant conflict with the Europeon conception of music. These regulations constitute a transitory measure born of practical considerations and which must of necessity precede a general revival.

3. Prohibition: It is forbidden to play in public music which possesses to a marked degree characteristic features of the method of improvisation, execution, composition and arrangement adopted by Negroes and colored people. It is forbidden in publications, reports, programs, printed or verbal announcements, etc.: (a) to describe music played or to be played with the words "jazz" or "jazz music." (b) to use the technical jargon described below, except in reference to or as a description of the instrumental and vocal dance music of the North American Negroes. Exceptions may Be permitted where such music is intended for a strictly scientific or strictly educational purpose and where such music is interpreted by persons having two or more Negroid or Negritic grandparents.

4. Descripton of The Main Characteristic Features of the Above-Mentioned Music which Differ from the European Conception of Music: The use of tonally undefined mordents, Ostentatious trills, double-stopping or ascendant glissandi, obtained in the Negro style by excessive vibrato, lip technique and/or shaking of the musical instrument. In jazz terminology, the effects known as "dinge," "smear" and "whip." Also the use of intentional vocalization of an instrumental tone by imitating a throaty sound. In jazz terminology, the adoption of the "growl" on brass wind instruments, and also the "scratchy" clarinet tone. Also the use of any intentional instrumentalization of the singing voice by substituting senseless syllables for the words in the text by "metalizing" the voice. In jazz terminology, so-called "scat" singing and the vocal imitation of brass wind instruments. Also the use in Negro fashion of harshly timbered and harshly dynamic intonations unless already described. In jazz terminology, the use of "hot" intonations. Also the use in Negro fashion of dampers on brass and woodwind instruments in which the formation of the tone is achieved in solo items with more than the normal pressure. This does not apply to saxophones or trombones. Likewise forbidden, in the melody, is any melody formed in the manner characteristic of Negro players, and which can be unmistakably recognized.

5. Expressly Forbidden: The adoption in Negro fashion of short motifs of exaggerated pitch and rhythm, repeated more than three times without interruption by a solo instrument (or soloist), or more than sixteen times in succession without interruption by a group of instruments played by a band. In jazz terminology, any adoption of "licks" and "riffs" repeated more than three times in succession by a soloist or more than sixteen times for one section or for two or more sections. Also the exaggeration of Negroid bass forms, based on the broken tritone. In jazz terminology, the "boogie-woogie," "honky tonk" or "barrelhouse" style.

6. Instruments Banned: Use of very primitive instruments such as the Cuban Negro "quijada" (jaw of a donkey) and the North American Negro "washboard." Also the use of rubber mutes (plungers) for wind brass instruments, the imitation of a throaty tone in the use of mutes which, whether accompanied by any special movement of the hand or not, effect an imitation of a nasal sound. In jazz terminology, use of "plungers" and "Wah Wah" dampers. The so-called "tone color" mutes may, however, be used. Also the playing in Negro fashion of long, drawn-out percussion solos or an imitation thereof for more than two or four three-time beats, more frequently than three times or twice in the course of 32 successive beats in a complete interpretation. In jazz terminology, "stop choruses" by percussion instruments, except brass cymbals. There is no objection to providing a chorus with percussion solos in places where a break could also come, but at not more than three such places. Also the use of a constant, long drawn-out exaggerated tonal emphasis on the second and fourth beats in 4/4 time. In jazz terminology, the use of the long drawn-out "off beat" effect.