HÉLIO DELMIRO: BLESSED, GIFTED & ENLIVENED MUSICIAN

Hi, fellows!

Again I come to you my friends, to show you, one of the greatest living guitarits I know: Mr. Hélio Delmiro, a simple and introvert man, that speaks tha voice of God in his instrument. He appeared as a guest artist, in many great recordings of Elis Regina, like the amazing acoustic guitar we hear in "o bêbado e a equilibrista" (Charles Chaplin's "limelight") , like Mr. Fábio Zanon said about it, in his website:

"Hélio Delmiro's learning was made in live performances and in practice, his colleagues say he is perfectly capable of playing any solo Jazz piano solo, by ear, as he took from the disks.Later he also studied classical guitar in order to refine his technique. A strong influence was the saxophonist Victor Assis Brazil, with whom he made his first recording. At the time he was introduced as the "new Baden Powell", was playing electric guitar and in fact that he never played with a pick, always with the fingers. Over the sixties, Helio Delmiro created an untouchable reputation in folk/popular music circuit, following a succession of famous singers, especially Clara Nunes, with whom he played for over ten years, with Elis Regina he also played for three very intense years and participated in famous recordings and in the Montreux Festival (1979).If you think, that your ear has never heard a song from Hélio Delmiro's sophisticated art, you're wrong, it is clear that Elis Regina's voice is so marked that we almost do not care to hear the other instruments, but for a moment try to pay attention to the tastefully done up guitar in the song "o bêbado e a equilibrista" (Charles Chaplin's "limelight") from the disk - This Woman (1979): Indeed Elis Regina softly turn down her voice a little bit, just to hear the guitar's follow-up of Hélio Delmiro. In the seventies, he has consolidated his reputation as a Jazz musician, and was hailed as a genius and recorded an album with Sarah Vaughan in 1979 and finally released his first solo album called "Emotiva" (soulful), in which he plays the acoustic guitar and electric guitar. In the eighties, Helio Delmiro established himself definitively on the international circuit; the list of its partnerships is immense and includes legends of Jazz, and released solo albums frequently. A crisis has loomed for Helio Delmiro, and is no secret that many Jazz musicians dissolve themselves in smoke from barroom tables, alcohol and drugs, then you need to be a monk yourself, to be a Jazz musician and to go to work off of it. Helio Delmiro succumbed, when it reached a critical point and a monk "entered within himself" and converted him to Christianity, with so much fervor that he became evangelical Pastor and put a "foot on the brake" in a very abrupt way, in his career in the late 80's. The return was gradual and painful, for him, in a sense  he had a reputation of being "bossy", which added to the fame of proselyte (convert to an individual doctrine, idea or system), which upset many people.In 90's, he returned to the charge, frequently playing abroad. In 2004, a new jolt, a disagreement with his ex-wife on the board of the children, eventually led him to prison, particularly in abject  (infamous) conditions, sharing a cell with hardened criminals, then all kinds of Brazilian musicians gave him support, but it is clear that this episode has opened large wounds, which he attend to heal them with his Christian faith. Helio Delmiro is an unanimity among fellow musicians as one of the most lavishly gifted musicians of Brazilian's music history, as he owns a remarkable improvisational skills. His solo appearances seems like classical concerts, whose behavior reflects sober and musical density and immaculate technique. He is a man of fine intelligence ,which of course, he never lets his art or his personal convictions pass without a thorough self-analysis."

http://vcfz.blogspot.com.br/2008/09/140-hlio-delmiro-romero-lubambo.html


Some internet videos by the great guitar master Hélio Delmiro:

Elis Regina & Hélio Delmiro play "O Bêbado e a Equilibrista" (João Bosco/Aldir Blanc)
http://www.youtube.com/watch?v=mcYCP1nEdUA

Hélio Delmiro plays "Compassos"
http://www.youtube.com/watch?v=QU3o1G-xTtM

Hélio Delmiro plays "Autumn Leaves" (Joseph Kosma/Jacques Prévert)
http://www.youtube.com/watch?v=EQaD-CZ_RoE

Hélio sings! and plays "Ilusão à Toa" (Johnny Alf)
http://www.youtube.com/watch?v=A_TIw9w97No

Sarah Vaughan & Hélio Delmiro play "A Little Tear" (Tom Jobim)
http://www.youtube.com/watch?v=9Qos3vYyHbs

Hélio Delmiro & Nana Caymmi play "Insensatez" (Tom Jobim)
http://www.youtube.com/watch?v=moiP26Yc7TQ

Hélio plays "Waltzin" (Victor Assis Brasil)
http://www.youtube.com/watch?v=AUglOYh3B94

Jane Mara & Hélio Delmiro sing! and play "Estrada do Sol" (Tom Jobim)
http://www.youtube.com/watch?v=cxnrKTEe2RQ&feature=related

Jane Mara & Hélio Delmiro play "Desde que o samba é samba" (Caetano Veloso)
http://www.youtube.com/watch?v=HbFY61LpTqY

Jane Mara & Hélio Delmiro play "O Barquinho" (Roberto Menescal)
http://www.youtube.com/watch?v=2h60XWDE_xA&feature=relmfu

Liz Rosa & Hélio Delmiro play "Dindi" (Tom Jobim)
http://www.youtube.com/watch?v=iSMMd4S-5CM&feature=related

Hélio plays "Beijo Partido" (Toninho Horta)
http://www.youtube.com/watch?v=K2Mkdya3Mng

Hélio Delmiro plays "My Favorite Things" (Richard Rodgers/Oscar Hammerstein)
http://www.youtube.com/watch?v=ZwL-mRu-flY&feature=related

Hélio Delmiro & Simone play "Minha Namorada" (Carlos Lyra)
http://www.youtube.com/watch?v=JPCZLshCkC4

Hélio Delmiro plays "All the things you are"
http://www.youtube.com/watch?v=aOvgPKyMDOw
Zizi Possi & Hélio Delmiro play "Copo Vazio" (Gilberto Gil)
http://www.youtube.com/watch?v=j9KHAmfl_Aw&feature=related

Nana Caymmi & Hélio Delmiro play "Mudança dos Ventos" (Ivan Lins)
http://www.youtube.com/watch?v=AjZ-yBiPToE

Renato Russo & Hélio Delmiro play "Gente Humilde" (Garoto/Chico Buarque/Vinícius de Moraes)
http://www.youtube.com/watch?v=p2Vb-qVs_zs

Hélio Delmiro improvises live at Heineken Concerts 1992
http://www.youtube.com/watch?v=5tLcgXvpalw

Milton Nascimento & Hélio Delmiro play "Caçador de Mim" (Luis Carlos Sá/Sérgio Magrão)
http://www.youtube.com/watch?v=Se9XYKHQi3Y

Roberto Sion & Hélio Delmiro play "Rapaz de Bem" (Johnny Alf)
http://www.youtube.com/watch?v=-N9I61u7Jm4

Roberto Sion & Hélio Delmiro play "A Night in Tunisia" (Dizzy Gillespie)
http://www.youtube.com/watch?v=ln53Ny4F9es

Elis Regina & Hélio Delmiro play "Rebento" (Gilberto Gil) at Montreux Jazz Festival 1979
http://www.youtube.com/watch?v=ok-W1EcdLkg&feature=related

Elis Regina & Hélio Delmiro play "Madalena" (Ivan Lins) at Montreux Jazz Festival 1979
http://www.youtube.com/watch?v=5GzcIK5pNUQ

Elis Regina & Hélio Delmiro play "Cai Dentro" (Baden Powell/Paulo Cesar Pinheiro) at Montreux Jazz Festival 1979
http://www.youtube.com/watch?v=Bo2NhsJ0QXQ

Elis Regina & Hélio Delmiro play "Cobra Criada" (João Bosco/Paulo Emílio) at Montreux Jazz Festival 1979
http://www.youtube.com/watch?v=Ne_zvRVcLok

Victor Assis Brasil Quintet (with Hélio Delmiro) play "Tema pro Einhorn"
http://www.youtube.com/watch?v=pvWlOohXDKU

Victor Assis Brasil Quintet play "Balada pra Nadia"
http://www.youtube.com/watch?v=UF27QpxXotY&feature=related

Victor Assis Brasil Quintet play "Lydian Dreams"
http://www.youtube.com/watch?v=RkdCMwpDyps&feature=related

Victor Assis Brasil Quintet play "Waltz for Trane"
http://www.youtube.com/watch?v=sjE9sstZVeQ&feature=relmfu

Hélio Delmiro plays "Pro Zeca"
http://www.youtube.com/watch?v=BXdFWj8e0Pw

Hélio Delmiro plays "Ad Infinito" no RT SOM
http://www.youtube.com/watch?v=OMONxlcmhD8

Hélio plays "Marceneiro Paulo" no RT SOM
http://www.youtube.com/watch?v=D9pFEkHV0ys

Hélio plays "Marceneiro Paulo" no CLUBE DO CHORO
http://www.youtube.com/watch?v=ihd7B1UuYVI

Some wisdow words from Jesus' brother: Mr. Hélio Delmiro (talking about playing with new musicians):
"I felt that too one day, it's a pleasure to be reaching a larger experience, I've been experienced, is really good, gives that tingly inside, it's good there, but really listen something: the knight riding the horse out but the horse continues to trot, and then comes another rider mounts the horse, and goes over a road, then after he goes down and comes back another rider and so the horse riding on and on. So also is the experience, the sum of them; then they think they learned something with us, but we actually do learn much more from them. "
http://www.youtube.com/watch?v=c0_GNG4Fp8g&feature=relmfu

To know more about this gifted musician, and above all things: vitalized human being, please reach:

http://heliodelmiro.blogspot.com.br/
http://pt.wikipedia.org/wiki/H%C3%A9lio_Delmiro
http://www.myspace.com/heliodelmiro

"And we know, that to men that love God, all things work together into good, to them that after purpose be called saints.  For  those  that  he  knew  before  [For why  and whom  he  knew  before], he  before-ordained  by  grace  to  be made  like  to  the image  of  his  Son,  that  he  be  the  first begotten among many brethren. And  those  that  he  before-ordained  to  bless,  them  he  called;  and whom  he called, them he justified; and whom he justified, them he glorified." ROMANS 8, 28-30

"It pertaineth  to man  to make  ready  the  soul; and  it pertaineth to the Lord to govern the tongue.  All the ways of men be open to the eyes of God; the Lord is a weigher of  spirits,  that  is,  of  wills,  yielding  to  man  after  his deservings. Show  thy works  to  the Lord; and  thy  thoughts shall
be succeed." PROVERBS 16, 1-3

"The  grace  of  our  Lord  Jesus  Christ,  and  the  charity  of  God,  and  the communing of the Holy Ghost, be with you all. Amen." 2 CORINTHIANS 13, 14
 

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.

JOHN COLTRANE Jazz Quotes

“Over all, I think the main thing a musician would like to do is give a picture to the listener of the many wonderful things that he knows of and senses in the universe. . . That’s what I would like to do. I think that’s one of the greatest things you can do in life and we all try to do it in some way. The musician’s is through his music.”

“Sometimes I wish I could walk up to my music for the first time, as if I had never heard it before. Being so inescapably a part of it, I’ll never know what the listener gets, what the listener feels, and that’s too bad.”

“All a musician can do is to get closer to the sources of nature, and so feel that he is in communion with the natural laws.”

“My music is the spiritual expression of what I am — my faith, my knowledge, my being … When you begin to see the possibilities of music, you desire to do something really good for people, to help humanity free itself from its hangups … I want to speak to their souls.”

“Sometimes I’d think I was making music through the wrong end of a magnifying glass.”

“I’m into scales right now.”

“I’ve found you’ve got to look back at the old things and see them in a new light.”

“You can play a shoestring if you’re sincere.”

"I think playing and writing go hand in hand. I don't feel that at this stage of the game I can actually sit down and say I'm going to write a piece that will do this or that for the people -a thing which some artists can do- but I'm trying to tune myself so I can look to myself and to nature and to other sounds in music and interpret things that I feel there and present them to people. Eventually I hope to reach a stage where I have a vast warehouse of study and knowledge to be able to produce any certain thing.
Duke Ellington is one person who can do this -that's really heavy musicianship and I haven't reached that stage yet. I've been predominantly a soloist all my natural life, and now I'm a soloist with my own band, and this has led me into this other thing: what am I going to play and why?
My material is mainly my own, and I find some of my best work comes from the most challenging material. Sometimes we write things to be easy, sometimes to be hard, it depends on what we want to do. A year ago we had quite a few standards which made up a third of the book, but now other people, certainly Ornette (Coleman) and Eric (Dolphy), have been responsible for other influences."
-John Coltrane
1962 interview, Jazz Monthly

"It's more than beauty that I feel in music -that I think that musicians feel in music. What we know we feel we'd like to convey to the listener. We hope that this can be shared by all. I think, basically, that's about what it is we're trying to do. If you ask me that question, I might say this today and tomorrow something entirely different, because there are many things to do in music.
But over-all, I think the main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows and senses in the universe. That's what music is to me -it's just another way of saying this is a big, beautiful universe we live in, that's been given to us, and here's an example of just how magnificent and encompassing it is. That's what I would like to do, I think that's one of the greatest things you can do in life, and we try to do it in some way. The musician's way is through his music."
-John Coltrane
(When asked what he and Eric Dolphy were trying to achieve)

Miles Davis, in addition to being one of the most talented and distinctive musicians to grace the annals of jazz history, had a unique reputation when it came to his speaking voice–both for his hoarse whisper and his pithy, rather Zen-like way of communicating with his band members, which sometimes resulted in amusing exchanges, such as his retort to John Coltrane’s lament that he couldn’t stop soloing: “Try taking the saxophone out of your mouth.”

Tal Farlow - Tal

Tal Farlow - Tal

Tracks:
01 Isn't It Romantic
02 There Is No Greater
03 How About You
04 Anything Goes
05 Yesterdays
06 You Don't Know What Love Is
07 Chuckles
08 Broadway 


Talmage Holt Farlow ( June 7, 1921 – July 25, 1998 ), better known as Tal Farlow, was a jazz guitarist born in Greensboro, North Carolina in 1921. Nearly as famous for his reluctance to play as for his outstanding abilities, Tal did not take up the instrument until he was already 21, but within a year was playing professionally and in 1948 was with Marjorie Hyams’ band. While with the Red Norvo Trio ( which originally included Charles Mingus ) from 1949-1953, Farlow became famous in the jazz world. His huge hands and ability to play rapid yet light lines made him one of the top guitarists of the era. After six months with Artie Shaw’s Gramercy Five in 1953, Farlow put together his own group, which for a time included pianist Eddie Costa. Late in 1958, Farlow settled in Sea Bright, New Jersey, became a sign painter, and just played locally. He only made one record as a leader during 1960-1975, but emerged a bit more often during 1976-1984, recording for Concord fairly regularly before largely disappearing again. Profiled in the definitive documentary Talmage Farlow, the guitarist can be heard on his own records for Blue Note (1954), Verve, Prestige (1969), and Concord. He died of cancer at Memorial Sloan-Kettering Cancer Center in New York City on July 25, 1998 at the age of 77. ~ from wikipedia

The perfect setting for the brilliant guitarist Tal Farlow is the format heard on this classic LP, a drumless trio. Farlow, pianist Eddie Costa and bassist Vinnie Burke made for an exciting team, really romping on the up-empo pieces. Highlights of the often heated set include "There Is No Greater Love," "Anything Goes," "Yesterdays" and "Broadway," but all eight numbers are quite enjoyable. ~ Scott Yanow - Courtesy All Music


http://www.h33t.com/details.php?id=df88caa0462be351c4196b9e2f79c06427fb415f

The George Russell Sextet - Ezz-Thetics (1961)

The George Russell Sextet - Ezz-thetics (1961) Musicians: Eric Dolphy (alto saxophone, flute, bass clarinet) George Russell (piano) Don Ellis (trumpet) Dave Baker (trombone) Steve Swallow (acoustic bass) Joe Hunt (drums) Tracks: 01 Ezz-Thetic   02 Nardis   03 Lydiot   04 Thoughts   05 Honesty   06 'Round Midnight A post-war masterpiece, Ezz-Thetics is pianist/arranger George Russell's definitive 1961 sextet recording from the earliest phase of his multi-decade career. On par with such iconic albums as Oliver Nelson's Blues and the Abstract Truth (Impulse!, 1961), Mal Waldron's The Quest (Riverside, 1961) and Andrew Hill's Point of Departure ( Blue Note, 1964 ), Ezz-Thetics traffics in the same advanced but accessible strain of avant-garde-influenced post-bop. Author of The Lydian Chromatic Concept of Tonal Organization ( pub. 1953 ), Russell's seminal  concepts of improvisation, based on scales rather than chords, became the driving force behind the early modal explorations of Miles Davis and John Coltrane. This pioneering session offers a singular and visionary view of classic post-bop that is ageless in its perfection. Starring a phenomenal group of talent, Russell's sextet features multi-instrumentalist Eric Dolphy, trumpeter Don Ellis, trombonist Dave Baker, a young Steve Swallow on acoustic bass and drummer Joe Hunt. Undaunted by Russell's unorthodox arrangements and tricky, pan-tonal harmonic sensibility, these young firebrands tackle these knotty compositions with flawless technique and unbounded creativity. “Ezz-Thetic” opens the album with a bustling, circuitous theme that ripples with spiraling angularity. Inspiring a round of exhilarating statements from the horns, the tune breaks down into a sequence of recurrent call and response between the rhythm section and brass that eschews typical conventions of pattern and form. Supported by subtle counterpoint and an elegant arrangement, Miles Davis' exotic “Nardis” is given a haunting reading. The sly and unassuming “Lydiot” reveals Russell's minimalist angularity behind the piano, while Dolphy displays a keening, expressive aspect in contrast to Ellis' dulcet trumpet. Using the blues as a basic framework, Baker's contribution, “Thoughts,” incorporates free-form sections at regular intervals, exposing the fine line between tradition and innovation. “Honesty” is a celebratory ode; a vibrant hybrid of classic swing and edgy futurism that contrasts bluesy lyricism with suspenseful, stop-time segments. A prescient rendition of Thelonious Monk's “'Round Midnight” acts as a showpiece for Dolphy. Opening with a free-form section of tiny instrumental sounds and highly vocalized brass effects, it pre-dates the work of the AACM ( Association for the Advancement of Creative Music ) by almost a decade. A brilliant study in dynamics and virtuosity, Dolphy's alto solo is legendary. Incorporating intervallic leaps and register changes with a highly vocalized tone and mellifluous phrasing, he offers a definitive statement on a hallowed theme. Two takes of the previously unissued “Kige's Tune” appear as bonus tracks. A driving bop-ish vehicle, it is a worthwhile addition, providing the perfect coda to a brilliant session. Cerebral and innovative, yet firmly grounded in tradition, Ezz-Thetics is essential listening and an absolute requirement for any comprehensive jazz collection. Russell's masterwork is beautiful, enthralling and adventurous, a perfect summation of all the innovations post-war jazz has to offer. ~ Troy Collins "Recently re-released on the 'Keepnews Collection' "Ezz-thetics" is my favourite of all Russell's Riverside output. The new reissue has the usual updated and perceptive and historically significant notes by the redoubtable Mr. Keepnews and has two previously unissued bonus tracks as well. Russell's bands fluctuated with different players but always sounded so modern and creative but this edition of the sextet was special because it had Eric Dolphy playing alto and bass clarinet. Dolphy joined for a few months and made this album with Don Ellis on trumpet, who was later to make his mark as a bandleader, David Baker on trombone,the wonderful and forgotten drummer Joe Hunt and the recording debut of Steve Swallow, playing accoustic bass make this a once in a lifetime session. Dolphy's energy and creativity make this recording significant but Ellis is on fire as well and this was to be the last recording by David Baker on trombone who as Keepnews says sounds both avant-guard and funky at the same time. Baker was playing with a dislocated jaw and right after this recording had an operation and switched from trombone to cello. Baker to this day is one of the leading educators in Jazz and classical music. Russell's piano is spare like Monk's and is so effective in solo and the fills for the horn players. The title track is an exciting and updated composition that Russell wrote for Miles and Lee Konitz in the early 50's and dedicated to the great Jazz loving prize fighter Ezzard Charles, hence the title,'Ezz-thetic'. The other highlight of this recording is one of the most unique versions of Monk's ''Round Midnight'. There are so many highlights to this album that one should hear it all and marvel at the very contemporary concept and sound of this March 1961 date." http://www.h33t.com/details.php? id=1c622dee4f0256995da0940a47ac8796dc8748e2

Dexter Gordon Quintet - Ladybird (1965)

Dexter Gordon Quintet - Ladybird (1965)

Musicians: 
Dexter Gordon, tenor saxophone 
Donald Byrd, trumpet 
Kenny Drew, piano 
Niels Pedersen, bass 
Alex Riel, drums 

Tracks: 
01  Ladybird (Dameron)
02  So What (Davis) 
03  Who Can I Turn To (When Nobody Needs Me) (Bricusse, Newley) 
04  Blues by Five (Davis) 


The latest offering from the seemingly bottomless Danmarks Radio Archive, this disc presents another air shot of Gordon’s lengthy mid-1960s Café Montmarte stint. Dex’s sizable cachet as an expatriate jazz icon prompted a nightly spooling of the tape machines. The resulting cache, so far doled out one set at a time, documents a particularly fertile time for the saxophonist. Shortly after arriving on European shores he teamed with pianist Kenny Drew and a topflight pair of locals in the persons of Pedersen and Riel, set up shop and enjoyed a more relaxed lifestyle than the scuffling of his earlier Big Apple years. This package is a bit different from the previous ones in that it presents trumpeter Donald Byrd, a fellow NYC émigré, sitting in with the working group. 

The top-heavy program revolves around extended readings of two standards: the Tad Dameron-penned title track and a blue-chip modal number from the best-selling jazz album of all-time. After a brief ensemble stroll through theme Gordon essays a hungry, if slightly boilerplate solo that swallows up a healthy string of choruses. Byrd follows, cooler in cast and surfing across Riel’s frothy snare and cymbal-driven fills with a succession of slightly smeared runs. Pithy Drew and Pedersen statements follow. Riel lends steady hi-hat and sharp, textured brushwork to the latter’s deft pizzicato exposition and the two wear their advanced postbop pedigrees proudly. The piece winds up with a short spate of robust exchanges between Riel and the rest. These closing minutes are marred by a recurring and intrusive tape warble that ends up sounding oddly like a third remedial horn. 

“So What” receives a comparably elongated reading with Pedersen paying homage to and capaciously expanding on Paul Chambers’ original epochal role. After the familiar bass invocation and riffing theme Gordon breaks away and spools out a sultry solo flanked briefly by just Pedersen and Riel at a brisk, but effervescent tempo. As on the previous cut, Drew delivers deft complementary chords that push the action without prodding it. Byrd’s improvisation unfolds in the leader’s wake, displaying a bit of the gelid clarity that was the composer’s calling card. Pedersen brings up the rear with another compact colloquium on killer contrabass technique. The horns wisely abstain from reentry and let it stand as the dénouement. 

Byrd sits out on a luxurious “Who Can I Turn To?”, but the band returns to full-size for the closer, another Miles Davis’ tune, “Blues By Five.” The trumpeter’s presence and the high degree of rapport shared by the rhythm section make this date one of note. Coupled with a tune choice that strays dexterously in more challenging directions than the band’s usual diet of bop standards it’s a welcome program that finds Gordon in a limber and exploratory mode. Foibles in fidelity aside, Dex aficionados will be sold on the disc’s face value. But casual listeners will probably also be pleasingly surprised by the caliber of this classic conclave. Bagatellen.com


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Thelonious Monk - Plays Duke Ellington (1955)

Thelonious Monk - Plays Duke Ellington (1955)

Musicians:
Thelonious Monk ( Piano ) 
Oscar Pettiford ( Double Bass ) 
Kenny Clarke ( Drums )

Tracks:
01  It Don't Mean A Thing ( If It Ain't Got That Swing ) (Duke Ellington/Irving Mills ) 
02  Sophisticated Lady (Duke Ellington/Irving Mills/Mitchell Parish) 
03  I Got It Bad And That Ain't Good ( Duke Ellington/Paul Francis Webster ) 
04  Black And Tan Fantasy ( Duke Ellington/Bubber Miley ) 
05  Mood Indigo ( Barney Bigard/Duke Ellington/Irving Mills )  
06  I Let A Song Go Out Of My Heart ( Duke Ellington/Irving Mills/Henry Nemo/John Redmond )  
07  Solitude ( Eddie DeLange/Duke Ellington/Irving Mills )  
08  Caravan ( Duke Ellington/Irving Mills/Juan Tizol )  


Thelonious Monk ( piano/arranger ) began his illustrious relationship with Riverside Records on the pair of July 21 and 27, 1955, dates needed to complete the eight sides for Plays Duke Ellington (1955 ). Monk commands a trio that also presents the talents of Oscar Pettiford ( bass ) and Kenny Clarke ( drums ) on all the tracks sans "Solitude," which appropriately enough features an unaccompanied piano. The delicacy and inherently intricate melodies that Duke Ellington is best known for are perfectly matched to Monk's angular and progressive interpretations. The combo are comfortable behind the pianist who remains somewhat subdued, if not arguably tentative, during the opening of " It Don't Mean a Thing ( If It Ain't Got That Swing ), " although by his solo, Monk eases into some nice give and take with a playful Pettiford, whose steady bounce undeniably congeals the unit's sound. Monk takes the refined grace of " Sophisticated Lady " into a virtually unsurpassed strata as his seemingly disjointed notes organically coalesce into a simply stunning, yet stark introduction, with Clarke's understated backbeat allowing room for Monk to embellish and thoroughly adorn. The dark optimism of " Black and Tan Fantasy " stands out as another perfect combination of music and musician. " I Let a Song Go Out of My Heart " is a fun little romp with Monk taking some tricky and rhythmically unanticipated side trips throughout his nimble and rollicking leads. " Caravan " is a gem as Clarke's sinuous trapwork becomes a perfect foil for Pettiford's buoyant basslines. It also reels in Monk's animated keyboard antics. Plays Duke Ellington is a recommended title for all dimension of jazz enthusiast. However, Monk and Ellington aficionados may rate it slightly higher. ~ by Lindsay Planer, AMG



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Kenny Burrell - Blues The Common Ground - 1968

Kenny Burrell - Blues The Common Ground - 1968


Musicians:
Kenny Burrell (Guitar) 
Herbie Hancock (Piano) - 1-5,7-11
Ron Carter (Double Bass) - 1-5,7-11
Grady Tate (Drums) - 3-5,7,9,11
Don Sebesky (Arranger and Conductor) - 1-5,7,8,10
Jimmy Cleveland (Trombone) - 1-5,7,8,10
Wayne Andre (Trombone) - 1-5,7,8,10
Jerome Richardson (Woodwinds and Reeds) - 1-5,7,8,10 
Johnny Pacheco (Percussion) - 1-5,7,8,10 
Bill Watrous (Trombone) - 1,2,8,10 
Paul Faulise (Trombone) - 1,2,8,10 
Snookie Young (Trumpet) - 1,2,8,10 
Jimmy Owens (Trumpet) - 1,2,8,10 
Bernie Glow (Trumpet) - 1,2,8,10 
Don Butterfield (Tuba) - 1,2,8,10 
Donald McDonald (Drums) - 1,2,8,10 
Urbie Green (Trombone) - 3-5,7 
Tony Studd (Trombone) - 3-5,7 
Ernie Royal (Trumpet) - 3-5,7 
Jimmy Nothingham (Trumpet) - 3-5,7 
Thad Jones (Trumpet) - 3-5,7 
Harvey Phillips (Tuba) - 3-5,7 

Tracks:
01  Everydays (Stephen Stills) 3:20 
02  Every Day (I Have The Blues) (Memphis Slim) 3:21 
03  The Preacher (Horace Silver) 3:00 
04  Angel Eyes (Matt Dennis/Earl Brent) 4:03 
05  The Common Ground (Kenny Burrell/Warren Stephens) 2:53 
06  Were You There? (Traditional) 1:16 
07  Burning Spear (Richard Evans) 2:48 
08  Wonder Why (Nicholas Brodszky/Sammy Cahn) 4:00 
09  Soulful Brothers (Kenny Burrell/Warren Stephens) 5:37 
10  See See Rider (Ma Rainey) 3:31 
11  Sausilito Nights (Kenny Burrell/Warren Stephens) 4:11


When it comes to Kenny Burrell, a title like Blues -- The Common Ground speaks volumes.  His approach always keeps in mind the connection of jazz to the blues, infusing his guitar with a soulful, hard bop edge.  Recorded in 1967 and 1968, Blues -- The Common Ground finds Burrell backed by lots of brass and wind instruments for most of the album, hardly his usual setting.  But his guitar successfully weaves in and out of songs like "Every Day ( I Have the Blues )" and "Burning Spear," blending with the band and creating a pleasant balance.  Much of this works thanks to arranger Don Sebesky's tasteful settings. Sebesky seems to have an instinctive grasp of when to sit on the band and when to let it fly loose. There's the late-night, gentle feel of "Angel Eyes," and the more animated setup on the title cut. The only time this doesn't work is on pieces like "The Preacher" and "See See Rider," where the upbeat horns and shrill flutes remind one of a "groovy" soundtrack from a bad '60s movie.  It's also interesting to note that the album's unusual song choices, like "Everydays" by Stephen Stills, do find common ground in the blues. There's a beautiful, short solo piece, "Were You There?," and two quartet pieces, "Sausalito Nights" and "Soulful Brothers."  Blues -- The Common Ground holds up well, and the 2001 reissue offers Burrell fans a cleaned-up version of this fine album. ~ Ronnie D. Lankford Jr., AMG



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