Contributions of the group Jazz

John Coltrane, Olé Coltrane

nobody@ipernity.com (Wolfgang) — Tue, 29 May 2012 05:05:54 +0000

Wolfgang has posted:

Olé Coltrane is the ninth album by jazz musician John Coltrane, released in 1962.
Coltrane's interest in the music of Spain evident in "Olé," may have been spurred by his ex-employer's Sketches of Spain from the previous year.
John Coltrane (soprano & tenor saxophones);
Eric Dolphy (alto saxophone, flute); Freddie Hubbard (trumpet);
McCoy Tyner (piano);
Reggie Workman, Art Davis (bass);
Elvin Jones (drums).

Paco de Lucia, Larry Coryell & John McLaughlin, Gitanos Andaluces

nobody@ipernity.com (Wolfgang) — Tue, 29 May 2012 05:31:24 +0000

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Out of the album Castro Marin
In 1979 and 1980, John McLaughlin, Larry Coryell and Paco De Lucia formed a guitar super-trio and toured Europe. The spellbinding quality of the music that the collaboration created as an ensemble and the dazzling audience reaction to the performances has never been surpassed and has rightfully passed into Jazz folklore.

Paco de Lucia, Larry Coryell & John McLaughlin, Herencia

nobody@ipernity.com (Wolfgang) — Tue, 29 May 2012 05:36:10 +0000

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At long last an original, authenticated master of one of the concerts on the tour is available; anybody interested in jazz guitar has to hear and see this!.
An other track from the album Castro Marin

Miles Davis, Gill Evens, Solea

nobody@ipernity.com (Wolfgang) — Mon, 28 May 2012 07:47:14 +0000

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The album pairs Davis with arranger and composer Gil Evans, with whom he had collaborated on several other projects, on a program of compositions largely derived from the Spanish folk tradition. Evans explained, "We hadn't intended to make a Spanish album. We were just going to do the Concierto de Aranjuez. A friend of Miles gave him the only album in existence with that piece. He brought it back to New York and I copied the music off the record because there was no score. By the time we did that, we began to listen to other folk music, music played in clubs in Spain... So we learned a lot from that and it ended up being a Spanish album. The Rodrigo, the melody is so beautiful. It's such a strong song. I was so thrilled with that."

Herbie Hancock, Carlos Santana & Angelique Kidjo, Safiatou

nobody@ipernity.com (Wolfgang) — Sat, 09 Apr 2011 12:31:29 +0000

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Who does not know Carlos Santana and his variety in his guitar music, his band "Santana" but his attendance by so many other top musicians like Michael Babatunde "Baba" Olatunji, or here with Herbie Hancock and the West African jazz singer Angelique Kidjo. Listen here to a clip where this masters of Latin jazz create their master piece!

Babatunde Olatunji, Drums of Passion, Akiwowo (A Capella)

nobody@ipernity.com (Wolfgang) — Mon, 12 Nov 2007 09:18:46 +0000

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Olatunji (April 7, 1927 - April 6, 2003) won a following among jazz musicians, notably creating a strong relationship with John Coltrane and John Hammond who signed him to the Columbia label in 1957. He founded the Olatunji Center for African Culture in Harlem.
In 1959 Olatunji released his first of six records on the Columbia label, called Drums of Passion. Carlos Santana had a major hit with his cover version of this first album's "Jin-go-lo-ba". Olatunji favoured a big percussion sound, and his records typically featured more than 20 players, unusual for a percussion based ensemble. Drums of Passion became a major hit and remains in print; it introduced many Americans to world music. Drums of Passion also served as the band's name. Notable band members included; Clark Terry, Bill Lee, Horace Silver, Yusef Lateef, Sikiru Adepoju and Charles Lloyd, among others.
Olatunji's subsequent recordings include Drums of Passion: The Invocation (1988), Drums of Passion: The Beat (1989) (which included Airto Moreira and Carlos Santana), Love Drum Talk (1997), Circle of Drums (2005) (originally titled Cosmic Rhythm Vibrations, with Muruga Booker and Sikiru Adepoju), and Olatunji Live at Starwood with guest Halim El-Dabh. He also contributed to "Peace Is The World Smiling: A Peace Anthology For Families" on the Music For Little People label (1989).
Olatunji recorded with many other prominent musicians, including Cannonball Adderley (on his African Waltz album), Horace Silver, Quincy Jones, Pee Wee Ellis, Stevie Wonder, Randy Weston, and with Max Roach and Abbey Lincoln on the pivotal Freedom Now Suite aka We Insist, and with Grateful Dead member Mickey Hart on his Grammy winning Planet Drum projects. He is also mentioned in the lyrics of Bob Dylan's "I Shall Be Free" as recorded on the album The Freewheelin' Bob Dylan.

Cannonball Adderley, Mercy, Mercy, Mercy! Live at 'The Club'

nobody@ipernity.com (Wolfgang) — Wed, 30 Apr 2008 10:56:11 +0000

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Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975), was a jazz alto saxophonist of the small combo era of the 1950s and 1960s.
The nickname "Cannonball" was a childhood nickname for the portly saxophonist, a corruption of "cannibal". An articulate speaker with an easy manner, Cannonball educated, amused, and informed his audiences in clubs and on television about the art and moods of jazz (he was a music teacher before beginning his jazz career).

Though the original liner notes state that it was recorded at the Club De Lisa in Chicago, it was actually recorded in a studio with an invited audience and an open bar. The reason for this discrepancy, according to the liner notes in the CD reissue, is that Adderley and the new manager of Club De Lisa (which had been re-named "The Club", after operating for years in Chicago under its old name) were friends, and Adderley offered to give the club a bit of free publicity.

Abdullah "Dollar Brand" Ibrahim, Kramat

nobody@ipernity.com (Wolfgang) — Wed, 30 Apr 2008 10:59:17 +0000

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Abdullah Ibrahim (born 9 October 1934 in Cape Town, South Africa), formerly known as Adolph Johannes Brand, and as Dollar Brand, is a South African pianist and composer. His music reflects many of the musical influences of his childhood in the multicultural port areas of Cape Town, ranging from traditional African songs to the gospel of the AME Church and ragas, to more modern jazz and other Western styles. Within jazz, his music particularly reflects the influence of Thelonious Monk and Duke Ellington.
He first received piano lessons at the age of seven, was an avid consumer of jazz records brought by American sailors, and was playing jazz professionally by 1949. In 1959 and 1960, he played alongside Kippie Moeketsi with The Jazz Epistles in Sophiatown before joining the European tour of the musical King Kong.

Mongo Santamaria, Este Mambo

nobody@ipernity.com (Wolfgang) — Wed, 15 Apr 2009 13:48:17 +0000

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Ramón "Mongo" Santamaría (*7th of April 1917 in Havana, Cuba – †1st of February, 2003) was an Afro-Cuban Latin jazz percussionist. He is most famous for being the composer of the jazz standard "Afro Blue," recorded by John Coltrane among others. In 1950 he moved to New York where he played with Perez Prado, Tito Puente, Cal Tjader, Fania All Stars, etc. He was an integral figure in the fusion of Afro-Cuban rhythms with R&B and soul, paving the way for the boogaloo era of the late 1960s. His 1963 hit rendition of Herbie Hancock's "Watermelon Man" was inducted into the Grammy Hall of Fame in 1998.

Tito Puente, Take Five

nobody@ipernity.com (Wolfgang) — Wed, 15 Apr 2009 13:51:44 +0000

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"Take Five" is a classic jazz piece first recorded by the Dave Brubeck Quartet and released on its 1959 album Time Out.
This version is sampled by Tito Puente, "The King of Latin Music". He is best known for dance-oriented mambo and Latin jazz compositions that helped keep his career going for 50 years.
If you like you can listen this track in a life concert
www.youtube.com/watch?v=h7q6DvGeTI0
(especially the drums and percussion player you should see and listen to him!!!)

Don Ellis Big Band, Feriis Wheel

nobody@ipernity.com (Wolfgang) — Mon, 30 Nov 2009 14:08:42 +0000

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Don Ellis big band have an own way of its spoof and humor.
While Ellis's explorations with elements of form and content in jazz were undeniably innovative, his delivery of these innovations has caused many to dismiss him as pretentious or gimmicky. He used to explain to his audience how certain time signatures were divided, often with humorous twists , his sense of humor often caused critics to think he didn't take his own music "seriously".
However, evidence shows that Ellis was a serious and dedicated musician who not only had high performance standards, he also placed great importance on teaching music. He formed a youth band in Los Angeles, led by Glenn Ferris. Sidemen such as Stu Blumberg further credit Ellis for preparing them for the idiosyncrasies of unconventional music in film soundtracks. Tenor player Jim Snodgrass remarked, "I think in many ways Don was a teacher. One thing his music taught me was that I could play anything I absolutely had to."

Don Ellis Big Band, Turkish Bath

nobody@ipernity.com (Wolfgang) — Mon, 30 Nov 2009 13:24:46 +0000

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The following three music documents I'll remind to the great jazz big band master Don Ellis who gave the history an outstanding note. He diet - much to young - 1978 in the age of 44.
Don Ellis is probably best remembered for his work as a big band jazz leader. His orchestra, which was active from 1966-78, achieved enormous popular appeal at a time when the influence of big band music was noticeably fading.
Electric Bath (1967), which was nominated for a Grammy award and also earned an "Album of the Year" award from Down Beat magazine, quickly became Ellis's most popular release to date. The recording was Ellis's first studio album with his orchestra and also his first on the Columbia label. The 5/4 "Indian Lady," from the Electric Bath session, features passages of Indian-inspired textures and became a fan favorite. A shortened version was released as a single. Another selection on the recording, titled "Open Beauty," features psychedelic webs of electronic effects, including creative trumpet improvisation by Ellis utilizing an echoplex tape-loop.

Don Ellis Big Band, Bulgarian Bulg

nobody@ipernity.com (Wolfgang) — Mon, 30 Nov 2009 13:59:27 +0000

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The New Don Ellis Band Goes Underground is strikingly inconsistent with the adjacent Ellis Orchestra releases. However, the recording foreshadows Ellis's commercialized approach to selections appearing on several of his later recordings.
This track proves the perfect teamwork of his big band. Every jazz and music lover should try to count out the complicated beat of this Bulgarian Bulg - I couldn't do it.