Charles Mingus - Let My Children Hear Music (1972)

Charles Mingus - Let My Children Hear Music (1972)

jazz, | 1cd | eac-flac-cue-log-cover | 395MB

Columbia CK48910

Allmusic:
On the original LP issued by Columbia, Mingus thanked producer Teo Macero for "his untiring efforts in producing the best album I have ever made." From his deathbed in Mexico in 1979 he sent a message to Sy Johnson (who was responsible for many of the arrangements on the album), saying that Let My Children Hear Music was the record he liked most from his career. Although Mingus' small-group recordings are the ones most often cited as his premier works, this album does, in fact, rank at the top of his oeuvre and compares favorably with the finest large-ensemble jazz recordings by anyone, including Ellington. The pieces had been brewing over the years, one from as far back as 1939, and had been given more or less threadbare performances on occasion, but this was his first chance to record them with a sizable, well-rehearsed orchestra. Still, there were difficulties, both in the recording and afterward. The exact personnel is sketchy, largely due to contractual issues, several arrangers were imported to paste things together, making the true authorship of some passages questionable, and Macero (as he did with various Miles Davis projects) edited freely and sometimes noticeably. The listener will happily put aside all quibbles, however, when the music is heard. From the opening, irresistible swing of "The Shoes of the Fisherman's Wife Are Some Jiveass Slippers" to the swirling depths of "The I of Hurricane Sue," these songs are some of the most glorious, imaginative, and full of life ever recorded. Each piece has its own strengths, but special mention should be made of two. "Adagio Ma Non Troppo" is based entirely on a piano improvisation played by Mingus in 1964 and issued on Mingus Plays Piano. Its logical structure, playful nature, and crystalline moments of beauty would be astounding in a polished composition; the fact that it was originally improvised is almost unbelievable. "Hobo Ho," a holy-roller powerhouse featuring the impassioned tenor of James Moody, reaches an incredible fever pitch, the backing horns volleying riff after riff at the soloists, the entire composition teetering right on the edge of total chaos. Let My Children Hear Music is a towering achievement and a must for any serious jazz fan. The CD issue includes one track, "Taurus in the Arena of Life," not on the original LP, but unfortunately gives only snippets from the Mingus essay that accompanied the album. That essay, covering enormous territory, reads like an inspired Mingus bass solo and should be sought out by interested listeners. One can't recommend this album highly enough.

Tracks
-1. "The Shoes of the Fisherman's Wife Are Some Jiveass Slippers" – 9:34
-2. "Adagio ma Non Troppo" – 8:22
-3. "Don't Be Afraid, the Clown's Afraid Too" – 9:26
-4. "Taurus in the Arena of Life" – 4:17
-5. "Hobo Ho" – 10:07
-6. "The Chill of Death" – 7:38
-7. "The I of Hurricane Sue" – 10:09

 sample & buy: Let My Children Hear Music 

Orlando Gibbons - Complete Keyboard Works (2007)

Orlando Gibbons - Complete Keyboard Works (2007)
Daniel-Ben Pineaar - piano

classical | 2cd | eac-flac-cue-log-cover | 320MB

Deux-Elles

Allmusic:
Pianist Daniel-Ben Pienaar, an English performer and educator of South African origin, is one of the few individuals to have played the Renaissance organ and virginal music of Orlando Gibbons on a modern piano. One of the others was Glenn Gould, from whom Pienaar takes pains to distinguish himself in his own booklet notes. He strives for a more pianistic approach in contrast to Gould's abstract (Pienaar's word is "arid") playing, with a good deal of pedal and a light, feathery treatment of the quick runs that emerge from Gibbons' basically chordal textures. In various other ways, Pienaar takes Gibbons' music merely as a creative starting point. He groups most of the music into heterogenous sets of from three to five pieces, creating suite-like configurations that Gibbons wouldn't have recognized. It may be that, on a piano, Gould (who named Gibbons, not Bach, as his favorite composer) better complements the complex, serious style of Gibbons' music; Pienaar comes off as frilly and a bit sentimental in comparison. But the real choice is between piano and the instruments for which Gibbons wrote the music. Hear the recording of a program similar to Pienaar's by John Toll, playing a small organ, on the Linn label; how the focus stays on the contrapuntal structure of the music, how the rapid runs complement that structure instead of seeming like an exotic effect, how the serious, intellectual quality of Gibbons' keyboard music, the perfect counterpart to his refined madrigals. There's no doubting the elegance and the technical facility of Pienaar's performances. The only doubt arises when one considers the question of their necessity.

Tracks
cd1
01 - Fantasia MB10
02 - Pavan MB17
03 - Galliard MB24
04 - Ground MB26
05 - Mask The Fairest nymph MB43
06 - Fantasia MB14
07 - Alman MB35
08 - Galliard MB25
09 - Ground The Italian ground MB27
10 - Mask Lincoln’s Inn Mask MB44
11 - Prelude MB2
12 - Alman MB37
13 - Alman MB36
14 - Fantasia MB6
15 - Fantasia MB5
16 - Galliard Lady Hutton MB20
17 - Galliard MB23
18 - Galliard MB21
19 - Fantasia MB9
20 - Pavan MB16
21 - Ground Whoop, do me no harm, good man MB31
22 - Ground Peascod time, or, The hunt’s up MB30
cd2
01 - Fantasia MB7
02 - Alman MB33
03 - Coranto French Coranto MB38
04 - Coranto MB39
05 - Mask Welcome home MB42
06 - Prelude MB1
07 - Versus MB4
08 - Fantasia MB11
09 - Alman MB34
10 - Coranto MB40
11 - Fantasia MB13
12 - Mask The temple mask MB45
13 - Ground The Queens’s command MB28
14 - Ground The woods so wild MB29
15 - French Air MB32
16 - Prelude MB3
17 - Fantasia MB8
18 - Pavan MB15
19 - Galliard MB22
20 - Mask Nann’s mask or French Alman MB41
21 - Pavan Lord Salisbury MB18
22 - Galliard Lord Salisbury MB19
23 - Fantasia MB12

 sample & buy: Orlando Gibbons: Complete Keyboard Works 

Lee Morgan - The Rajah (1966)

Lee Morgan - The Rajah (1966)

jazz, | 1cd | eac-flac-cue-log-cover | 280MB

Blue Note

Allmusic:
This long-lost Lee Morgan session was not released for the first time until it was discovered in the Blue Note vaults by Michael Cuscuna in 1984; it has still not been reissued on CD. Originals by Cal Massey, Duke Pearson ("Is That So") and Walter Davis, in addition to a couple of surprising pop tunes ("What Not My Love" and "Once in My Lifetime") and Morgan's title cut, are well-played by the quintet (which includes the trumpeter/leader, Hank Mobley on tenor, pianist Cedar Walton, bassist Paul Chambers and drummer Billy Higgins). Much of the music is reminiscent of The Jazz Messengers and that may have been the reason that it was lost in the shuffle for Morgan was soon investigating modal-oriented tunes. Despite its neglect, this is a fine session that Lee Morgan and hard bop fans will want.

Tracks
-1. "A Pilgrim's Funny Farm" (Massey) - 13:36
-2. "The Rajah" (Morgan) - 9:11
-3. "Is That So?" (Pearson) - 5:18
-4. "Davisamba" (Davis) - 6:46
-5. "What Now, My Love?" (Bécaud) - 5:22
-6. "Once in My Lifetime" (Bricusse, Newley) - 5:47

Personnel
* Lee Morgan - trumpet
* Hank Mobley - tenor saxophone
* Cedar Walton - piano
* Paul Chambers - bass
* Billy Higgins - drums

 sample & buy: The Rajah 

 

Muhal Richard Abrams - Levels And Degrees Of Light (1967)

Muhal Richard Abrams - Levels And Degrees Of Light (1967)

jazz, | 1cd | eac-flac-cue-log-cover | 250MB

Delmark

Allmusic:
Levels and Degrees of Light was the first recording under Muhal Richard Abrams' name and was a landmark album that launched the first in a long line of beautiful, musical salvos from the AACM toward the mainstream jazz world. The title track finds Abrams broadly tracing out some of the territory he would continue to explore in succeeding decades, an ethereal, mystic quality (evinced by Penelope Taylor's otherworldly vocalizing and Gordon Emmanuel's shimmering vibes) balanced by a harsh and earthy bluesiness set forth by the leader's piercing clarinet. "The Bird Song" begins with a fine, dark poetry recitation by David Moore (oh! for the days when one didn't approach a poem on a jazz album with great trepidation) before evanescing into a whirlwind of percussion, bird whistles, and violin (the latter by Leroy Jenkins in one of his first recorded appearances). When the band enters at full strength with Anthony Braxton (in his first recording session), the effect is explosive and liberating, as though Abrams' band had stood on the shoulders of Coltrane, Coleman, and Taylor and taken a massive, daring leap into the future. It's a historic performance. The final track offers several unaccompanied solo opportunities, spotlighting Abrams' sumptuous piano and the under-recognized bass abilities of Charles Clark. This is a milestone recording and belongs in the collection of any modern jazz fan.

Tracks
-1. "Levels and Degrees of Light" - 10:33
-2. "The Bird Song" (Abrams, David Moore) - 23:00
-3. "My Thoughts Are My Future - Now and Forever" - 9:43

Personnel
* Muhal Richard Abrams: piano, clarinet
* Anthony Braxton: alto saxophone
* Maurice McIntyre: tenor saxophone
* Leroy Jenkins: violin
* Gordon Emmanuel: vibraphone
* Charles Clark: bass
* Leonard Jones: bass
* Thurman Barker: drums
* Penelope Taylor: vocals
* David Moore: poet (track 2)

 sample & buy: Levels and Degrees of Light

Maria Farantouri - 17 Songs (1990)

Maria Farantouri - 17 Songs (1990)

world, traditional | 1cd | eac-flac-cue-log-cover | 390MB

Tropical 68950

Amazon customer:
I must say that this is the only Farantouri album ( and I have them all) that has been a big dissapointment. For some reason her glorious voice desterted her when she recorded 17 songs. There is no power here and she sounds breathless. And then there are the arrangements of the songs that are less then exceptional. There are so many other albums by this greatest of (greek) singers that you could buy. Everything she recorded with Theodorakis for example. Buy Mauthausen and hear these incredible songs with a 16 year old girl that has a voice that moves to tears time and again. Buy her interpretation of the Lorca songs with guitarist John Williams or Canto General by Pablo Neruda that show Farantouri in her prime. Buy the latest albums Poetica, Asmata or Serenades where Farantouri reemerges with old conviction and power and with new maturity. Or try to find I megali Agripnia, an album from the seventies by Eleni Karaïndrou, wonderful songs and exeptionally sung by Farantouri. In short; buy anything else before you buy 17 songs

Tracks
-01. "Caruso" feat D. Savopoulos - (Lucio Dalla)
-02. "San Vicente" - (Milton Nascimento - Fernando Brant)
-03. "Adio Querida" - (Trad. Sefardi Span. / Hebräisch v. 1492)
-04. "Filho" - (Milton Nascimento / Fernando Brant)
-05. "Once Upon A Summertime" - (Michel Legrand - J. Mercer)
-06. "Solo Le Pido A Dios" - (Leon Gieco)
-07. "Sol Negro" feat Mercedes Sosa - (Caetano Veloso)
-08. "Tora Xero" (Jetzt weiß ich) - (Vangelis Papathanassiou - Michails Bourboulis)
-09. "La Canzone Del Mal Di Luna -(Nicola Piovani)
-10. "Youkali" - (Kurt Weil - Roger Fernay)
-11. "I Kikni (Die Schwäne) - (Manos Katzidakis)
-12. "Wenn Ich Mir Was Wünschen Dürfte - (Fr. Holländer)
-13. "Nanourisma" Mercedes Sosa - (Manos Katzidakis - N. Gastos)
-14. "San Elektra" (Wie Elektra) - (Vangelis Papathanassiou - M.Bourboulis)
-15. "Sarracini" - (Trad. Lied aus Kampania / Napoli)
-16. "Esta Montana" - (Trad. Sefardi-Lied Span. / Hebräisch v. 1492)
-17. "Odi A (Ode A) - (Vangelis Papathanassiou - M.Bourboulis)
Total playing time: 65:18

In the 17 Songs arranged for her by the Cuban composer Leo Brouwer with guest appearance of Mercedes Sosa, she interpreted C.Veloso, M.Nascimento, M.Legrand, N.Piovani and Kurt Weill.

 sample & buy: 17 Songs

Ellery Eskelin - Vanishing Point (2001)

Ellery Eskelin - Vanishing Point (2001)

jazz, | 1cd | eac-flac-cue-log-cover | 270MB

hatOLOGY 577

Allmusic:
Does Ellery Eskelin ever lead a group with less than outstanding results? This is his sixth recording for a series of limited-edition CDs produced by the adventurous Swiss label hatOLOGY, and like its predecessors, it is a winner all the way. Eskelin knows what he wants, and for that reason his efforts as a leader are highly focused. For this one, he invited a vibraphonist and three leading string players known for their facility with free improvisation. The eight tracks were freely improvised without any rehearsals or preconceptions. This is risky business, to be sure, but with the likes of Eskelin, violist Mat Maneri, cellist Erik Friedlander, and bassist Mark Dresser, all of whom are well-known for their remarkable skills as soloists, the results are entirely successful. There is an intense lyricism produced that belies the common conception of free improvisation. The strings and vibes stand on their own, with the saxophonist's exquisite tone drawing, blending, and contrasting its timbre. Each piece somehow sounds composed and explores something slightly different, drawing the listener deeply into an array of mysterious sounds. There is a chamber-like quality to much of it, though Eskelin and his colleagues are much too experienced and savvy to let what they do be pigeonholed. Longtime fans of the saxophonist will not be disappointed; for those who are unfamiliar with this great player, this might be a fine introduction to his highly creative work.

Tracks
-1. "Scatter Brain" - Ellery Eskelin - 5:44
-2. "Horizon Blue" - Ellery Eskelin - 10:29
-3. "Terra Firma" - Ellery Eskelin - 5:16
-4. "Inquiétante Familiarité" - Ellery Eskelin - 6:33
-5. "Transient" - Ellery Eskelin - 5:16
-6. "Still Life" - Ellery Eskelin - 4:04
-7. "Signal Drift" - Ellery Eskelin - 5:54
-8. "Paradigm" - Ellery Eskelin - 7:49

Personnel
* Ellery Eskelin: tenor saxophone
* Mat Maneri: viola
* Erik Friedlander: cello
* Mark Dresser: bass
* Matt Moran: vibraphone

 sample & buy: Vanishing Point

Eberhard Weber - Stages Of A Long Journey (2005)

Eberhard Weber 2005 - Stages Of A Long Journey

jazz, classical | 1cd | eac-flac-cue-log-cover | 390MB

ECM

Allmusic:
Stages of a Long Journey was recorded in Stuttgart in March of 2005, as part of a celebration of both the 20th anniversary of the Theaterhaus Jazzstage festival and as a 65th birthday celebration for bassist Eberhard Weber. Weber was asked to pick a number of his own compositions, rearrange them by writing new charts for the Stuttgart Radio Symphony Orchestra, and select his own band as well. Weber picked on former and current bandmates such as Gary Burton, Jan Garbarek, Rainer Bruninghaus, Marilyn Mazur, Wolfgang Dauner, Reto Weber, and human beatbox Nino G., and carefully chose material from his own catalog and pieces he had performed on in their initial recordings, such as Bruninghaus's "Piano Transition," Jerome Kern's "Yesterdays," Mazur's "Percussion Transition," and Carla Bley's "Syndrome." Those wondering if there is any actual "jazz" on this record need look no further than the gorgeous version of Bley's tune here, where Burton, Garbarek, and the bassist all shine. Another consideration for the listener is in Weber's beautiful, inventive, rhythmic charts for the orchestra (under the direction of Roland Kluttig). "Silent Feet," which opens the set, is one such exercise. What begins as a slow bowed bassline is colored and enlarged by the orchestra entering gradually, tensely, and dramatically, as grey dawn emerges from the night sky. A pulse begins just after Mazur's percussion entry, the band plays these intricate rhythmic phrases, and the orchestra adds genuine color, texture, and depth. They follow rhythmic signature perfectly, allowing the tune to evolve and bring its delightfully understated melodic frame (which is not inseparable from the pulse) to the fore. By the time Garbarek takes his solo and Weber plays double time behind him, the big brassy horns are ready to push and drop out only as Burton enters with a truly lovely and poetic solo.
There are a fine pair of duets played here as well, between Dauner on piano and Weber's bass on the lovely Kern number, and also "Seven Movements," shared by the bassist and Garbarek. They set the stage for what follows, the elongated "Birthday Suite" that encompasses five pieces -- bookended by gorgeous readings of two of Weber's best-known pieces, "The Colours of Cloë" and "Yellow Fields." On "Hang Around," a trio of Nino G., Weber's downright funky acoustic bass, and the self-designed percussion instrument played by Reto Weber (no relation) called the "hang," are in deep intuitive interplay. The work by G. is not a novelty, but something inventive, utterly fresh, and full of the energy -- especially in G.'s solo. The final two pieces of the evening are in many ways the most satisfying. The full band returns on "The Last Stage of a Long Journey," where the orchestra introduces the brooding and melancholy composition. Strings and the deep brass of tuba and euphonium gradually bring up the tempo and introduce the lithe melody, as Weber brings his bass up from the ether. When Bruninghaus restates the theme on the piano and Weber is allowed free play inside the rhythm, Burton begins to color it. When Garbarek's icy soprano saxophone cries out, it is arresting and rings true. The concert ends with a brief bass solo by Weber on "Air." In just over three minutes, the great bassist is not remotely interested in showing his chops but in playing this bittersweet little song as a folk tune. This is a watershed moment in Weber's recorded output, because it reveals his collective gifts as a musician, which, even when understated, are shining examples of the European jazz, folk, classical, and new music he has forged these last 40 years as a leader and as a valued sideman and composer.

Tracks
-01. "Silent Feet" - 7:37
-02. "Syndrome" - 7:44
-03. "Yesterdays" - 5:03
-04. "Seven Movements / Birthday Suite" - 5:54
-05. "Colours of Chloe" - 7:19
-06. "Piano Transitino" - 4:11
-07. "Maurizius" - 7:04
-08. "Percussion transition" - 3:03
-09. "Yellow Fields" - 7:01
-10. "Hang Around" - 4:17
-11. "Last Stage of a Long Journey" - 11:06
-12. "Air" - 3:10

Personnel
* Gary Burton - vibraphone
* Jan Garbarek - soprano saxophone, tenor saxophone
* Eberhard Weber - bass instrument
* Rainer Bruninghaus - piano, keyboards
* Marilyn Mazur - drums, percussion
* Wolfgang Dauner - piano
* Nino G
* Roland Kluttig
* SWR Stuttgart Radio Symphony Orchestra

 sample & buy: Stages of a Long Journey