• http://jazztree.net/web/product/tiny/u0403_52.jpgNote :

    http://en.wikipedia.org/wiki/Bennie_Green

    Sortie :1958
    Style : Jazz

    Tracklist :
    1. I Love You - 6:08
    2. Melba's Mood - 5:35
    3. Just Friends - 7:03
    4. You're Mine, You - 5:18
    5. Bennie Plays The Blues - 8:25
    6. Green Street - 5:09

    LINEUP: Bennie Green (trombone), Charlie Rouse (tenor sax), Joe Knight (piano), George Tucker (bass), Louis Hayes (drums)

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    It's evident from the opening pair of Latin-flavored performances that Back on the Scene is one of Bennie Green's most diverse efforts. Green's warm, supple tone and fondness for swinging, bop-influenced mainstream jazz and jump blues hasn't disappeared; he's just found new facets in his style. The infectious Latin rhythms on Cole Porter's "I Love You" and "Melba's Mood" are welcome, as is "You're Mine You," which showcases Green's sensitive ballad style. Reviving the standard "Just Friends" emphasizes the trombonist's ties to big band and bop, particularly through tenor saxophonist Charlie Rouse's strong solos. The jumping "Bennie Plays the Blues" and "Green Street" are also terrific, finding Green, Rouse and pianist Joe Knight trading full-bodied solos. Even with this vast array of styles, Back on the Scene retains all the good-natured spirit and humor of his earlier Prestige albums.
    ~ Stephen Thomas Erlewine
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  • http://content.answers.com/main/content/img/amg/pop_albums/cov200/dre000/e086/e08670oibak.jpg

    from Wikipedia :
    John Josephus Hicks, Jr. (December 21, 1941, Atlanta, Georgia – May 10, 2006) was an American jazz pianist and composer, active in the New York and the international jazz scene from the mid-1960s.

    Biography
     Hicks studied music at Lincoln University in Missouri and Berklee School of Music in Boston before moving to New York in 1963.He was a member of Art Blakey's Jazz Messengers (1964-1965) and occasionally in the 1970s, worked with Betty Carter (1966-1968, 1975-1980), and was in one of Woody Herman's groups (1968-1970). From the early 1980s until his death he performed solo and led his own groups including The Keystone Trio. Hicks played and recorded with jazz artists such as David Murray, Joe Lovano, David "Fathead" Newman, George Mraz, Arthur Blythe, Kenny Barron and many others. The pianist recorded the seventh instalment of the "Live at Maybeck Recital Hall" series of solo concerts, which were recorded for Concord Records.

    DISCOGRAPHY :
    • Hell's Bells (1978) - Strata-East Records, with Clint Houston, Cliff Barbaro
    • After the Morning (1979) with [[Walter Booker]Bass], [Clifford Barbaro - Drums] West 54 Records
    • Some Other Time (1981)
    • John Hicks (1984)
    • Luminous (1988)
    • Two of a Kind (1989)
    • Live at Maybeck Recital Hall, Vol. 7 (1991)
    • In Concert (1993)
    • Beyond Expectations (1994)
    • Piece for My Peace (1996)
    • After the Morning (1997)
    • Something to Live For: A Billy Strayhorn Songbook (1998)
    • Hicks Time: Solo Piano (1999)
    • Nightwind: An Erroll Garner Songbook (1999)
    • Impressions of Mary Lou (2000)
    • Music in the Key of Clark: Remembering Sonny Clark (2002)
    • Fatha's Day: An Earl Hines Songbook (2003)
    • Sweet Love of Mine (2006)
    • On the Wings of an Eagle (2007)
    • I Remember You"' (2009)
    • Passion Flower (2009)
    Note :
    Tracklist :
    Naima's Love Song
    Peanut Butter
    Hicks' Time
    April Eyes
    Redd's Blues
    Reminds Me
    Jest a Little
    Two Heartbeats
    Heart to Heart
    Steadfast
    After the Morning
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  • http://jazz-hippo.cocolog-nifty.com/photos/uncategorized/2007/11/10/dmitri_kolesnik_five_corners.jpg


    http://www.myspace.com/dmitrikolesnik

    Russian bassist/composer Dmitri Kolesnik was born in Leningrad, now known as St. Petersburg.  Graduating with a music degree in 1985 from the Mussorgsky College of Music he moved first to Germany and then, in 1991, to New York where he studied with Ron Carter and earned a Masters Degree in Music from the City College of New York.  His note for note transcription of 19 Ron Carter solos is published by Hal Leonard.  Among the artists Kolesnik has worked with include Dave Brubeck, Billy Taylor, Jon Faddis and Pat Methany.

    Five Corners is the current state of a musical union started six years ago.  It began when Kolesnik invited tenor saxophonist Eric Alexander, trumpeter Alex Sipiagin, pianist Andrei Kondakov and drummer Lenny White to record his music.  The recording of that work, Blues For Dad, was released on the Russian Boheme record label.  Since then the group has worked regularly in New York as well internationally, such as their 2005 appearance at the Peter-and-Paul International Jazz Festival in Russia.  On this recording they’ve added trumpeter Jim Rotondi in place of Sipiagin on eight of the ten tunes.

    This wonderful recording of ten straight-ahead original compositions, eight by Kolesnik and two by Kondakov, is a delight.  Each of the tunes has a different vibe and, as a collection, strongly demonstrates how much these musicians enjoy playing with each other.  The glue that makes the disc work is the exceptional percussion/drum set work of Lenny White.  While perhaps more known for his more commercial work at the end of the 20th century, this strong musician drives the group when they need propelling and fills the quiet holes as well as any drummer working today.  His tight cymbal work and fleet hands on “Monk’s Mood” is without peer.  His notes don’t just impel the ensemble forward, he has the ability to make his fellow co-patriots glide on a cushion of rhythmic air.  Similarly, on the ballad “Long Nights Without You,” his crystalline strokes of beauty help to make this tune a shimmering stylish affair full of empathetic sadness and exquisite emotion.

    Tenor saxophonist Eric Alexander, long known for his beauty and meticulous attention to traditional jazz skillfulness and ability, plays with conviction and a gorgeous tone throughout.  Whether the trumpeter/flugelhornist is Jim Rotondi or talent deserving wider recognition Alex Sipiagin, they both handle the brass chair with panache and wit.  Pianist Andrei Kondakov has a knack for finding just the right voicings at just the right time.  His effortless waltz through the 5/4 time of “Aniuta” is a delight.  His touch is so smooth you don’t realize the tune is in five until you dissect the composition.

    Kolesnik distinguishes himself with a full and round tone.  His inventive walking lines work to embellish the soloist’s ideas; as seen with his adroit upper tessitura ostinato work behind Rotondi’s sweet solo on “Goodbye.”  As a composer he is capable of writing music of great emotional content; from full out swingers to light and clever mid-tempo masterpieces and lush ballads, Kolesnik is obviously a musician who has spent great time in study of music of the masters.  His ability to then filter that knowledge through his own prism to create wonderful masterpieces of form and harmony results in a truly enjoyable CD.  You will find yourself listening to this disc again and again.

    Reviewed by: Thomas R. Erdmann

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    Note :
    LINEUP:
    Dmitri Kolesnik - bass
    Eric Alexander - tenor sax
    Jim Rotondi - trumpet and flugelhorn
    Alex Sipiagin - trumpet and flugelhorn
    Andrei Kondakov - piano
    Lenny White - drums

    TRACKLIST:
    1. Five Corners
     2. In Monk's Mood
     3. Bitter Chocolate
     4. Blues For Dad
     5. Masha's Lullaby
     6. Long Nights Without You
     7. Song For Kenny
     8. Aniuta
     9. Goodbye
     10. Russian Caravan
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  •  
    Grand amateur de jazz, Matthew Herbert avait déjà prouver ses talents de compositeurs hors pairs avec son premier album en big band ("Goodbye Swingtime" en 2003). L'audace aspirationnelle (l'idée d'une fusion artistique entre prise de position politique et éthique musicale) dont il faisait preuve ne perdait rien de sa superbe à l'écoute du disque, même s'il était jugé parfois un peu difficile d'accès. Le voici donc de retour avec une seconde proposition. Toujours conscient et très politisé, ce nouvel effort est tout aussi alambiqué à l'écoute, même s'il emprunte la plupart du temps le chemin de la torch song grand orchestre, classieuse et chantée. La voix de l'interprète black Eska Mtungwazi, particulièrement convaincante, fait d'ailleurs des merveilles, brillant de ses éclats soul sur des compositions aux cuivres omniprésents et rutilants. "There's me and there's you" donne également dans une improvisation assez proche du free-jazz, notamment grâce aux apports électroniques conceptuels de notre bidouilleur génial et dans la liberté certaine qui émane de ces chansons. Ce huitième album de Matthew Herbert est une petite merveille de composition et de production, même si certains titres restent plutôt difficiles et semblent s'adresser surtout aux amateurs d'un jazz un peu intello.
    Guillaume
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    Note :

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