Кто слушает джаз?

Дык и я не фанат:-))

2papan:
>Дык и я не фанат:-))
Я понимаю. Просто для ясности: Вам эти недостатки может "окупить" интересная гитара.
"Недостатки" там, скорее, фоновые и пропорция может получиться в пользу гитары:-)

Мнение Эжона Маклафлина о Кенни Г.

Isn’t that more of a problem in the U.S. than in other parts of the world?
MCLAUGHLIN: Yes—that kind of discrimination is much less noticeable in Europe and Japan. In the U.S., it’s also partly due to the success of musicians such as Kenny G.—who a lot of people think are playing jazz. The record companies make lots of money off that stuff, so that’s what gets attention. I’m not judging Kenny G. A lot of people like him, so he must be saying something right to them, but what he’s playing isn’t jazz.

2papan
Прослушал а свежее ухо 3 альбома Fiuczynski: Amandala, Kif, Lunar Crussh. На пермов месте Amandala.

2pempe:

>2papan
>Прослушал а свежее ухо 3 альбома Fiuczynski:
>Amandala, Kif, Lunar Crussh. На пермов месте Amandala.
Ну,я её и заказал:-)).

2papan
я про Live думаю

2Kalina
>Наконец-таки приобретен и отслушан новый Charlie Haden -
"Not In Our Name". И снова разочарование.. Иссяк революционный энтузиазьм Чарли и Карлы. Увы.

друшое мнение: If there were six stars in the ratings, this disc would deserve them.

http://www.allaboutjazz.com/php/article.php?id=19029

Various Artists
100 Years of Jazz Guitar
Columbia/Legacy
2005

Containing a veritable encyclopedia of written information about the guitarists who have molded jazz during its century of development, this four-CD boxed set has it all. From the earliest recorded traces of jazz guitar to Bill Frisell and John Scofield, it's all there for study and listening pleasure.


Early traditional jazz, blues, and ragtime included pioneering guitar refrains from legendary figures such as George F. Dudley, Roy Butin, Sam Moore, Johnny St. Cyr, and Lonnie Johnson. Louis Armstrong didn't always relegate his guitarists to simply keeping the beat. With his Hot Five, they improvised a melody on the front line with as much strength as the leader's powerful horn.


Eddie Condon brought people together and relished his role as rhythm maker. Carl Kress and Dick McDonough provide the earliest example of pure jazz as art when they improvise on “Danzon” with a swinging rapport. Django Reinhardt and Stephane Grappelli follow with a big piece of history, as they swing with a portion of jazz that continues to be loved widely and interpreted freely today. Their acoustic swing and relaxed spontaneity puts a smile on faces young and old, near and far.


The electric and amplified guitar changed things. As Eddie Durham, on an electric model, interprets “Love Me or Leave Me” with Freddie Green on rhythm guitar, you can feel the mood switching from plain old outdoor country fun to a smoke-filled nightclub where intimacy reins. It's euphoric.


George Barnes played electric guitar on a 1940 session that included tenor saxophonist Phillip Ward in a swinging affair. Together, they take “Little Rock Getaway” for a stroll through the Swing Era with a lovely quartet. The recording has never been issued before now. Charlie Christian's “Solo Flight” with the Benny Goodman Orchestra in 1941 raised eyebrows and continues to serve as a perceived starting point for the guitar's successful integration into jazz. What follows simply builds upon that cornerstone and continues the tradition of spontaneity, swing, and spirit.


Teddy Bunn and Slim Gaillard provided swinging jazz that was fun. With Nat King Cole, Oscar Moore provided romantic jazz that nestled in comfortably with our senses. Then it was time for Charlie Parker and Dizzy Gillespie to change the way that we view jazz.


Tiny Grimes plays the electric guitar with Bird on “Red Cross” from a 1946 session that finds the guitarist conversin' with Parker and steppin' out for a solo spot that ushered in bebop for keeps.


Barney Kessel, Jimmy Raney, Tal Farlow, George Van Eps, Chuck Wayne, and Les Paul demonstrate how suitable the guitar is as a solo instrument. In 1954, Tony Bennett's voice had the same emotional spirit that it has today. With Bennett, Chuck Wayne gave his interpretation of “My Baby Just Cares for Me” an intimate quality. Les Paul proved inspirational to many aspiring guitarists with his virtuosic display of blazing-fast technique.


Jim Hall and Bill Evans interpret “I've Got You Under My Skin” from a 1966 duo session that showcased the guitarist's fluid melodies and uncanny chorded accompaniment. Kenny Burrell's “Midnight Blue” remains one of the classic modern jazz recordings that belongs in every collector's desert island picks. His searing melodic improvisations come from deep within, as he lets his spirit take the music on a roll. Without that deeply felt inner quality, jazz is meaningless.


Wes Montgomery, Herb Ellis, Grant Green, and Joe Pass appear with fine examples of their stellar contributions to jazz history. George Benson appears with Ronnie Cuber and Lonnie Smith on a 1966 interpretation of “Clockwise,” which features a fresh, uptempo organ/guitar combo romp in the hard bop tradition. Pat Martino and Charlie Byrd demonstrate the power of jazz guitar as leader; then we turn to fusion.


Jimi Hendrix, John McLaughlin, John Abercrombie, and Ralph Towner capture a spirit that was beginning to envelop the world through mass audience gatherings and sultry jazz/rock adventures. Their cool approach maintained a jazz outlook while forging ahead into mystical explorations. Experimentation was the keyword. Still is, and should remain relevant to all that we pursue.


Smooth jazz, fusion, and pop/rock appear in the later years to remind us how far the shadow of a guitar's improvised melody extends. Today, we're faced with hundreds of fine jazz guitarists who all deserve our attention. Styles vary, and we eventually settle for one over the other.


More than five hours of influential jazz guitar makes 100 Years of Jazz Guitar monumental in its scope. It's all there in one package. Five of the tracks have never been issued before, and all of it comes with superbly mastered sound. Each track selected for this highly recommended project features a standout guitarist who has made a major impact on the history of jazz guitar.

100 Years of Jazz Guitar

Track Listing: St. Louis Tickle; Chain Gang Blues; Savoy Blues; You're the One for Me; Add a Little Wiggle; Clowin' the Frets; California Blues; How'm I Doin' / Dinah; Who's Sorry Now; Danzon; China Boy; Minnehaha; Swingin' on the Strings; Honeysuckle Rose; Guitar Swing; Love Me or Leave Me; Whispering; Pickin' for Patsy; Little Rock Getaway; Solo Flight; Buck Jumpin'; Twin Guitar Special; I'm Walkin' This Town; Palm Springs Jump; Gee Baby, Ain't I Good to You?; Red Cross; Ol' Man Rebop; On Green Dolphin Street; What Is This Thing Called Love; Body and Soul; My Baby Just Cares for Me; Runnin' Wild; Mountain Melody; Yardbird Suite; The Boy Next Door; Tocata; I've Got You Under My Skin; Aguas de Março; Bluesette; Midnight Blue; Unit 7; Naptown Blues; Move; Easy Living; Jean de Fleur; Night and Day; Clockwise; Just Friends; A Taste of Honey; How Insensitive; Gypsy Queen; June the 15th, 1967; As We Used to Sing; Should Be Reversed; Manic Depression; Birds of Fire; Coral; Ralph's Piano Waltz; The Prowler; Bright Size Life; Aqui, Oh; Midnight in San Juan; Europa; Inner City Blues; Thumper; Spiral; Captain Fingers; Mr. Spock; Race With Devil on Spanish Highway; 'Cause We Ended as Lovers; Church; Ron Carter; Hottentot; Postizo; Fat Time.


Personnel: Vess Ossman: banjo; Sam Moore: octochorda; Johnny St. Cyr, Lonnie Johnson, Sol Hoopii, Eddie Lang, Eddie Bush, Benny “King” Nawahi, Roy Smeck, Eddie Condon, Carl Kress, Dick McDonough, Otto “Coco” Heimel, Sam Koki, Charlie Fuqua, Jerry Daniels, Ivory Watson, Django Reinhardt, Casey Bill Weldon, Eddie Durham, Freddie Green, Oscar Aleman, Allan Reuss, George Barnes, Charlie Christian, Al Casey, Leon McAuliffe, Eldon Shamblin, Teddy Bunn, Slim Gaillard, Oscar Moore, Tiny Grimes, Bill D'Arango, Barney Kessel, George Van Eps, Jimmy Raney, Chuck Wayne, Les Paul, Chet Atkins, Tal Farlow, Johnny Smith, Laurindo Almeida, Jim Hall, João Gilberto, Toots Thielemans, Kenny Burrell, Wes Montgomery, Herb Ellis, Hank Garland, Howard Roberts, Grant Green, Joe Pass, John Pisano, George Benson, Pat Martino, Lenny Breau, Charlie Byrd, Gabor Szabo, Larry Coryell, Sonny Sharrock, Derek Bailey, Jimi Hendrix, John McLaughlin, Mick Goodrick, John Abercrombie, Ralph Towner, Pat Metheny, Toninho Horta, Earl Klugh, Carlos Santana, Phil Upchurch, Arthur Adams, Eric Gale, Larry Carlton, Lee Ritenour, Allan Holdsworth, Al DiMeola, Jeff Beck, James “Blood” Ulmer, Bill Frisell, John Scofield, Marc Ribot, Mike Stern: guitar; others.

pempe
Не хочу спорить с товарищем Франклингом. Я просто написал, то что думаю об услышанном. ИМХО, альбом на три головы ниже чем 69 год. Вспомните какие тогда люди играли: Гато Барбиери, Дьюи Редман, Развелл Радд, Дон Черри, Пол Мотиан (Motian). Гиганты фри джаза.

Кстати если кто не в курсе, в 1983 году на ECM вышел отличнейший альбом Charlie Haden/Carla Bley "The Ballad of the Fallen". Состав вполне боеспособный. Снова играют испанско-португальские революционно-освободительные манифесты, менее авангардно, но не менее интересно (для меня).

2Kalina:
>Кстати если кто не в курсе, в 1983 году на ECM
>вышел отличнейший альбом Charlie Haden/Carla Bley
>"The Ballad of the Fallen".
5 баллов! Я был не в курсе. Теперь знаю какой еще диск мне надо!

Усиленно жду вот этот альбом
http://www.notamag.com/modules.php?name=News&file=article&sid=64

karp
Альбом отличный, несмотря на то что издан на ECM.

2Kalina
не слышал и старого и нового Либерейшн, не совсем мое

Насчет Thelonious Monk Quartet with John Coltrane At Carnegie Hall молва разная ходит. До настоящего времени ни один сиди не имел столь мощного пре-реализа во всех медиа каналах, не только музыкальных. С длугой стороны 57-ой год для самого Колтрейна был весьма халтурным - только на АМГ насчитал 13 его сольников 57 г. а еще больше он выпустил как сайдмен. Невериться, что в одних залах он играл халтурно, а в других через недельку отлично, также трудно поверить тому, что перед концертом в Карнеги Колтрейн репетировал 4 месяца - а и врятли трезвый, и неверю что так случайно нашлась сама запись.

pempe
Я уверен альбум будет классный, именно то что я люблю. Тем более мне Монк интересен не менее Трэйна.
А история с найденной записью действительно темная..

2Kalina
наверно так и будет

Кто-нидь взял последнего Ахмэд Джамала?

Kenny G Releases The Ultimate Holiday Album

Kenny G -- the biggest-selling instrumental musician and biggest-selling jazz musician of the modern era, has personally selected the tracks for The Greatest Holiday Classics, an
indispensable collection of 14 seasonal tunes available this season.

This album comprises ten tracks from Kenny G's trio of holiday releases: 2002's RIAA gold Wishes, 1999's triple-platinum Faith -- A Holiday Album, and 1994's Miracles -- The Holiday Album -- the biggest-selling seasonal album in history, at 8-times platinum and counting. The album also includes four brand new recordings:" We Wish You A Merry Christmas, " "My Favorite Things, " "Jingle Bell Rock" and "Jingle Bells".

The balance of the tracks are: "Deck The Halls, " the medleys of "Hark The Herald Angels/O Come All Ye Faithful, " and "Rudolph/Frosty The Snowman, " "Ave Maria, " "Let It Snow! Let It Snow! Let It Snow!" and the medley of "We Three Kings/Carol Of The Bells, " "Have Your-self A Merry Little Christmas, " "Miracles, " 'Winter Wonderland, " and "The Chanukah Song."

The Greatest Holiday Classics, Kenny G's sixteenth album for Arista Records, follows up the release of the RIAA gold At Last ... The Duets Album last November 2004. The all-star project featured a stellar lineup of great guest performers from different musical genres including Barbra Streisand, LeAnn Rimes, Gladys Knight, Earth Wind & Fire, Yolanda Adams, Burt Bacharach, and Arturo Sandoval.

It is Kenny G's innate ability to create and set different moods with his music that has made him such an enduring force and earned him Grammy, American Music, Soul Train, World Music and NAACP Image Awards as well as a star on the Hollywood Walk of Fame.

Послушал последнего Хенкока...
Улетел, но это уже совсем другой Хенкок

Монк и Колтрейн выходят в лидеры

Всего спустя несколько недель после релиза альбом с записью выступления квартета Телониуса Монка с Джоном Колтрейном на сцене Карнеги-Холл взлетел в лидеры первой десятки самых популярных джазовых альбомов среди слушателей Jazz Week (по данным на 19 октября).

Как многие, наверное, помнят, эта запись была совершенно случайно обнаружена в архивах Библиотеки Конгресса США. С одной стороны, такой успех - свидетельство грамотной промо-кампании лейбла Blue Note, с другой – свидетельство тоски любителей джаза по не просто ярким, талантливым, интересным музыкантам, а по новым гениям в джазе.

Полностью горячая десятка выглядит так:

Thelonius Monk Quartet with John Coltrane “At Carnegie Hall” (Blue Note)
Gerald Wilson Orchestra “In My Time” (Mack Avenue)
Tierney Sutton “I’m With The Band” (Telarc)
Eric Alexander & Wincent Herring “The Battle: Live At Smoke” (HighNote)
Brad Mehldau “Day Is Done” (Nonesuch)
Sara Gazarek “Yours” (Native Language)
Jeremy Pelt “Identity” (MAXJAZZ)
Wynton Marsalis “Amongst The People: Live At The House Of Tribes” (Blue Note)
Stan Hope “Put On A Happy Face” (Savant)
Poncho Sanchez “Do It!” (Concord Picante)

Из сентябрьской «десятки» в ней остались только оркестр Джеральда Уилсона и Тирни Саттон, поднявшиеся в тройку лидеров, да Пончо Санчес, «зацепившийся» за 10-е место. Среди новых лиц – одно знаменитое – концертная запись Уинтона Марсалиса заняла восьмое место.