De Chinguel Colechion - Ganya Vinyl Ripp By Napi

De Chinguel Colechion - Ganya Vinyl Ripp By Napi

Buscador de Descargas Directas

Cuídado con lo que pide,

¡Mire que quizá lo encuentre!

¡Filibusteros, al Abordaje!
Google

Allá Ud. Los Resultados

Resultado de la Búsqueda

¿Era esto?

martes, 21 de junio de 2011

Madeleine Peyroux - 2011 - Standing On the Rooftop

  Madeleine_Peyroux-Standing_On_the_Rooftop

Madeleine Peyroux comenta sobre este su más reciente disco:
"He estado trabajando sobre la base de las relaciones humanas, lo he desarrollado en la co-autoria de los temas y algo nuevo se ha apoderado de mí. Este proyecto está destinado a ser un paisaje de ensueño más ancho que mis grabaciones anteriores. Estoy interesada en la exploración de sonidos más difíciles, sonidos incluso feos ... tratando de encontrar algo más crudo que la voz que ahora tengo y el acompañamiento que he acostumbrado a usar"


Madeleine Peyroux es una de las más interesantes compositoras e intérpretes de nuestro tiempo. Folk, blues y jazz se acercan a la perfección en la voz de Madeleine Peyroux.
"Standing On the Rooftop" es su quinto álbum en solitario y en él se abarca un amplio espectro musical,  desde la arrulladora y suave "Lay Your Sleeping Head, My Love" (adaptada del poema del mismo nombre de WH Auden) pasando por el impresionante "Super Hero" hasta el inteligente y caprichoso "Don't Pick a Fight With a Poet". 

Participan en este disco, Bill Wyman, el guitarra Marc Ribot (Masada, John Zorn, Tom Waits, Elvis Costello),  el piano Allen Toussaint, el guitarra Chris Bruce (Sello, John Legend), el batería Charley Drayton (Neil Young, Johnny Cash), el bajista Me'shell Ndegeocello, Glenn Patscha y John Kirby entre otros. 

Se incluyen 12 canciones originales y 3 versiones de clásicos de The Beatles ("Martha, My Dear"), Bob Dylan ("I Threw it All Away") y Robert Johnson ("Love in Vain"), todas ellas muy personales.
La producción se debe a Craig Street, quien ya produjo a Norah Jones y K.D. Lang.


Editorial Reviews 

From the Artist 

"I have been building on the relationships I developed in co-writing, and something new has taken hold of me," Peyroux says. "This project is meant to be a wider dreamscape than previous recordings. I'm interested in exploring tougher sounds, even ugly sounds... trying to find something more raw than the voice that I have now, and in the accompaniment that I have become used to."

About the Artist
Songstress Madeleine Peyroux is known to her fans for intimately arranged covers of the early American blues and jazz repertoire. She began as a teenage busker, honing her vocal and guitar skills on the famously quaint, acoustic streets of Europe, where she molded her style on the cornerstones of jazz: Billie Holiday, Bessie Smith and Louis Armstrong. Amidst an oddly sparse recording career beginning in 1996, she is most known for her 2005 release `Careless Love' (Rounder Records), produced by Larry Klein (Joni Mitchell, Herbie Hancock) who fused Peyroux's personal and vulnerable take on more modern material, i.e., Leonard Cohen, Bob Dylan, cult legend Elliott Smith, with that of her beloved torch songs and early blues.

M Peyroux_077-017_20110504_122658

Playing Changes - Madeleine Peyroux BIO Songstress
Written by Rye Chusley December 2010

Madeleine Peyroux is known to her fans for intimately arranged covers of the early American blues and jazz repertoire. She began as a teenage busker, honing her vocal and guitar skills on the famously quaint, acoustic streets of Europe, where she molded her style on the cornerstones of jazz: Billie Holiday, Bessie Smith and Louis Armstrong. Amidst an oddly sparse recording career beginning in 1996, she is most known for her 2005 release `Careless Love' (Rounder Records), produced by Larry Klein (Joni Mitchell, Herbie Hancock) who fused Peyroux's personal and vulnerable take on more modern material, i.e., Leonard Cohen, Bob Dylan, cult legend Elliott Smith, with that of her beloved torch songs and early blues. Peyroux took a turn into uncharted territory with her last album, `Bare Bones', a collection of self-penned compositions and co-writes with heavy hitters such as Joe Henry and Steely Dan's Walter Becker. Although generally met with critical acclaim, it garnered less attention than her previous work. She toured until mid 2010, including a triple bill with Diana Krall and Melody Gardot in Australia, and is now keeping behind the scenes in preparation for a return to the studio. Producer Craig Street (Cassandra Wilson, Joe Henry, Chocolate Genius, Norah Jones) is set to hold the reigns this time, and the album will be all new compositions. "I have been building on the relationships I developed in co-writing, and something new has taken hold of me," Peyroux says. "This project is meant to be a wider dreamscape than previous recordings. I'm interested in exploring tougher sounds, even ugly sounds... trying to find something more raw than the voice that I have now, and in the accompaniment that I have become used to." One interesting collaborator that may have the key to opening new doors is the Rolling Stones', Bill Wyman, whom Peyroux met at the Nice Jazz Festival while waiting to hear B.B. King, and the two then began writing together. A strong point for Peyroux this year was performing their song for the children of a displaced persons' camp in Port-au- Prince, Haiti this summer. The song, entitled 'The Kind You Can't Afford', Peyroux says, is a testament to owning what money can't buy. About the visit, she recounts, "I've had a sincere desire to be in Haiti ever since I started reading Edwidge Danticat, but never did visit before the storm. It was a life-changing experience which I'll always remember, and the songs I performed there will now always have that flavor of pure music and joy in my memory." Other current collaborators include Jonatha Brooke, David Batteau, Andy Rosen, and Jenny Scheinman. The album is due to be released in 2011, and Peyroux plans to begin touring again in the US and Europe in early spring. "I think my fans are eager to hear something different," Peyroux says, and pauses with restraint before adding, "Music has grown into another place in my mind... I am the same singer that I was as a teen, that wants to grow into music, wherever it comes from. I don't believe I've given up anything. I've added to myself." Let's hope that that little air of restraint doesn't hold her back.

D_Madeleine P_13_94455_1 v2_20110601_150804


Listado de Temas: 

01 - Martha, My Dear - 02:32 min.
02 - The Kind You Can't Afford - 03:59 min.
03 - Leaving Home Again - 03:35 min.
05 - Fickle Dove - 03:28 min.
06 - Lay Your Sleeping Head, My Love - 03:23 min.
07 - Standing On the Rooftop - 05:46 min.
08 - I Threw It All Away - 03:15 min.
09 - The Party Oughta be Comin' Soon - 05:00 min.
10 - Superhero - 03:21 min.
11 - Love In Vain - 03:39 min.
12 - Don't Pick A Fight With A Poet - 04:28 min.
13 - Meet Me In Rio - 03:50 min.
14 - Ophelia - 05:12 min.
15 - The Way Of All Things - 04:03 min. 

14 Temas - Tiempo Total: 00:55:31 - 296,13 MB Ape @ 707 Auténticamente Licheao 

Fuentes consultadas:

http://www.universalmusic.es/artista/madeleinepeyroux/noticia/?id=7767
http://www.amazon.com/Standing-Rooftop-Madeleine-Peyroux/dp/product-description/B004WJRFNU/ref=dp_proddesc_0?ie=UTF8&n=5174&s=music


Buscad . . . . . . PateandoTejados

jueves, 17 de marzo de 2011

Duke Ellington - 1967 - ...And His Mother Called Him Bill (Remastered 2002)



Portada


~~ Thom Jurek, All Music Guide ~~


- traducción más o menos libre -

      Cuando Billy Strayhorn murió de cáncer en 1967, Duke Ellington quedó devastado. Su más cercano amigo, compositor y arreglista, había abandonado la vida, plena de música y memorables recuerdos. Como homenaje, Ellington y su orquesta comenzaron a grabar, casi de inmediato, un tributo a Strayhorn, con composiciones del propio arreglista fallecido.
       El álbum cuenta con famosas, aunque nunca registradas anteriormente, melodías de Strayhorn que mostraban su  versatilidad y gran categoría  y, sobre todo, la cualidad que más admiraba Ellington: su sensibilidad para las coloreadas posibilidades tímbricas y tonales que una orquesta puede aportar a una pieza musical.
       La selección se abre con un tema de Johnny Hodges llamado "Snibor", escrita en 1949. Una melodía  blues, cuyos intervalos muestran a un Hodges contra una estructura I-IV-V como telón de fondo recurrente, con un amplio conjunto de colores en la sección de metales antes de que Cootie Williams se tome su momento para entregársela de nuevo a Hodges. La melancolía "Blood Count", escrita en 1967 para un concierto de la Banda en el Carnegie Hall, resultó ser su composición final de éxito. De nuevo toma Hodges un caríz profundamente lleno de tristeza, e incluso de enojo. La música está de mal humor, conmovedora y llena de aplomo, expresando una amplia gama de sentimientos y recuerdos de diferentes épocas en el inconsciente colectivo de los compositores y directores de orquesta. Teniendo en cuenta todas las obras compuestas por Strayhorn, ésta -con su sección de trompeta con sordina enfrentada al lamento blues de Hodges- es a la vez melancólico y frío.
      También se incluye una versión del "Rock Skippin' at The Blue Note", una especiada versión funky con un muy brillante toque de ride de Sam Woodyard y rítmico solo de Cootie Williams, también el de Jimmy Hamilton al clarinete es memorable, suavizando los bordes armónicos de la sección de metal (que cuenta con el repiqueteo del trombón de válvulas de John Sanders).
       Hay dos versiones de "Lotus Blossom" Ellington afirmó que era la pieza de Strayhorn que más le gustaba oir tocar. La versión LP es un tranquilo, meditativo y contenido solo de Ellington, con  matices emocionales muy sutiles que, sin embargo jamás había presentado como pianista en una grabación.
      Por último, cerrando el disco hay un bonus track, Lotus Blossom, que en versión trío se reproduce en tono susurrante, con Ellington unicamente acompañado por el saxofonista Harry Carney y el bajista Aaron Bell. Supuestamente, la pieza fue grabada cuando la banda estaba empacando para irse. Su informalidad y entusiástico y conmovedor sentir parece indicar que son una idea de último momento, demasiado curiosa como para dejarla al olvido; un elogio cuya finalidad son las preguntas, elegantemente dichas que parecen resonar en el eco como vibraciones en habitación vacía, llena de nostalgia e impotencia y, sobre todo, las propias preguntas: "¿Es suficiente?" o "¿Puede haber alguna vez lo suficiente para pagar un tributo adecuado a este hombre?" Son preguntas interesantes, ya que sólo cinco años después, todos estaríamos diciendo lo mismo de Ellington. Para un hombre que ha publicado más de 300 álbumes, esta selección de temas constituye uno de sus mejores, y más profundamente sentidos, momentos de los que grabó".


...And His Mother Called Him Bill
From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/...And_His_Mother_Called_Him_Bill

Studio album by Duke Ellington
Released     1968
Recorded     August 28, 1967 -November 15, 1967
Genre     Jazz
Length     61:18
Label     Bluebird/RCA
Producer     Steve Backer, Brad McCuen

image

        Duke Ellington chronology:
Studio Sessions, 1957, 1965, 1966, 1967, San Francisco, Chicago, New York (1967)
...And His Mother Called Him Bill (1967)
Francis A. & Edward K. (1967)


      "...And His Mother Called Him Bill" is a 1967 album by Duke Ellington. He recorded the album in the wake of the death of his long-time music partner Billy Strayhorn. All of the songs featured were written or co-written by Strayhorn. Some were Strayhorn's last works ("Blood Count" and "The Intimacy Of The Blues") while others were rarely, if ever, recorded with Ellington's band. Because of this, Strayhorn's best known tune, "Take the "A" Train," wasn't recorded for this release.
      The album was first released in 1967 on RCA Victor, has since been reissued several times on compact disc: first in 1987 by RCA Records/Bluebird Records, then in 1993 by Flying Dutchman Records, and finally by BMG in 2000. Two special reissues were also released, one in America and one in France, though both had the same track listing. They were released in 2002 by RCA and 2001 by BMG International, respectively.

       Personnel
Band:
    * Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams - trumpet
    * Aaron Bell, Jeff Castleman - bass
    * Lawrence Brown, Chuck Connors, Buster Cooper - trombone
    * Harry Carney - clarinet, saxophone (baritone)
    * Duke Ellington - piano
    * Paul Gonsalves - clarinet, saxophone (tenor)
    * Jimmy Hamilton, Johnny Hodges, Russell Procope - clarinet, saxophone (alto)
    * Steve Little, Sam Woodyard - drums
    * John Sanders - trombone (valve)
    * Clark Terry - flugelhorn


digipack outside

Production:
    * Steve Backer - executive producer
    * Ed Begley - original recordings
    * Ray Hall - remixing
    * Daniel Maffia - illustrations
    * Brad McCuen - producer
    * Ed Michel - reissue producer
    * Robert Palmer - liner notes
    * Neal Pozner, J.J. Stelmach - art direction

Awards
    * 1969 Grammy Award - Best Large Jazz Ensemble Performance; Album - Duke Ellington

Track listing
Original release
   1. "Boo-Dah" (Billy Strayhorn) - 3:32
   2. "U.M.M.G. (Upper Manhattan Medical Group)" (Strayhorn) - 3:13
   3. "Blood Count" (Strayhorn) - 4:19
   4. "Smada" (Duke Ellington, Strayhorn) - 3:20
   5. "Rock Skippin' at the Blue Note" (Ellington, Strayhorn) - 3:02
   6. "Rain Check" (Strayhorn) - 4:37
   7. "Midriff" (Strayhorn) - 4:31
   8. "My Little Brown Book" (Strayhorn) - 4:13
   9. "Lotus Blossom" (Strayhorn) - 3:57
  10. "Snibor" (Strayhorn) - 4:19
  11. "After All" (Strayhorn) - 3:48
  12. "All Day Long" (Strayhorn) - 2:57
  13. "Lotus Blossom" (Strayhorn) - 5:01
  14. "Day Dream" (Ellington, John La Touche, Strayhorn) - 4:20
  15. "The Intimacy of the Blues" (Strayhorn) - 3:02
  16. "Charpoy" (Strayhorn) - 3:07


American and French reissues
   1. "Snibor" (Strayhorn) - 4:16
   2. "Boo-Dah" (Strayhorn) - 3:28
   3. "Blood Count" (Strayhorn) - 4:18
   4. "U.M.M.G." (Strayhorn) - 3:14
   5. "Charpoy" (Strayhorn) - 3:07
   6. "After All" (Strayhorn) - 3:52
   7. "The Intimacy of the Blues" (Strayhorn) - 2:58
   8. "Rain Check" (Strayhorn) - 4:37
   9. "Day Dream " (Ellington, Latouche, Strayhorn) - 4:25
  10. "Rock Skippin' at the Blue Note" (Ellington, Strayhorn) - 3:02
  11. "All Day Long" (Strayhorn) - 2:58
  12. "Lotus Blossom" (Strayhorn) - 3:54
  13. "Acht O'Clock Rock" (Ellington) - 2:23
  14. "Rain Check [alternate take]" (Strayhorn) - 5:22
  15. "Smada [alternate take]" (Ellington, Strayhorn) - 3:21
  16. "Smada [alternate take]" (Ellington, Strayhorn) - 3:20
  17. "Midriff [alternate take]" (Strayhorn) - 4:35
  18. "My Little Brown Book [alternate take]" (Strayhorn) - 4:13
  19. "Lotus Blossom [alternate take]" (Strayhorn) - 4:56



cd

Listado de Temas: 

01 - Snibor - 04:16 min.
02 - Boo-Dah - 03:28 min.
03 - Blood Count - 04:18 min.
04 - U.M.M.G. - 03:15 min.
05 - Charpoy - 03:08 min.
06 - After All - 03:53 min.
07 - The Intimacy of the Blues - 02:59 min.
08 - Raincheck (Take 6) - 04:37 min.
09 - Day Dream - 04:25 min.
10 - Rock Skippin' at the Blue Note - 03:03 min.
11 - All Day Long - 02:58 min.
12 - Lotus Blossom (Solo Version) - 03:56 min.
13 - Acht O'Clock Rock - 02:26 min.
14 - Raincheck (Take 4) - 05:23 min.
15 - Smada (Take 3) - 03:21 min.
16 - Smada (Take 4) - 03:21 min.
17 - Midriff (Bonus Track) - 04:36 min.
18 - My Little Brown Book (Bonus Track) - 04:14 min.
19 - Lotus Blossom (Trio Version) - 04:56 min.

19 Temas - Tiempo Total: 01:12:33 - 410,37 MB @Flac


Buscad . . . . . HOMENAJEALGUILLE



Duke Ellington Billy Strayhorn - 1950 - Piano Duets Great Times! [@320]


cover
Duke Ellington (piano)
Billy Strayhorn (piano, celeste)
Oscar Pettiford (cello)
Wendell Marshall, Joe Shulman, Lloyd Trotman (bass)
Jo Jones (drums)
* Release Date: 1984
* Type: Compilation (best of), Instrumental
*Reedit. 2008


      Este CD incluye reediciones de tres fechas de un inusual  combo de Duke Ellington. Dos de las sesiones cuentan con Ellington y su antiguo socio musical Billy Strayhorn  tocando el piano, asistido por Wendell Marshall o Joe Shulman en el bajo y algunas veces un baterista no identificado. El futurista "Tonk" es el tema más afamado, pero los ocho números (que incluyen "Cotton Tail" y "Johnny Come Lately ") son bastante fascinantes. El resto de la sesión cuenta con cuatro canciones que sirven principalmente para el lucimiento del violonchelo de Oscar Pettiford, del que se acompaña Ellington, el bajista Lloyd Trotman, el batería Jo Jones y, en dos canciones, el celo de Strayhorn, "Perdido" y "Take the 'A "Tren" son las más memorables. Intrigante música. ~ Scott Yanow, Rovi

        This CD reissues three unusual combo dates by Duke Ellington. Two of the sessions feature Ellington and his longtime musical partner Billy Strayhorn both playing piano (while assisted by either Wendell Marshall or Joe Shulman on bass and sometimes an unidentified drummer). The futuristic "Tonk" is the best-known performance but all eight numbers (which include "Cotton Tail" and "Johnny Come Lately") are quite fascinating. The remaining date has four songs that primarily serve as features for the cello of Oscar Pettiford who is accompanied by Ellington, bassist Lloyd Trotman, drummer Jo Jones and (on two tunes) the celeste of Strayhorn; "Perdido" and "Take the 'A' Train" are most memorable. Intriguing music. ~ Scott Yanow, Rovi


2

       These unique performances were recorded in 1950 and were originally released as 10-inch LPs. They were combined in their present form in 1964 on Riverside (475). Includes liner notes by Jack Maher.
Digitally remastered by Joe Tarantino (Fantasy Studios, Berkeley, California).
According to the liner notes, Leonard Feather got the idea for this recording from an elegant piece of party schtick in which Ellington and Strayhorn would play four-handed on a single piano. As recorded here, that piece, "Tonk," and seven others are not strictly duets, in that the pair of composers (presumably playing two separate pianos in the studio) are joined by a bassist. Still, one can see why Feather was charmed into preserving the idea on tape. "Tonk" is, in fact, an exquisite miniature, by turns stormy and whimsical, as if Rimsky-Korsakov and Rumpelstiltskin sat down to play "Chopsticks" for a silent movie.
       Elsewhere, the two pianists evoke a kind of relaxed, swinging telepathy, as on the rolling, four-to-the-bar "Bang-Up Blues," which exudes both ease and confidence. On "Johnny Come Lately" the duo conjures up the reeds and brass they would ordinarily have at their disposal. Four additional tunes round out this reissue; they are of a similar vintage but include Jo Jones on drums and feature Oscar Pettiford on the cello. Strayhorn plays celeste on two of these cuts.
         Includes liner notes by Jack Maher.

        Down Beat - "These are not 'immortal' performances and not meant to be, but no lover of Ellington will want to be without them."

5


Listado de Temas:

1 - Cottontail - 02:55 min.
2 - C Jam Blues - 02:59 min.
3 - Flamingo - 03:01 min.
4 - Bang-Up Blues - 03:08 min.
5 - Tonk - 03:00 min.
6 - Johnny Come Lately - 03:01 min.
7 - In A Blue Summer Garden - 04:07 min.
8 - Great Times - 02:57 min.
9 - Perdido - 02:58 min.
10 - Take The 'A' Train - 02:21 min.
11 - Oscalypso - 02:45 min.
12 - Blues For Blanton - 02:37 min.

12 Temas - Tiempo Total: 00:35:49 - 83,72 MB mp3@320
   

Buscad . . . . . . . DUETOS

Billy Strayhorn - 1961 - The Peaceful Side [@320]


1-The Peaceful Side Of Billy Strayhorn - Front


       Aquí hay una colección de temas poco conocidos y preferentemente melancólicos; virtualemente los únicos, o de los muy pocos, que Billy Strayhorn grabó fuera del mundo Ellingtoniano. La atención está totalmente centrada en las interpretación de diez de sus composiciones (incluyendo "Lush Life", "Take the 'A' Train," y "Something to Live For").
        Tres de los temas son con los Paris Blue Notes añadiendo voces que cantan sin palabras; otros dos aportan un poco de calma, interpretados por el Paris String Quartet, y el bajista Michel Goudret está en cinco de los diez (incluyendo una pieza con cuerdas y voces). "Strange Feeling" y "Chelsea Bridge" se interpretan como solos de piano sin acompañamiento. De los diez, sólo dos, Just A-Sittin' y A-Rockin'", aluden a la felicidad y, por el contrario, en el resto, el estilo melódico y conciso de Strayhorn, torna en sombrío, tranquilo de volumen, pero repleto de tensión interior.

       This is a little-known and rather melancholy set, virtually Billy Strayhorn's only recording away from the world of Duke Ellington. The focus is totally on Strayhorn's piano throughout his interpretations of ten of his compositions (including "Lush Life," "Take the 'A' Train," and "Something to Live For"). Three selections have the Paris Blue Notes adding sparse wordless vocals, two other numbers add some quiet playing by the Paris String Quartet, and bassist Michel Goudret is on five of the ten selections (including one apiece with the strings and the voices). "Strange Feeling" and "Chelsea Bridge" are taken as unaccompanied piano solos. Of the ten songs, only "Just A-Sittin' and A-Rockin'" hints at happiness; otherwise, Strayhorn's melodic and concise playing is quite somber, peaceful in volume but filled with inner tension. 

*************
3-The Peaceful Side Of Billy Strayhorn - Inside


Intérprets:
Billy Strayhorn, piano
Michel Goudret, bajo (en #2,3,8,9,10)
Paris String Quartet, cuerdas (oen #4, 10)
Paris Blue Notes, voces (en #1,6,8)
Producción de Alan Douglas
Grabada en los Barclay Studios, Paris, en 1961
Ingeniero de grabación: Gerhart Lehner
Master de Ron McMaster
Reedición producida por Michael Coscuna


4-The Peaceful Side Of Billy Strayhorn - Back

Listado de Temas: 

01 - Lush Life - 03:27 min.
02 - Just A-Sittin' and A-Rockin' - 02:51 min.
03 - Passion Flower - 03:43 min.
04 - Take the "A" Train - 03:17 min.
05 - Strange Feeling - 03:41 min.
06 - Day Dream - 04:04 min.
07 - Chelsea Bridge - 03:17 min.
08 - Multi-Colored Blue - 03:22 min.
09 - Something to Live For - 03:02 min.
10 - Flower Is a Lovesome Thing - 04:44 min.

10 Temas - Tiempo Total: 00:35:28 - 82,34 MB 


Todas las composiciones de Billy Strayhorn, excepto
2: Strayhorn-Ellington-Gaines;
5: Ellington-Strayhorn
6: LaTuche-Ellington-Strayhorn;
9: Ellington-Strayhorn
   
mp3 @320 regalo de PePEJazzy

*************
Buscad . . . . . PACIFICO