http://www.hiromiuehara.com

http://www.myspace.com/hiromimusic

Origine du Groupe : Japan

Style : Jazz , Piano , Instrumental

Sortie : 2006

From Wikipedia :



Hiromi (上原ひろみ, Hiromi Uehara, née le 26 mars 1979) est une pianiste de jazz née à Hamamatsu au Japon.





Biographie



Hiromi Uehara prend ses premières leçons de piano à l'âge de 6 ans, et démontre rapidement une habileté et une vitesse d'apprentissage hors du commun. À 7 ans, elle intègre la prestigieuse
«Yamaha School of Music» et à 12 ans, elle joue pour la première fois en public avec un orchestre de prestige. À 14 ans, Hiromi voyage en Tchécoslovaquie où elle a l'occasion de jouer avec
l'orchestre philharmonique tchèque. En 1999, elle s'inscrit à la prestigieuse école de musique de Berklee à Boston. Elle y rencontre le célèbre pianiste Ahmad Jamal, qui deviendra son mentor.
Elle obtient son diplôme avec le rang maximal en 2003.





Hiromi en trio



Hiromi jouait à l'origine en trio avec le bassiste Mitch Cohn et le batteur Dave DiCenso. En 2004, elle enregistre son second album Brain avec ses camarades de Berklee, le bassiste Tony Grey et
batteur Martin Valihora. C'est le trio avec lequel elle s'est produite depuis.

 

Tracklist :

1. Spiral

2. Open Door - Tuning - Prologue

3. Deja Vu

4. Reverse

5. Edge

6. Old Castle, By the River, In the Middle of the Forest

7. Love and Laughter

8. Return of the Kung-Fu World Champion

http://www.williamparker.net

Origine du Groupe : North America

Style : Jazz , Experimental

Sortie : 2002

By Chris Dahlen from http://pitchfork.com



We argue now and then around the 'Fork office about whether or not "jazz is dead." My take: it's not, and Thirsty Ear's Blue Series is the evidence. Despite the genre's recent bout with hard
times, its artists-- from Matthew Shipp, to John Zorn, to David S. Ware, to William Parker-- continue to merge new ideas with new technology, breaking many of the old laws of conventional jazz
while still adhering to its base policies. With the ground broken by these artists in recent years, jazz, at least in the underground, is finding a new audience, and even enjoying something of a
renaissance-- Blue Series curator Matthew Shipp broke records when, earlier this year, his Nu-Bop LP became the first album ever to debut at #1 on CMJ's college charts.



The Blue Series is tailor-made to grab new listeners and convince that jazz is alive and doing damn well, thanks very much, with releases showcasing this new, boundary-pushing jazz music. William
Parker and Matthew Shipp, in particular, have anchored many releases that take the best living improvisers and throw in something 'extra'-- sometimes a DJ, sometimes an programmer/electronics
guy, or in this case, a singer.



On Raining on the Moon, Parker's quartet-- with Louis Barnes on trumpet, Rob Brown on alto and flute, and the extremely simpatico Hamid Drake on drums-- is joined by Leena Conquest, who sings
Parker's lyrics with a deep, compelling voice. Like Parker's bass, Conquest's vocals fluctuate between the bold and the yearning, always reaching for the fantastic from a deep-rooted center. And
what she reveals about his vision makes this album as essential as his other recent projects, as well as a fine place for beginners to start exploring, as it's probably the most accessible.



William Parker pursues spirituality through hard work. He plays bass as if reaching heaven is a matter of steadily, repeatedly knocking until someone opens the door; he's one of the avant-garde
jazz players most dedicated to the pursuit of higher purpose and heightened awareness in music, and he approaches it with a heavy, elemental tone. His poetry, which he has rarely recorded, has
the same character: it's full of images that emerge steadily and deliberately, using simple words to evoke rich colors and sounds. Take, for example, these lines from "Song of Hope": "I have a
rag doll filled with light and when I squeeze it the world gets brighter and brighter.../ I clap my hands and birds fill trees with sweet melodies."



On the album's centerpiece, the ambling, fourteen-minute title track, Conquest sings about an America turned upside down. Every wrong is corrected: the Native Americans take the presidency, and
"the White House is now the Red House"; Columbus Day is off the calendar; millionaires hand their money to the poor. It's a great riff, slowly growing more serious and pseudo-Biblical when
everyone who's been lynched comes back to life. The victims forgive their killers: "If you knew what you did you'd be evil... and I know you're not evil." The song swells and rises, yet it never
erupts or loses balance: Parker and Drake stay the course, Parker's tone sounding like a man moving heavy furniture while Drake's hi-hats shuffle around him.



On two tracks, Parker plays an African Harp called the 'donso ngoni,' and echoes the reflectiveness of the New York loft jazz sound; there are also two instrumentals, the bright "Hunk Pappa
Blues" and the ballad "Old Tears," where Barnes and Brown stretch out beyond the commentary and interjections given to the other tracks. The album generally sticks with a strident, determined
tone, with echoes of 60s and 70s protest music-- Conquest often evokes the spirit of, say, Abbey Lincoln on Max Roach's Freedom Now Suite-- yet the lyrics don't signify opposition so much as they
dream of alternatives: a better world, more justice, watermelons that grow on trees... These are wild visions, but they sure seem real, and even attainable, when Conquest sings of them.

William Parker- BASS

Rob Brown- ALTO & FLUTE

Louis Barnes- TRUMPET

Hamid Drake- DRUMS

Leena Conquest- VOCALS



Tracklist :

1-Hunk Pappa Blues

2-Song of Hope

3-Old Tears

4-Raining on the Moon

5-Music Song

6-The Watermelon Song

7-James Baldwin to the Rescue

8-Donso Ngoni

http://www.terrilynecarrington.com

http://www.myspace.com/terrilynecarrington

Origine du Groupe : North America

Style : Jazz , Nu-Jazz , Soul

Sortie : 2011

From Official Site :



Hebert-Carrington Media (HCM) co-founder ... Media Entrepreneur, Drummer, Composer, Producer and clinician Terri Lyne Carrington has been at the top of the music industry for almost 25 years,
collaborating with luminaries like Herbie Hancock, Wayne Shorter, Al Jarreau, Stan Getz, David Sanborn, Joe Sample, Cassandra Wilson, Clark Terry, Nancy Wilson, George Duke, Dianne Reeves, and
numerous others.  She recently returned to her hometown where she received an honorary doctorate from Berklee in 2003, and was appointed professor at Berklee, her alma mater. Carrington also
is Artistic Director of The Berklee Beantown Jazz Festival.



Terri Lyne has recorded an ensemble CD with some of the world's top musicians, performing music that celebrates different aesthetics in music and in life.  "The Mosaic Project" is a
celebration of female artists with Terri Lyne being joined by some of today's most celebrated female instrumentalists and vocalists in the world, 'women with voices,' coming together to support
and celebrate each other from a musical and social perspective.

 

Tracklist :

01. Transformation (05:34)

02. I Got Lost In His Arms (04:58)

03. Michelle (06:53)

04. Magic And Music (03:45)

05. Echo (07:14)

06. Simply Beautiful (04:31)

07. Unconditional Love (05:56)

08. Wistful (04:48)

09. Crayola (04:30)

10. Soul Talk (05:56)

11. Mosaic Triad (06:00)

12. Insomniac (05:13)

13. Show Me A Sign (02:28)

14. Sisters On The Rise (A Transformation) (04:00)

http://www.carlesbenavent.net

http://www.myspace.com/carlesbenavent

http://www.josemicarmona.com

http://www.myspace.com/josemicarmona

Origine du Groupe : Spain

Style : Flamenco , Jazz , Guitar , Instrumental , World Music

Sortie : 2009

By Luigi from http://lascintasrecuperadas.blogspot.com



Carles Benavent and Josemi Carmona have locked themselves up in a recording studio and have recorded "Sumando", a happy encounter between flamenco and jazz. Each of them contributes what he has
learnt during a long musical career; the end product are nine songs that do not stray from the rhytmic pattern or the emotion of flamenco. Chick Corea and Diego are featured as special guest
artists.

"Sumando" (Adding) is the first joint work by Carles Benavent and Josemi Carmona. The jazz bass player and the guitarist of Ketama have brought together their wide-ranging musical experiences to
bring to life a flamenco-jazz record. It features nine themes that were composed and performed by themselves, with the accompaniment of other renowned musicians, from both the jazz and flamenco
scenes, among whom those who stand out are Chick Corea and Diego el Cigala.

In "Sumando", the bass and guitar are the protagonists of this happy coming together. However, these instruments and musicians are backed by other musicians such as Jorge Pardo (flute), Tino di
Geraldo (drum kit), Juan Carmona Jr. (percussion), Bandolero (palmas, rhythmic hand-clapping) and Piraña (percussion). Moreover, Carles Benavent also plays the Ebow, keyboards, mandola and
cittern; and Josemi Carmona plays the flamenco guitar, the acoustic guitar, the mandola and palmas.

Benavent and Carmona contribute everything they have learnt during their long musical careers to "Sumando". Carles started to open up new horizons for current Spanish music in the 1970s with the
band Música Urbana. Since then, he has become a reference on the jazz and flamenco-jazz scenes. His works have had an international repercussion through his cooperation with Miles Davis, Paco de
Lucía, Quincy Jones and Chick Corea.

Josemi Carmona possesses all the flamenco flavour of the Habichuelas and contributes all the baggage from his time in Ketama. And Josemi was able to add the experience of his encounters with
international musicians like Toumani Diabate, Danny Thompson, Michel Camilo, Cheb Khaled and Caetano Veloso, among others, to the cross-breeding that Ketama’s flamencoised salsa pop already
represented. Furthermore, "Sumando" is Josemi’s first recording work after Ketama



Tracklist :

01. Sencillito 3:01

02. La garza 6:22

03. Dama 4:46

04. Skely 3:37

05. Soleó 5:05

06. Amic Joan 4:32

07. El Galleta 4:31

08. Okinawa 3:45

09. Lupeando (a la memoria de Jaco) 3:29

10. Lupeando II 2:17

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

Origine du Groupe : North America

Style : Jazz , Hard Bop

Sortie : 1965

By http://www.dustygroove.com/item.php?id=hyqzvpnbrk



One of those obscure sessions recorded during the years after the time Blakey and Horace Silver broke up, and before he reestablished himself as a key leader on Blue Note during 1958. Features a
striking early lineup of the Jazz Messengers featuring Jackie McLean(alto) and Bill Hardman(trumpet) with Sam Dockery and Spanky DeBrest. Included are a swinging Gershwin medley and two Duke
Jordan tunes "Scotch Blues" and the classic "Flight to Jordan"



Lineup :

Art Blakey (drums)

Jackie McLean (alto sax)

Bill Hardman (trumpet)

Sam Dockery (piano)

Spanky DeBrest (bass)



Tracklist :

1. Scotch Blues

2. Flight to Jordan

3. Transfiguration

4. Exhibit A

5. Gershwin Medley: Rhapsody in Blue; Summertime;

Someone to Watch Over Me; The Man I Love

http://www.manu-katche.com

http://www.myspace.com/manukatche

Origine du Groupe : France

Style : Jazz

Sortie : 2010

Durée : 60min

Par http://www.nancyjazzpulsations.com



Figure incontournable du jazz moderne français, Manu Katché est marqué par un sens inné du rythme et du groove et un jeu est à la fois élégant et délicat. Grandissant aux cotés de Sting, Jan
Gabarek ou Peter Gabriel, la figure jazz d'Arte a depuis enchaîné les Victoires de la musique et été nommé Chevalier des Arts et des Lettres. Le 14 octobre, le batteur était à Nancy sur
invitation de Nancy Jazz Pulsations pour présenter son troisième opus —Third Round ; un album qualifié de «thématique jazzy et magnifiquement mouvant» par le quotidien anglais The Guardian.



Le lendemain, nous pouvions lire dans l'Est Républicain le point de vue de Guillaume Mazeaud sur la prestation du batteur : Manu Katché [...] dialogue gentiment avec le public [...] attendant le
dernier morceau pour un solo brillant [et] laisse la vedette au seul instrument mélodique de son quartet, soprano-ténor les deux sax en si-bémol successivement embouchés par Petter Wettre. La
partie fut un peut longue à s'emballer [...] Pourtant, plusieurs pièces brillantes et enlevées ont ravi le public [...]





Réalisation : Jean-Marc Birraux / Supermouche Productions.

Coproduction : FRANCE Ô, VOSGES TELEVISION Imagesplus



Line Up :

Manu Katché : Batterie

Tore  Brumborg : Saxophone

Jason Rebello : Piano

Pino Palladino : Basse

Jacob Young : Guitare



Tracklist :

01 Morning Joy

02 Being Ben

03 Shine and Blue

04 Senses

05 No Rush

06 Novembre 99

07 Lovely Walk

08 Keep On Trippin

09 Song For Her

10 Clubbing

http://www.myspace.com/meschiyalake

Origine du Groupe : North America

Style : Jazz , New Orleans Jazz , Vocal

Sortie : 2010

By rfccbh   from http://rfccbh.blogspot.com



Produced by New Orleans torch, blues, and jazz chanteuse, Meschiya Lake, the Little Big Horns debut release, Lucky Devil, leaves listeners feeling satisfied. Artfully recognizing traditional
style with an intensity and energy that delights audiences of any age. This album, an instant classic, accurately represents the current movement joining musicians and dancers.



For the past few years, on any given day, tourists and residents walking on Frenchmen or Royal streets would have been treated to the throaty warble of Meschiya Lake floating atop a cornet,
trombone or sousaphone. This year?



"I can't even get a spot on the street anymore," Lake says, laughing. Not that she's complaining. "I don't want to wake up at three in the morning to get a spot. I have."



As the gigantic voice of the ubiquitous New York City/New Orleans jazz collective Loose Marbles, Lake, 30, was as much a downtown fixture as Grandpa Elliott or Mr. Okra — a distinctive star
belting out Depression-era standards, surrounded by a crescent of ratchet-tight string, brass and rhythm players. Writer Dan Baum profiled the group in a glowing New Yorker piece in May 2007, but
a potentially greater honor came that summer, on its annual pilgrimage to Manhattan's Washington Square Park. "That was our office," Lake says. "We got voted by the drug dealers as the best band
in the park. That was a very momentous occasion for us. They're listening to it all the time."



Now, with her spin-off band the Little Big Horns, Lake is stoking the embers of another extinguished tradition: the social dance and floor show. Every Monday at Mimi's in the Marigny, the Little
Big Horns turn back the clock, reanimating Jelly Roll Morton, Bessie Smith and Duke Ellington as some of the city's best swing dancers instruct left-footed locals on the twists and twirls of the
Charleston and Lindy Hop.



"We're all friends," Lake says. "They come to the Spotted Cat (on Tuesdays), too — pretty much every gig we have. Which makes the energy of it incredible. When they're not there, I miss
them."



For the release of the Little Big Horns' self-issued debut, Lucky Devil, Lake and a clutch of dancers (including NOLA Jitterbugs' Chance Bushman and Amy Johnson and Fleur de Tease's Trixie Minx
and Alley Oops) are transforming the pit at One Eyed Jacks into their own personal ballroom. "Old-timey entertainment," Lake says. "Three sets, four performers. The last one's going to have two,
for the grand finale. Between the performances people are going to strut their stuff on the dance floor. One Eyed Jacks is the perfect place for it."



Captured during two sessions in December and January at Tatiana Clay's historic 511 Royal St. residence, Lucky Devil contains a mix of Lake's treasured classics and two originals, the swinging
"Do For Myself" and Spanish-tinged "Slowburn," that hardly feel out of place. "Singing those songs for a living the last few years, you get to know the form of it," she says. "Once you know the
form, you can apply it."



Lake, whose first weekly gig came at age 9, covering Patsy Cline and Tanya Tucker for country fans at the Elk Creek Steakhouse & Lounge in Piedmont, S.D., says it wasn't luck that led her to
Jelly Roll Morton's childhood home at the corner of Frenchmen and North Robertson streets, where she's lived since February. Morton's "Sweet Substitute" is a Little Big Horns live staple and the
ninth track on the LP.



"I would call it fate," she says. "My landlord is a man named Jack Stewart, who also plays in the New Leviathan Oriental Foxtrot Orchestra. He's owned it since 1976, as Section 8 housing. He got
a grant from the historical society to renovate it and we moved in.



"He's excited that jazz musicians and dancers are in there," Lake adds. "He was super stoked that we even knew who Jelly Roll Morton was."

 

Line Up :

Meschiya Lake - vocals

Jason "Uncle Jack" Jurzak - sousaphone, bass, percussion

Charles "The Butcher" Halloran - trombone

Shaye Cohn - cornet

Luke Winslow King - guitar

Winfeild "Tuba Skinny" Newton BUrdick IV - banjo

Mike Chief Sitting Voelker - drums, percussion

Special Guests:

Peter Loggins - washboard

Cassidy Holden - percussion

Aurora Nealand - soprano sax

Neti Vaan - violin

Tom McDermott - piano



Tracklist :

1. I'm Alone Because I love You      3:42              

2. I Ain't Got Nuthin but the Blues     4:00           

3. Do For Myself     3:24           

4. Slowburn     4:15           

5. Backwater Blues     5:02           

6. Comes Love     3:15           

7. Lucky Devil     4:54           

8. The Curse of an Aching Heart     4:10           

9. Sweet Substitute     3:23           

10. Gimme a Pigfoot     3:17           

11. Joseph! Joseph!     3:03

http://www.dianakrall.com

http://www.myspace.com/dianakrall

Origine du Groupe : Canada

Style : Jazz

Sortie : 2004

From Wikipedia :

Diana Jean Krall, OC, OBC (born November 16, 1964) is a Canadian jazz pianist and singer, known for her contralto vocals.[2] She has sold more than 6 million albums in the US and over 15 million
worldwide; altogether, she has sold more albums than any other female jazz artist during the 1990s and 2000s. On December 11, 2009, Billboard magazine named her the second Jazz artist of the
2000–2009 decade, establishing herself as one of the best-selling artists of her time. She is the only jazz singer to have eight albums debuting at the top of the Billboard Jazz Albums.[3] To
date, she has won three Grammy Awards and eight Juno Awards.

 

 

Tracklist :

01. Intro

02. Stop this world

03. The Girl In The Other Room

04. Narrow Daylight

05. Temptation

06. Interview

07. Love me like A man

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http://www.michaelcarvin.com

Origine du Groupe : North America

Style : Jazz

Sortie : 1975

By http://www.jazzloft.com



This is another debut album of a young talent that came out of Nils Winther's NY recording trip of '75. Michael Carvin - who had played in numerous Motown recordings with the label's stars like
Stevie Wonder - was beginning to be recognized also as a jazz drummer on the New York scene playing in the Hampton Hawes Trio in the early 70s.



As the leader of a band consisting of the Big Apple's rising stars, Carvin cut an album with "an overwhelming feeling of sheer musical competence...." (Jazz Journal). Features Sonny Fortune.

 

Line Up :

Sonny Fortune (alto sax, soprano sax)

Calvin Hill (bass)

Cecil Bridgewater (trumpet)

Ron Burton (piano)

Michael Carvin (drums)



Tracklist :

1. Osun

2. Naima

3. Kwebena's Blues

4. M. C. Blues

5. The Camel

6. Billy Boy

7. Osun

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http://omeravital.com

http://www.myspace.com/omeravitalmusic

Origine du Groupe : North America

Style : Jazz , Jazz World , Instrumental

Sortie : 1996

Bassist and composer Omer Avital assembled an especially intriguing line-up for ASKING NO PERMISSION, a live date recorded at New York City's famed jazz club Small's. The sextet features four
saxophonists, creating an expansive, careening sound and plenty of options for soloing. Ironically, Avital's bass is still featured prominently, as is his songwriting (six of the album's seven
cuts are his). ASKING NO PERMISSION is entrenched in bop and post-bop idioms, but the sensibility driving it is relentlessly fresh and contemporary.



by http://www.cduniverse.com

Tracklist :   

1. Know What I Mean?! - 11:26

2. Lullaby Of The Leaves (Petekere/Young) - 08:42

3. Ballad - 02:57

4. Devil Head - 08:51

5. 12 Tribes - 15:22

6. Kentucky Girl - 14:55

7. The Field - 12:02



All compositions by Omer Avital (Abutbul Music/ASCAP), except where otherwise indicated.



Omer Avital (bass)

Ali Jackson (drums)

Mark Turner (tenor sax)

Gregory Tardy (tenor sax, flute)

Myron Walden (alto sax)

Charles Owens (tenor sax)

 

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