quarta-feira, 23 de setembro de 2015

Hermeto Pascoal & Grupo - live at Planetário da Gávea 1981

01 - Amor, Paz e Esperança 
02 - A Flauta Pura 
03 - O Piano Parte 
04 - Caminho de Jazz 
05 - Canjicas Doce Samba 
06 - Cor Rítmica (Drums) 
07 - Free Jazz Meltdown
08 - Samba do Belaqua 
09 - Palavras ao Mar
10 - A Ver Sax 
11 - Planos D'Água  
12 - Em Novo Tambor 
13 - Grave de Feliz
14 - Bombardino 
15 - Água na boca
16 - Voltada
17 - Era pra ser e não foi  
18 - Próprio Exercício
19 - De ser sentido (includes São Jorge) 
20 - Ilza na feijoada
21 - Eletri Ficar
22 - Dueto de bateria 
23 - Ferradas a quatro termos 
24 - Jegue 
25 - Sem ser jamais o fim

Hermeto Pascoal - multi instrumentalist
Itiberê Zwarg - Bass
Jovino Santos Neto - Piano and Flutes
Carlos Malta - Reeds, Flutes
Pernambuco - Percussion
Zé Eduardo Nazário - Drums and percussion
Márcio Bahia - Drums and percussion

sábado, 8 de agosto de 2015

Donald Byrd - Black Byrd (1973)

Purists howled with indignation when Donald Byrd released Black Byrd, a full-fledged foray into R&B that erupted into a popular phenomenon. Byrd was branded a sellout and a traitor to his hard bop credentials, especially after Black Byrd became the biggest-selling album in Blue Note history. What the elitists missed, though, was that Black Byrd was the moment when Byrd's brand of fusion finally stepped out from under the shadow of his chief influence, Miles Davis, and found a distinctive voice of its own. Never before had a jazz musician embraced the celebratory sound and style of contemporary funk as fully as Byrd did here -- not even Davis, whose dark, chaotic jungle-funk stood in sharp contrast to the bright, breezy, danceable music on Black Byrd. Byrd gives free rein to producer/arranger/composer Larry Mizell, who crafts a series of tightly focused, melodic pieces often indebted to the lengthier orchestrations of Isaac Hayes and Curtis Mayfield. They're built on the most straightforward funk rhythms Byrd had yet tackled, and if the structures aren't as loose or complex as his earlier fusion material, they make up for it with a funky sense of groove that's damn near irresistible. Byrd's solos are mostly melodic and in-the-pocket, but that allows the funk to take center stage. Sure, maybe the electric piano, sound effects, and Roger Glenn's ubiquitous flute date the music somewhat, but that's really part of its charm. Black Byrd was state-of-the-art for its time, and it set a new standard for all future jazz/R&B/funk fusions -- of which there were many. Byrd would continue to refine this sound on equally essential albums like Street Lady and the fantastic Places and Spaces, but Black Byrd stands as his groundbreaking signature statement. 
by Steve Huey in All Music Guide

Crossover Jazz

01 - Flight Time (08:27)
02 - Black Byrd (08:00)
03 - Love's So Far Away (06:00)
04 - Mr. Thomas (05:15)
05 - Sky High (05:59)
06 - Slop Jar Blues (06:00)
07 - Where Are We Going? (04:40)

Allan Curtis Barnes - flute, oboe, saxophone
Donald Byrd - trumpet, flugelhorn, electric trumpet, vocals
Wilton Felder - electric bass
Roger Glenn - flute, saxophone
Bobbye Hall - percussion
Joe Hill - bass
Perk Jacobs - percussion
Keith Killgo - drums
Harvey Mason, Sr. - drums
Fonce Mizell - trumpet, vocals
Larry Mizell - guitar, vocals
Dean Parks - guitar
Freddie Perren - electric piano, synthesizer, vocals
Barney Perry - guitar
Bobbye Porter - percussion
Chuck Rainey - electric bass
Joe Sample - piano, electric piano
Stephanie Spruill - percussion
Kevin Toney - piano
David T. Walker - guitar
David Hassinger - engineer, remixing

quarta-feira, 5 de agosto de 2015


segunda-feira, 3 de agosto de 2015