[JPL] Re: Family That Plays Together/Moutin Reunion Quartet

r durfee rdurfee2003 at yahoo.com
Tue Dec 4 18:58:36 EST 2007


Thanks for stopping by...Happy Holidays!, etc....roy

--- Sophia Peron <info at jazzinn.com> wrote:

> For sponsorship info: email jplsponsor at jazzweek.com
> 
> +++++++++++++++++++++++++++++++
> How about twins Francois & Louis Moutin who are
> touring with their new 
> CD right now?
> They sure blew our minds down here in Truth or
> Consequences, New Mexico 
> in June,
> along with Rick Margitza and Pierre De Bethmann -
> haven't heard any 
> comments on JPL . . .
> Sophia & Nick Peron
> 
> r durfee wrote:
> > For sponsorship info: email
> jplsponsor at jazzweek.com
> >
> > +++++++++++++++++++++++++++++++
> > December 2, 2007
> > Playlist
> > A Family That Plays Together, and a Jazz Legend 
> > By BEN RATLIFF
> > 3 Cohens
> >
> > There’s such a thing as a family sound, and the
> > musicians calling themselves the 3 Cohens have it.
> The
> > tenor saxophonist and clarinetist Anat Cohen, the
> > trumpeter Avishai Cohen and the soprano
> saxophonist
> > Yuval Cohen — originally from Israel and now all
> part
> > of the New York jazz world — weave their lines
> through
> > “Braid” (Anzic), a straight-ahead jazz record with
> > Latin and Middle Eastern tinges. (The rhythm
> section
> > is first-rate: Aaron Goldberg on piano, Omer
> Avital on
> > bass and Eric Harland on drums.) Over the past few
> > years, Anat has emerged as one of the best
> clarinet
> > players in jazz, with a warm and singing tone;
> Avishai
> > can play bebop and ballad lines and outer-limits
> > trumpet sounds with tireless fluency; Yuval has a
> full
> > and relaxed sound on the soprano. The arrangements
> are
> > good, but the record is best when they strain
> against
> > the composed lines and babble together in
> intuitive
> > counterpoint. It makes a strong case for each of
> them
> > individually, but it’s a surprisingly good band
> record
> > too. 
> >
> > Horacio (El Negro) Hernandez
> >
> > The revered Cuban drummer El Negro Hernandez has
> > become an American citizen, but his all-Cuban jazz
> > band, Italuba, can’t play in this country because
> of
> > United States sanctions against Cuba. So unless
> you
> > can see the band in Italy, where it is based,
> you’ll
> > have to make do with its albums. The second,
> “Italuba
> > II,” is athletic, sentimental and modern, with
> complex
> > rhythmic latticework and some intriguing lines;
> aside
> > from Mr. Hernandez’s hard and impressive
> performance,
> > the young trumpeter Amik Guerra stands out as a
> > musician to watch. Italuba’s record is one of
> several
> > releases from the new Venezuelan label Cacao
> Música,
> > founded by the drummer and broadcaster Omar
> Jeantón,
> > as well as a more surprising supporter of Latin
> jazz:
> > Bobby Abreu of the New York Yankees. 
> >
> > Alemayehu Eshete
> >
> > The great “Éthiopiques” CD reissue series rolls
> on,
> > cataloging the astonishing breadth of music from
> > Ethiopia. Volume 22, released by the French label
> Buda
> > Musique, features the singer Alemayehu Eshete, a
> > light-voiced but intense singer who was popular in
> the
> > late ’60s and early ’70s and who has figured in
> > earlier series releases. (The overthrow of Haile
> > Selassie’s government by a military junta in 1974
> put
> > the skids to his recording career and the youth
> > culture of Addis Ababa.) These recordings, made
> from
> > 1972 to 1974, are funk and pop through a dusty
> looking
> > glass, with pentatonic scales, lean guitar lines,
> > bitter organ chords, horn-section responses to Mr.
> > Eshete’s sung lines, and fascinating vamp
> sections.
> > With some songs, you can kid yourself into
> thinking
> > they’re copies of American pop, but then the music
> > takes a turn and becomes something your ears
> probably
> > aren’t used to.
> >
> > Dewey Redman
> >
> > It will take a while longer to properly gauge the
> > importance of the saxophonist Dewey Redman, who
> died
> > last year at 75. Many people know him as a kind of
> > extension of Ornette Coleman, his friend and
> > collaborator. (He was an unknown musician before
> Mr.
> > Coleman hired him for a stretch in the late ’60s
> and
> > early ’70s, and he later spent 11 years in Old and
> New
> > Dreams, a band of Coleman sidemen who played a lot
> of
> > Coleman compositions.) And he did get Mr.
> Coleman’s
> > idea of melody-to-melody improvising under his
> > fingers, but he had many other things: a generous
> > blues language, a broad and serious (and almost
> > Coltrane-like) ballad sound, profound free-jazz
> > energy, bebop discipline and a really coherent
> sense
> > of narrative. This is a lot for one musician to
> have,
> > and all of it was in abundance on “The Struggle
> > Continues,” a record from 1982 that ECM has just
> > released on CD for the first time. Boy, is it
> good,
> > and ripe for rediscovery. 
> >
> >
> >
>
http://www.nytimes.com/2007/12/02/arts/music/02play.html?ref=music
> >
> > Roy Durfee
> > P.O. Box 40219
> > Albuquerque, New Mexico 87196-0219
> > rdurfee2003 at yahoo.com
> >
> >
> >      
>
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