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4 x CD |
| 4.028 Ft
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| 1. CD tartalma: |
| 1. | Lester Young: Blue Lester
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| 2. | Red Garland: You Better Go Now
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| 3. | Charlie Parker: How Deep Is The Ocean
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| 4. | Pat Martino &
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| 5. | EJQ: Easy Dreaming
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| 6. | Stan Getz: Don&
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| 7. | Sarah Vaughan: Lover Man (Oh Where Can You Be)
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| 8. | Richie Cole &
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| 9. | Miles Davis &
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| 10. | Charles Mingus: Body And Soul
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| 11. | Joanna Eden &
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| 12. | Hank Mobley &
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| 13. | Eliane Elias: Chan&
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| 14. | The Brecon Brothers: Walk On By
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| 2. CD tartalma: |
| 1. | Woody Shaw: Imagination
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| 2. | Art Pepper: These Foolish Things (Remind Me Of You)
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| 3. | Art Blakey: Mirage
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| 4. | EJQ: Summertime
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| 5. | Dexter Gordon: I Can't Escape From You
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| 6. | The Brecon Brothers: Take Five
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| 7. | Milt Jackson: Blues Mood
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| 8. | Sadao Watanabe: My Romance
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| 9. | Erroll Garner: Moonglow
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| 10. | Ritmo Alegria: Flautero Y Yo
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| 11. | Chris Ingham: Have You Met Miss Jones?
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| 12. | Kenny Burrell: My One And Only Love
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| 13. | 2Play: Killing Me Softly With His Song
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| 14. | Hank Jones: Ruby My Dear
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| 3. CD tartalma: |
| 1. | Dizzy Gillespie: Alone Together
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| 2. | Count Basie: Li'l Darlin'
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| 3. | Sonny Stitt: Angel Eyes
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| 4. | Joanna Eden: Don't Know Why
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| 5. | Houston Person: Everything Happens To Me
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| 6. | Donald Byrd: That's All There Is To Love
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| 7. | 2Play: Morning Dance
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| 8. | Cannonball Adderley: Willow Weep For Me
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| 9. | Jazz Urbaine: What The World Needs Now Is Love
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| 10. | Larry Coryell: Sophisticated Lady
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| 11. | Rickey Ford: Chelsea Bridge
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| 12. | Bobby Hutcherson: Good Bait
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| 13. | Al Cohn & Zoot Sims: Body And Soul
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| 14. | EJQ: What A Wonderful World
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| 4. CD tartalma: |
| 1. | Phil Woods: The Summer Knows
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| 2. | Curtis Fuller: Arabia
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| 3. | Yusef Lateef: Stella By Starlight
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| 4. | EJQ: Stride Out
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| 5. | Cedar Walton: As Long As There's Music
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| 6. | The Brecon Brothers: Cantaloupe Island
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| 7. | Mark Murphy: Time On My Hands
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| 8. | David 'Fathead' Newman: One For My Baby (And One More For The Road)
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| 9. | Wallace Roney: Blue In Green
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| 10. | Jazz Urbaine: Do You Know The Way To San Jose
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| 11. | Russell Gunn: Fly Me To The Moon
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| 12. | Jimmy Scott: I'm Through With Love
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| 13. | Cecil Brooks III: Sunshine
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| 14. | Grupo Cabana: Wave (Vou te Contar)
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The candles are lit, the food is ready, the company is good and the wine is flowing. What else do you need? The right sounds to create the right mood - and here they are. Simply Dinner Jazz features over four hours of the best laid-back jazz ranging from hip and swinging recordings by jazz legends of the past six decades through to cool and classy interpretations of standards and jazz classics by contemporary jazz artists.
Disc 01 - Aperitifs
Disc 02 - Canapes
Disc 03 - Entrees
Disc 04 - Desserts
To most people, 'jazz' means the sound of the saxophone and we have some of the all-time greatest players on this collection. In the late 1930s into the 1940s, Lester 'Prez' Young virtually invented the sound of the light-toned, 'cool' tenor saxophone, as exemplified on his performance of 'Blue Lester'. "There's things going on up there man," Lester used to say, tapping his head, when asked by another tenor player why he didn't play alto. "Some of you guys are all belly." So persuasive was his approach that an entire generation of young players used him, rather than the more robust-toned contemporary Coleman Hawkins, as their chief role-model. These included Al Cohn and Zoot Sims ('Body And Soul') and their erstwhile compatriot in Woody Herman's Herd, future best-selling jazz artist Stan Getz ('Don't Worry 'Bout Me'), heard here on one of his first-ever recordings. Though ostensibly a later player of the hard-bop variety, Hank Mobley ('Blues Number Two') has a cooler sound than many of his contemporaries, marking him as yet another of Prez's children.
Of the more Hawkins-influenced tenorists we have Dexter Gordon ('I Can't Escape From You'), the hearty bebopper who found later fame in the lead role in the 1986 movie Round Midnight and Houston Person ('Everything Happens To Me'), a player who has made his mark with a sturdy, treacle-toned style. David 'Fathead' Newman ('One For My Baby') spent a good portion of his long career a-blowin' for Ray Charles but remained an effective, soulful player in his own right. Ricky Ford is of a later generation, but his full-bodied reading of Billy Strayhorn's 'Chelsea Bridge' marks him as a clear member of the Hawkins-inspired genealogy.
The shadow cast over aspirant alto saxophonists by the bebop genius of Charlie 'Bird' Parker ('How Deep Is The Ocean') was so big, many barely attempted to escape it, accepting the influence of Bird's musical legacy as a kind of will and testament. Others used Bird as a jumping-off point to forge their own thing. Sonny Stitt ('Angel Eyes') began on alto but transferred to tenor (on which he is heard here) partly to avoid comparison with Parker. Art Pepper ('These Foolish Things') was the Bird-style west coast bopper in the 1950s before narcotics-related prison spells stalled his career; his later playing became a more splintered and complex conception. Though an astonishingly facile bop-influenced player as we hear on his reading of 'Willow Weep For Me', Cannonball Adderley would go on to emphasise the bluesy aspect of Parker's approach to become the leading star of the 1960s genre Soul Jazz. Richie Cole ('Malibu Breeze') is a generation removed but connects with Parker through his studies with fellow altoist Phil Woods ('The Summer Knows'), a first-generation Bird disciple and scholar. The huge influence of Sadao Watanabe ('My Romance') in his native Japan has ensured Bird's musical language has been transmitted to a new generation of Japanese players.
However, if there's a single iconic figure who represents 'modern jazz' to the layman, it may well be Miles Davis, a musician whose lean, moody trumpet lines are among the most haunting sounds in all of music. Ironically, he developed his style in the late 1940s on tracks like 'Milestones', partly as an alternative to the pyrotechnic bop of Dizzy Gillespie ('Alone Together'), the technique of whom Miles could not match. Miles's influence can be heard whenever a stemless harmon mute is used (as on Russell Gunn's "Fly Me To The Moon") but especially in trumpet ballads; our examples here are "That's All There Is To Love" by one of the most recorded trumpeters of the 1960s Donald Byrd and "Imagination" by one of the most distinguished of 1970s trumpeters Woody Shaw. Wallace Roney even took Miles's role in the reformation of his '60s quintet soon after Miles's death in 1991 and here interprets the evocative "Blue In Green" from Davis's 1959 classic Kind Of Blue.
At the piano, we have four illustrious professors and one contemporary kitten of the keys, all of whom exude style and warmth in their playing. Hank Jones ("Ruby My Dear") is one of the great venerable pianists, old enough to have recorded with Charlie Parker and still playing as he approaches his 90s. The music of ex-Jazz Messenger Cedar Walton is of comparable refinement and here he displays exquisite taste with his choice of an obscure Frank Sinatra movie ballad ("As Long As There's Music"). Errol Garner ("Moonglow") had an ebullient, two-fisted style which – along with his composition "Misty" and best-selling album Concert By The Sea - made him among the most popular jazzmen of the 1950s while Red Garland ("You Better Go Now") made his name as the elegant pianist in Miles Davis's legendary mid-fifties quintet. Brazilian Eliane Elias ("Chan's Song") is a versatile contemporary musician who has recently found wider fame as a uniquely sultry vocalist.
Talking of sultry vocalists, check out Joanna Eden's lovely versions of Hoagy Carmichael's "The Nearness Of You" and the modern ballad made famous by Norah Jones, "Don't Know Why". There's also a very young Sarah Vaughan already sounding like a master of her craft on "Lover Man" and singer-pianist Chris Ingham's coolbop take on "Have You Met Miss Jones", a Rodgers and Hart gem recently revived for the movie Bridget Jones's Diary by Robbie Williams. From the passionate side of the singing art is Jimmy Scott, giving a typically full-voiced reading of "I'm Through With Love", and Mark Murphy ("Time On My Hands"), the hipster with heart.
Contemporary group The Brecon Brothers give their interpretations of jazz classics made famous by Herbie Hancock and Us3 ("Cantaloupe Island") and Dave Brubeck ("Take Five"). They also offer a jazzy reading of "Walk On By" one of three Burt Bacharach compositions on Simply Dinner Jazz. The other two are "What The World Needs Now Is Love" and "Do You Know The Way To San Jose", played by smooth jazz group Jazz Urbaine. Crossover jazz versions of Roberta Flack's "Killing Me Softly" and Spyra Gyra's "Morning Dance" are presented here by 2Play while modern acoustic jazz combo EJQ deliver a Miles-esque "Summertime", a cool ballad version of "What A Wonderful World" and a pair of chilled-out original compositions "Easy Dreaming" and "Stride Out".
There is some sumptuous, sensual Latin Jazz from Danza Latina ("Flautero Y Yo"), Grupo Cabana ("Wave") and drummer Cecil Brooks III ("Sunshine"), just the thing to bring a little sparkle to the party. Add to all this the ballads of master guitarists Pat Martino ("Willow"), Kenny Burrell ("My One And Only Love") and Larry Coryell ("Sophisticated Lady") along with renowned bandleaders Count Basie ("Li'l Darlin'"), Charles Mingus ("Body And Soul") and Art Blakey ("Mirage") and you have a feast every bit as nourishing as that on your plate. Enjoy.
---Kit Aiken |
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