i want to begin post topics about my top music preferences last week.

• 1) Katzen Kapell “Katzen Kapell” (1994) - eclectic Swedish band, whose experimental sound is inspired by Piazzolla, Zappa and Stravinsky
• 2) Chet Baker Quartet “Live in Tokyo, Disc I & Disk 2″ (1987) one of the lasts Chet Baker concerts
• 3) Miles Davis “Blue Haze” (1955) - rare enough album
• 4) Gonzalo Rubalcaba “Avatar” (2008) - see earlier blog posts
• 5) Nils Petter Molvaer “Khmer” (1999) - acid-jazz, electronic, trumpet

Popularity: 100% [?]

Once a drummer following the footsteps of his brother and father, a cellist until convinced to take up the bass during junior high orchestra practice, Brian Bromberg has become one of the most well-respected virtuoso bass players in jazz, thanks to his A-list studio and touring status as sideman, producer and leader of such diverse stylistic range. This year marks the American release of “Downright Upright” album, a compelling addition to his acclaimed and popular catalog that he expects will please both the casual smooth jazz fans and the jazz purists.
Already released in Japan, Downright Upright is a return to the acoustic upright bass Bromberg recently spent time with on 2006’s Wood II. But this record represents a unique progression from that lauded cd, which was laced with Bromberg’s innocent humor and embellished with solo Paul McCartney and Earth, Wind and Fire covers. Far less intimate than Wood II, Downright Upright abandons the traditional trio format and takes on new collaborative touches, including those from pianists George Duke and Jeff Lorber, trumpeter Rick Braun, saxophonists Gary Meek, Boney James, and Kirk Whalum, drummer Vinnie Colaiuta, and perhaps most noticeably, guitarists Gannin Arnold and Lee Ritenour. Having contributed to Rit’s recent album Smoke ‘N Mirrors, Brian just returned from live dates with the legendary guitarist. Ritenour’s contribution to Downright Upright underscores their complimentary, collaborative simpatico.

• 1. Cantaloupe Island
• 2. Mercy Mercy mercy
• 3. Cold Duck Time
• 4. Sunday Mornin’
• 5. The hacha Cha Cha
• 6. Chameleon
• 7. Serengeti Walk
• 8. Leisure Suit
• 9. Slow Burn
• 10. Shag Carpet

Retro-inspired grooves can mean a lot of things—it depends on how far back one wants to go.
On Downright Upright, bassist Brian Bromberg takes a retro tour of the era when Freddie Hubbard and Herbie Hancock were reaching a peak. Joe Zawinul and Eddie Harris were changing the scope of jazz. Weather Report was in, and jazz was changing rapidly. The umbrella was opening up to include innovative ideas and comfortable melodies that lingered in the mind for a lifetime.

Personnel:
Brian Bromberg: upright bass, piccolo bass;
Rick Braun: trumpet, flugelhorn;
Boney James, Gary Meek, Kirk Whalum: tenor saxophone;
Lee Ritenour, Gannin Arnold: guitar;
George Duke: piano;
Jeff Lorber: piano, organ;
Vinnie Colaiuta: drums.

Brian Bromberg born in Tucson and now based in Los Angeles, Bromberg tested out of high school early to dedicate his life to music. The decision would pay off shortly thereafter when he met Marc Johnson, bass player to famed pianist Bill Evans. Sensing a rare opportunity, Johnson kept Bromberg in mind upon learning that sax great Stan Getz needed a bass player to join his quintet. After a successful audition, the freshly nineteen-year old Bromberg joined Getz in December of 1979.

Working with a crew that normally reserves its studio and stage time for smooth jazz or a similar, pop-inspired, contemporary form, Bromberg brings his big bass and piccolo bass aboard for a veritable party. He and his sidemen inject plenty of life into the scene on Downright Upright, honoring the jazz legends who have paved the way. These are no mere sidemen with Bromberg, either. Each brings a veteran’s feel for contemporary jazz to the session, giving the bassist a rich palette from which to select. George Duke’s piano solo on “Chameleon,” for example, provides one of the session’s high points. The others join Bromberg in creating several more plateaus on a session that comes recommended for its broad appeal and for its unmistakable groove.

As an in-demand producer, bassist and studio designer Brian’s myriad talents have placed him in the forefront of the West Coast musical community. Co-partner in the Artistry Music Group, whose label has seen multiple Grammy nominations in their short existence, as well as owner of his own popular recording studio in L.A.’s San Fernando Valley, Bromberg brings his knowledge of an artist’s perspective to a forward thinking, musically exciting new highpoint in a career filled with tremendous accomplishments.

The bassist solos frequently on both his acoustic bass and his electric piccolo bass with an expressive nature that finds him tearin’ up the strings passionately. The sound of the smaller instrument resembles that of a bass guitar as Bromberg applies it to “Chameleon,” “Leisure Suit,” “Slow Burn” and “Cold Duck Time.” His five original compositions maintain the momentum found in the album’s first three tracks, while his covers of older familiar tunes prove satisfying.

Popularity: 94% [?]

From official Hanckock site:

“On ‘River: The Joni Letters’ (September 25th, Verve), the always progressive pianist/composer Herbie Hancock aimed to dissect the lyrics of some of Joni Mitchell’s most famous songs. Instead of the instruments accompanying the lyrics, Hancock and producer Larry Klein arranged the music to interpret or express the emotions of the lyrics, all while keeping the melodies Mitchell fans know and love. This goal is most evident on “Both Sides Now,” one of four instrumental tracks on the record, which also features vocals by Norah Jones, Tina Turner, Corinne Bailey Rae, Luciana Souza, Leonard Cohen, and Mitchell.”

1. “Court and Spark” - (with Norah Jones)
2. “Edith and the Kingpin” - (with Tina Turner)
3. “Both Sides Now”
4. “River” - (with Corinne Bailey Rae)
5. “Sweet Bird”
6. “The Tea Leaf Prophecy (Lay Down Your Arms)” - (with Joni Mitchell)
7. “Solitude” (Ellington)
8. “Amelia” - (with Luciana Souza)
9. “Nefertiti” (Shorter)
10. “The Jungle Line” - (with Leonard Cohen)

“Joni Mitchell and Herbie Hancock, along with Miles Davis, Wayne Shorter, Pablo Picasso, and other great artists of our time, share an incessant and profound creative restlessness. They each have always had the desire and need to break fresh ground with each note played or stroke of the brush. It was exactly this kind of curiosity which motivated Davis to hire Hancock in 1963 to be a part of, along with Wayne Shorter, Ron Carter, and Tony Williams, arguably one of the most important groups of musicians of the twentieth century. It was in fact Miles who told Hancock to ⌠never finish anything. Hancock, like Joni Mitchell, has gone on to explore many different genres and mediums to express his incessant curiosity, working in the context of jazz, electronic music, funk, orchestral, and film music.”

Wayne Shorter - Tenor Saxophone
Lionel Loueke - Guitar
Vinnie Colaiuta - Drums
Norah Jones - Background Vocals, Piano
Tina Turner - Vocal
Corinne Bailey Rae - Vocal
Joni Mitchell - Vocal
Luciana Souza - Vocal
Leonard Cohen - Vocal

My opinion will be such: ceativity of Herbie Hancock the period (”Maiden Voyage”) i like some more.
So i like his modal jazz songs with Ron Carter, Freddie Hubbard and Tony Williams.

Popularity: 98% [?]

Artist - Marcus Miller
Title - Marcus
Lable - Concord Jazz
Style - Jazz-Funk | Jazz | Smooth Jazz
Date Released - 04.03.2008

Miller is a talented multi-instrumentalist who is not only skilled on electric bass, but also keyboards, clarinet, sax, sitar and probably a few more besides. Just about everything shows up on his seventh solo album, a 13-track collection that’s top-heavy with his own compositions — not that there’s anything wrong with that.

Miller boarded the fusion train in the 1970s, a few years after it left the station through his work with David Sanborn. In the 1980s, Miller worked with Davis. Davis didn’t create jazz, rock, funk fusion, but the fact that the legendary jazz innovator embraced the genre gave it credibility. Miller has also collaborated with artists such as Mariah Carey, Jay-Z, Michael Franks, ZZ-Hill and Billy Idol.

Working with artists representing a wide variety of genres is a major theme on this latest work. One highlight is Corinne Bailey Rae, wrapping her sultry vocals around rendition of Denise Williams’ 1976 classic “Free.” Miller plays it pretty straight on this rendition that holds pretty close musically to Williams original. The main difference is Miller’s bass playing, in which he employs his signature thumping and plucking funky style. The version also includes some definite jazz influenced improvising by Miller, as well as a saxophone solo.

“He’s joined by some talented friends too. It’s an outstanding group that includes vocalists the caliber of Keb’ Mo’, Corinne Bailey Rae and Lalah Hathaway. Other performers include Shihan the Poet, jazz icon David Sanborn, and actress Taraji Henson (who made her singing debut in the movie Hustle and Flow).

Henson’s vocalizing on the bonus track, “Lost Without U [Spoken Word],” backed by Hathaway and the Ivey Sisters, is surprisingly enjoyable, and is a different take on Hathaway’s earlier version of the same tune. Hathaway is at her best with “Ooh,” a piece she co-wrote with Miller, and according to the album notes he backs her delicious singing with no less than seven different instruments.

There’s lots more to be found here - even Shihan the Poet, if that’s your thing - but the bottom line is simply that the album is a good collection of R&B flavored jazz that should be well worth a listen for any fans of good music — and isn’t that why we’re all here? “
Geezer Music Club

“Many so-called “straight ahead jazz” artists clearly don’t have the comfort or interest in commenting musically on the contemporary music genres, such as R&B and rock, that have supplanted jazz in terms of popularity. A major reason for their reluctance has to do with the fact that many jazz artists don’t believe R&B and rock music compares on a qualitative level to the music from the Great American Songbook. Even those who might want to try don’t feel they have the understanding of contemporary music. That leaves the task of translating the contemporary musical canon in the hands of so-called “smooth jazz” artists, and those results are often uninspiring.”
Howard Dukes

Popularity: 99% [?]

Trio:
Lee Konitz - alt sax
Refus Reid - bass,
Matt Wilson - drums

There were full of surprises performance of a trio of one of the most known cool-jazz saxophonist Lee Konitz. Unexpectedly arrived remarkable contrabass player Refus Reid whose game (including a bow that is more characteristic for the European jazz, than American) the ensemble has been obliged by especial depth and emocial. Lee Konitz, whose musical career has begun in the middle of the last century, has surprised with the present and vivacity of musical thinking and special freedom of a statement of a material of jazz standards. He was 80 years old last autumn! Drummer of trio - Matt Wilson. Delicacy - the virtuozzo on percussion instruments. And on this performance, in a translucent acoustic trio, he was as it is impossible more by the way.

Popularity: 67% [?]

Label: Blue Note
Release: 2008
Time: 65:19
Personnel:
Gonzalo Rubalcaba: piano, keyboards;
Yosvany Terry: alto, soprano & tenor saxophones, percussion;
Mike Rodriguez: trumpet, flugelhorn;
Matt Brewer: acoustic bass;
Marcus Gilmore: drums.

Great openning 2008 year.

All the players on this CD are a pleasant to hear. I’m listening these performances several times.

He present his album on “The International Festival “Triumph of Jazz-2008″ in Russia.
It’s the trademarks of the Moscow winter!

Find out more information about Gonzalo Rubalcaba on his official web-site : http://www.g-rubalcaba.com/

“Of course, Gonzalo is great contemporary jazz , as usual. He is clearly one of the leading pianists in the world - in any style of music. His touch and his ability to shape dynamics on the instrument are inimitable - even uncanny at times. And his time? The best. Just great.”
Review by Paul S. Brewer

Tracklist:

01 - Looking in Retrospective (9:43)
02 - This Is It (12:32)
03 - Aspiring to Normalcy (13:07)
04 - Peace (4:09)
05 - Hip Side (8:34)
06 - Infantil (7:07)
07 - Preludio Corto No.2 For Piano (Tu Amor Era Falso) (10:07)

Popularity: 67% [?]