Categorie

Live in Scheveningen 1958 [2CD]


  • Codice: FON1804034
  • Produttore: FONDAMENTA HIGH-END MUSICAL CRAFTS
  • Prezzo: 77,99 zł
  • Raccomandare il prodotto.

Straightahead / Mainstream Jazz
premiera polska:
2019-03-04,
Wydawnicto Audiofilskie

kontynent: Ameryka Północna
kraj: USA
opakowanie: digipackowe etui
opis:

multikulti.com - ocena * * * * *:
Miles Davis w latach 80. powiedział, „Jeśli Art Blakey jest staroświecki, to ja jestem biały”. Ta opinia wiele mówi o formacie tego muzyka. Śmiało można stwierdzić, że Blakey jest jedną z najistotniejszych postaci ery hardbopu i w ogóle całego jazzu. Zespół Jazz Messengers, który prowadził przez 35 lat stał się swego rodzaju wyznacznikiem hardbopowego brzmienia, do aktywnego końca życia Art Blakey wyszukiwał młodych interesujących muzyków i uczył ich łączenia żywiołowości z precyzją. Z The Jazz Messengers współpracowali bowiem Wayne Shorter, Freddie Hubbard, Thelonious Monk i wielu innych wspaniałych muzyków, aż po braci Marsalisów.

Jazzowa seria wydawnicza audiofilskiej francuskiej oficyny wydawniczej FONDAMENTA HIGH-END MUSICAL CRAFTS zatytułowana THE LOST RECORDINGS COLLECTION wzbogaciła się właśnie o kolejną, wspaniałą pozycję. Dwupłytowy "Live in Scheveningen 1958" Art Blakey & The Jazz Messengers to ósma płyta tej serii wydawniczej po "Live at Laren Jazz Festival 1975" Sarah Vaughan, "Live at The Concertgebouw 1961" Oscar Peterson Trio, "Live At The Kurhaus 1967" Dave Brubeck Quartet, "Live at The Concertgebouw 1961" Elli Fitzgerald, "Live at Singer Concert Hall 1973" Dizzy'ego Gillespie'go, "Live in Rotterdam 1967 [2CD]" Theloniousa Monka i "The Lost Sessions from The Netherlands" Blossom Dearie.

Na swojej stronie FONDAMENTA HIGH-END MUSICAL CRAFTS tak opisuje proces pracy nad jakością brzmienia "przywracamy do życia zapomniane lub zagubione nagrania w niespotykanej jakości dźwięku, dzięki rewolucyjnej technologii". I zaiste technologia, z jakiej korzystają musi być rewolucyjna, skoro z pełną odpowiedzialnością za słowa jesteśmy zdania, że nie było dotąd nagrań klasyków jazzu w tak referencyjnej jakości.

The Jazz Messengers w swoim najlepszym składzie (ten skład nagrał w końcu bodaj najsłynniejszą płytę zespołu p.t. "Moanin’") - lider za perkusją, Lee Morgan na trąbce, Benny Golson na tenorowym saksofonie (dawny kolega szkolny Coltrane’a), Bobby Timmons za fortepianem i Jymie Merritt na kontrabasie zagrali w holenderskim Scheveningen porywający koncert, podczas którego z żelazną dyscypliną realizowana była charakterystyczna koncepcja Blakey'a, polegająca na odejściu od jamowej stylistyki bebopu nastawionej na solowe popisy i postawienie na potencjał współbrzmieniowy członków zespołu oraz ciekawe aranżacyjne zabiegi. Cichym bohaterem jest tutaj nieco zapomniany saksofonista Benny Golson, który imponuje zarówno warsztatem instrumentalisty (szczególnie na pierwszym dysku słychać powinowactwo z Johnem Coltrane'em), jak i aranżerskim i kompozytorskim. Na płycie poza tematami Golsona usłyszymy także kompozycje Bobby'ego Timmonsa, Charlie'go Parkera, Theloniousa Monka i Dizzy'ego Gillespie'go. Fantastyczne są zapowiedzi Arta Blakey'a, będące dowodem jego poczucia humoru i scenicznego luzu.

Serii wydawniczej THE LOST RECORDINGS COLLECTION, pięknie edytorsko wydanej przez FONDAMENTA HIGH-END MUSICAL CRAFTS po prostu nie można przegapić!
autor: Mateusz Krępski
Copyright © 1996-2017 Multikulti Project. All rights reserved

Editor's info:
It was the evening of 29 November 1958. On the stage of the Kurhaus in Scheveningen, Art Blakey grabbed the microphone to say, “I would like to take a moment and say good evening on behalf of the Jazz Messengers and myself.” Everyone present could feel that this was a concert that would go down in history.

Art Blakey had just turned thirty-nine. He was “Bu” to those who knew that late in the 1940s he had taken the name of Abdullah Ibn Buhaina. In 1954, he had co-founded the Jazz Messengers with pianist Horace Silver, but now he led the quintet single-handedly, identifying the most outstanding talents, mentoring them, taking them to the top. The group of course continued to expand until late in the 1980s to include other artists – as talented as they were diverse – such as Wayne Shorter, Clifford Brown, the Marsalis brothers and Keith Jarrett. But already in 1958, the ensemble was inspired, imbued with confidence, crowned with success, and most importantly, original. Pianist Bobby Timmons had just composed the emblematic “Moanin’” and saxophonist Benny Golson, his famous “Along Came Betty”, songs that the Jazz Messengers interspersed with the compositions of their illustrious fellow musicians: Thelonious Monk, Charlie Parker and Dizzy Gillespie. The creme de la creme of the jazz world was on stage that evening, their performance fallen into oblivion until this recording.

Art began the evening by presenting his line-up. Kind words: for each one, a little hyperbole, a tad too much praise – enough to create a light-hearted, intimate atmosphere. Then, over the evening, he introduced each piece, each time jokingly promoting the Blue Note label and eliciting chuckles among the audience. While the band played, Art never stole the limelight, however inventive the pulsating rhythms of his sticks, emerging whenever he felt his magic should work its spell. His legendary multiple bounce rolls following on the heels of the piano and saxophone solos brought them depth and colour, extending their horizons, strengthening them, making them ever more limpid.

Pianist Bobby Timmons’ “rusty fingertips” got the concert going with “Moanin’”, while the rest of the band simply underlined the rhythm before developing it. The tone was set: thoughtful yet jubilant, simple, subtly nuanced. This was followed by “Along Came Betty”, for the Betty who took Benny Golson’s fancy when she walked into a club where he was performing. After a tribute to Thelonious Monk lasting several minutes, the Jazz Messengers launched into an exploration of a magnificent ballade composed by Benny Golson in memory of Clifford Brown, the great trumpet player who had passed away two years earlier. In “Now Is The Time”, Art paid a modest tribute to the man he called the prophet of modern jazz, Charlie Parker. The next piece, “Whisper Not”, is one of muted melancholy, elegance and emotion, tenderly expressed by Lee Morgan’s trumpet. At this stage, it must have been hard to imagine that the concert would end so resoundingly. Art, communing with Africa as expressed by Gillespie, launches into a long solo with varied successions of rhythms, and all the colours of the continent surged forth until, at the very end, all the instruments exploded in a display of fireworks, each bursting out as the others faded away. With the last note, Art stood up and made his way to the edge of the stage. We can imagine his teasing smile as he took in the applause, finishing with, “May God bless you.”

Over thirty years later, when Art Blakey died, The New York Times quoted Max Roach: “Art was an original. He’s the only drummer whose time I recognize immediately. And his signature style was amazing; we used to call him ‘Thunder’”. The storm had already thundered over the stage of the Kurhaus that night in 1958.

muzycy:
Art Blakey - Drums
Lee Morgan - Trumpet
Benny Golson - Tenor Saxophone
Bobby Timmons - Piano
Jymie Merritt - Double bass

utwory:
CD1:
1. Introduction by Art Blakey 03:24
2. Moaning (Bobby Timmons) 15:23
3. Announcement by Art Blakey 01:09
4. Along Came Betty (Benny Golson) 09:33
5. Announcement by Art Blakey 00:30
6. Evidence/Justice (Thelonious Monk) 06:58

CD2:
1. Just by Myself (Bobby Timmons) 05:52
2. Announcement by Art Blakey 01:08
3. I Remember Clifford (Bobby Timmons) 06:02
4. Announcement by Art Blakey 00:43
5. Now Is the Time (Charlie Parker) 06:07
6. Announcement by Art Blakey 00:29
7. Whisper Not (Benny Golson) 10:13
8. Night in Tunisia (Dizzy Gillespie) 12:21

wydano: 2018-10-22
more info: www.fondamenta-music.com

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