The first release of Train Shuffle, by Tom Harrell, was in 1994 on Upswing.
1. Upswing
2. Angela
3. Train Shuffle
4. Emergence
5. Time’s Mirror
6. Blues Connotation
7. Procession
8. Tune-A-Tune
Tom Harrell (trumpet, flugelhorn)
Phil Woods (alto saxophone)
Joe Lovano (tenor saxophone)
Danilo Perez (piano)
Peter Washington (bass)
Bill Goodwin (drums)
By C. ANDREW HOVAN, 
Published: November 1, 1999
One of modern music’s most acclaimed trumpeters, Tom Harrell has made the most out of his major label status. His two previous efforts for RCA, Labyrinth and The Art of Rhythm, brought the 53-year-old a good deal of critical attention and the major distribution network possible to reach a greater audience. However, as heavily lauded as he remains for his trumpet work, many are still asleep on his accomplished undertakings as a writer and arranger. This is due to change in a New York minute with the release of Time’s Mirror, the trumpeter’s new project for BMG and one that finds him fronting a large ensemble filled with the cream of the crop of today’s contemporary players.
A challenging new assignment, this marks the first time Harrell has put on tape what amounts to a big band session. He’s provided all the charts and a number of original compositions, many of them going back as far as the ’60s, and through these moments one gets a more tangible picture of Harrell’s influences and predilections. For instance, the newly-composed “Daily News” sports a jagged melody line redolent of Eddie Harris’ “Freedom Jazz Dance.” Both the opening “Shapes” and the title track suggest a shrewd awareness of the music of fellow trumpeter Kenny Wheeler, with their resonant and full brass scoring and a yearning sentiment of melancholia. Yet these are mere reference points and ultimately Harrell’s writing, particularly on the infectious “Train Shuffle,” takes on a life of its own.
As strong as the writing is, solo work from Harrell and the others is of a high caliber, girded ever so tastefully by the trumpeter’s poetic use of supporting lines. In fact, the liners mention Harrell’s gratitude to bassist Sam Jones, with whom he led a big band in the late ’70s, in terms of integrating solos and the written backgrounds. Harrell’s regular pianist, Xavier Davis, Don Braden, and Conrad Herwig are standouts in terms of their solo spots and this tight ensemble, some 17 strong, manages to nail Harrell’s charts with a precision that belies their relative difficulty.
Benefiting from the healthy gestation period that many of these tunes went through, Time’s Mirror is a fine illustration of where Harrell is at currently in terms of his writing and trumpet playing. It’s his most complete recorded statement yet to appear and hopefully it’s a harbinger of more like-minded projects to come.
Track Listing: Shapes, Autumn Leaves, Daily News, Dream, Chasin’ the Bird, Sao Paulo, Time’s Mirror, Train Shuffle (50:40)
Personnel: Tom Harrell- trumpet; Craig Bailey- alto saxophone & flute; Mark Gross- alto saxophone & clarinet; Alex Foster- tenor saxophone & flute; Don Braden- tenor saxophone; David Schumacher- baritone saxophone; Earl Gardner- lead trumpet; Joe Magnarelli, Chris Rogers, David Weiss, James Zollar- trumpet & flugelhorn; Conrad Herwig, Mike Fahn, Curtis Hasselbring- trombone; Douglas Purviance- bass trombone; Xavier Davis- piano; Kenny Davis- bass; Carl Allen- drums
Record Label: RCA Victor | Style: Straightahead/Mainstream
Biography
Tom Harrell was born in Urbana, Illinois but moved to the San Francisco Bay Area at the age of five. He started playing trumpet at eight and within five years, started playing gigs with local bands. In 1969 he graduated from Stanford University with a music composition degree and joined Stan Kenton’s orchestra, touring and recording with them throughout 1969.
After leaving Kenton, Harrell played with Woody Herman’s big band (1970–1971), Azteca (1972), the Horace Silver Quintet (1973–1977) with whom he made five albums, the Sam Jones-Tom Harrell Big Band, the Lee Konitz Nonet (1979–1981), George Russell, and the Mel Lewis Orchestra (1981). From 1983-1989 he was a pivotal member of the Phil Woods Quintet and made seven albums with the group. In addition, he recorded albums with Bill Evans, Dizzy Gillespie, Ronnie Cuber, Bob Brookmeyer, Lionel Hampton, Bob Berg, Bobby Shew, Ivan Paduart, Joe Lovano, Charlie Haden‘s Liberation Orchestra, Art Farmer, Charles McPherson, Kathleen Battle among others.
Since 1989 Harrell has led his own groups, usually quintets but occasionally expanded ensembles such as chamber orchestra with strings and big bands. He has appeared at virtually every major jazz club and festival venues, and recorded under his own name for such record labels as RCA, Contemporary Records, Pinnacle, Blackhawk, Criss Cross, SteepleChase, Chesky, and HighNote Records. He received a Grammy nomination for his big band album, Time’s Mirror.
Harrell is a prolific arranger and composer. He has arranged for Vince Guaraldi’s work on Peanuts, Carlos Santana, Arturo O’Farrill’s Latin Jazz Orchestra, Metropole Orchestra, Danish Radio Big Band, Vanguard Jazz Orchestra, and Elisabeth Kontomanou with the Orchestre National de Lorraine, among others. His compositions have been recorded by other notable jazz artists including Ron Carter, Joe Lovano, Kenny Barron, Art Farmer, Chris Potter, Tom Scott, Steve Kuhn, Kenny Werner and Hank Jones.
Tom Harrell Quintet
In contrast to his signature recordings during the RCA Records/BMG years (1996–2003) where much of his focus was on projects involving large ensembles, big bands and chamber orchestras, Harrell’s more recent works demonstrate his skills as a leader of a tight, smaller unit. Harrell has made four albums with the current quintet of six years, which comprises tenor saxophonist Wayne Escoffery, pianist Danny Grissett, bassist Ugonna Okegwo (whom Harrell has employed consistently since 1997), and drummer Johnathan Blake. The group is noted for its strong chemistry between the musicians and the distinctive sound achieved primarily through Harrell’s compositions that combine memorable and accessible melodies with complex but groove-based rhythms and sophisticated harmonic textures. Harrell’s current quintet differs from previous editions of quintets he has formed and worked with, in the use of Fender Rhodes and acoustic piano. Harrell’s 2010 recording, Roman Nights, received his fourth SESAC Jazz Award. In May 2011, the group’s latest album, The Time of the Sun, will be released from Highnote Records.
Despite his well-documented schizophrenia, Harrell has successfully coped with the illness through medication and has become an influential figure as a jazz trumpeter and composer. He has been recorded on over 260 albums (according to the discography on his website) and continues to actively compose, record and tour extensively around the world.
Harrell has won numerous awards and grants, including multiple Trumpeter of the Year awards from Down Beat magazine, SESAC Jazz Award, BMI (Broadcast Music Incorporated) Composers Award, and Prix Oscar du Jazz.
Harrell’s work as composer and jazz soloist has been published in a number of books by Hal Leonard, Jamey Aebersold, Sher Music, and Gerard and Sarzin.
Harrell is currently represented by Addeo Music International (AMI).
Discography
As leader
As sideman
With George Gruntz
With Charlie Haden
With Joe Lovano
With Horace Silver
from Tom Harrell’s official site:
Praised by Newsweek for his pure melodic genius, Tom Harrell is widely recognized as one of the most creative and uncompromising jazz instrumentalists and composers of our time. Even with a discography of over 260 recordings and a career that spans more than four decades, Harrell has managed to stay fresh and current as he continues to actively record and tour around the world. He is a frequent winner in Down Beat and Jazz Times magazines’ Critics and Readers Polls and a Grammy nominee. Harrell is also a Trumpeter of the Year nominee two years in a row, for the 2010 and 2011 Jazz Journalists Association Awards. His warm, burnished sound on the trumpet and the flugelhorn, and the unparalleled harmonic and rhythmic sophistication in his playing and writing, have earned Harrell his place as a jazz icon to aspiring musicians and devoted fans alike.
Following the success of his first three albums with the current members of his quintet – a remarkably cohesive unit that includes tenor saxophonist Wayne Escoffery, pianist Danny Grissett, drummer Johnathan Blake, and his bassist of 12 years, Ugonna Okegwo -Harrell is set to release his next quintet offering, THE TIME OF THE SUN, on May 31st.
The quintet’s previous albums, ROMAN NIGHTS (2010), LIGHT ON (2007) and PRANA DANCE (2009), were released to wide critical acclaim and won SESAC awards for topping the radio charts in the U.S.In contrast to his signature recordings during the RCA/BMG years (1996 – 2003) where much of his focus was on projects involving large ensembles, the latest albums on Highnote demonstrate Harrell’s skills as a leader of a smaller unit that calls to mind the energy and rapport of Art Blakey’s and Horace Silver’s bands. The sheer joy of playing
Harrell’s music with one another is evident from each member of the quintet. The writing on these recordings is no less of an achievement than his work for the orchestra or the big band. The trumpeter-composer deftly weaves complex harmonies together with daring energy and rapport of Art Blakey’s and Horace Silver’s bands. The sheer joy of playing Harrell’s music with one another is evident from each member of the quintet. The writing on these recordings is no less of an achievement than his work for the orchestra or the big band. The trumpeter-composer deftly weaves complex harmonies together with daring rhythmic concepts and unforgettable melodies while utilizing the available colors to full effect. Harrell’s music is at once intelligent, soulful, fresh and accessible. Harrell divides his time between writing projects, live performances, and recordings, and actively tours with his quintet around the world. Recent television broadcasts of concerts include: San Javier Jazz Festival inSpain; Viersen Jazz Festival inGermany; Red Sea Jazz Festival inIsrael; Jazz aLiegeinBelgium; and Chivas Jazz Festival inBrazil. Harrell was featured as the Artist in Residence at the Barga Jazz Festival (August 2009) and Vicenza Jazz Festival (May 2009). At the latter festival he performed duo, quintet and big band concerts over several days. Harrell also performed music from his WISE CHILDREN andPARADISEalbums with the Duisburg Philharmonic Orchestra at Traumzeit Festival (July 2009) and with the Yakima Symphony Orchestra at the Seasons Music Festival (October 2010). In the spring of this year, Harrell reunited with the Jazz Orchestra of the Concertgebouw as guest soloist and arranger for a tour in theNetherlands, after their successful collaboration at the Concertgebouw in July of 2009.
This summer Harrell will debut his TH Chamber Ensemble at the Highline Ballroom in
New Yorkas part of the Blue Note Jazz Festival, where he will present his own arrangements of the works of Debussy and Ravel. Harrell will also be touring extensively in July and August with his quintet, in support of his forthcoming album, THE TIME OF THE SUN.
A graduate ofStanfordUniversitywith a degree in music composition, Harrell is a prolific composer and arranger. Carlos Santana, Cold Blood, Azteca, Vince Guaraldi, Hank Jones, Kenny Barron, the Vanguard Jazz Orchestra, Danish Radio Big Band, WDR Big Band, Brussels Jazz Orchestra, Metropole Orchestra and Arturo O’Farrill & the AfroLatin Jazz Orchestra are among the many who have recorded or performed his work.
Harrell’s composition and arrangement, “Humility,” was recorded for the latter’s 2008 release, which just won a Grammy for the Best Latin Jazz Album.
Some of Harrell’s notable RCA/BMG recordings include WISE CHILDREN, a project in which he combines woodwinds, brass, horns, strings, guitars, percussion and the vocals of Cassandra Wilson, Dianne Reeves, Jane Monheit and Claudia Acuna with his quintet; PARADISE and THE ART OF RHYTHM, both of which feature chamber groups with strings; and his big band project, TIME’S MIRROR.
In addition to the 26 albums and thousands of concerts worldwide as a leader, Harrell has worked with important figures in jazz history including Stan Kenton, Woody Herman, Dizzie Gillespie, Horace Silver, Bill Evans, Gerry Mulligan, Art Farmer, Phil Woods, Lee Konitz, Sam Jones (with whom he briefly co-led a big band in the 70s), Jim Hall, Charlie Haden and with contemporaries such as Joe Lovano and Charles McPherson.
In 2006, Harrell was awarded a Chamber Music America grant with which he composed and performed new pieces for trumpet and piano. He also wrote symphony orchestra arrangements for the French Orchestre National de Lorraine and the vocalist Elisabeth Kontomanou for a live recording album released in 2009, SIREN SONG. (http://www.tomharrell.com/live/)
Grover Washington, Jr. était un saxophoniste américain de jazz funk né le
12 décembre 1943 (Buffalo, New York) et décédé le 17 décembre 1999 (New York City, New York).
Biographie
Grover Washington, Jr. a mené une carrière particulièrement prolifique, avec parfois deux, voire trois parutions d’albums la même année ; au même titre que David Sanborn, George Benson, Bob James, Herb Alpert, Chuck Mangione ou Spyro Gyra, il est considéré comme l’un des pères fondateurs du smooth jazz.
Même s’il fut un musicien renommé il fut critiqué pour l’influence qu’il a eu sur des musiciens considérés par ces mêmes personnes comme indésirables, à l’instar de Kenny G.
Ses albums “Mister Magic” et “Winelight” sont des classiques incontournables, que l’on cite très fréquemment comme références lorsqu’on parle de smooth jazz. Pour ce dernier, il a obtenu deux Grammy Awards : “meilleure chanson de R&B” pour “Just The Two Of Us” et “meilleur album de Jazz Fusion” pour “Winelight“. Le grand public se remémore surtout sa prestation aux côtés du chanteur folk-soul Bill Withers sur le célèbre “Just The Two of Us“, qui a beaucoup de succès sur les radios. L’album “Inside Moves” met en valeur la voix chaude et sensuelle de Jon Lucien ainsi qu’un jeu de Grover tout en fluidité et d’une justesse remarquable.
C’est à lui que l’on doit la musique originale de la série Cosby Show. Il avait enregistré en 1999 un album de musique classique “Aria“, année de sa mort, due à une crise cardiaque survenue en plein enregistrement télévisuel du Saturday Early Show de la chaine CBS. Il avait alors 56 ans. L’album est paru l’année suivante.
Discographie
| Titre |
Année |
Label |
|
| Inner City Blues |
1971 |
Kudu (puis MoJazz) | |
| All The King’s Horses |
1972 |
Kudu | |
| Soul Box |
1973 |
Kudu | |
| Mister Magic |
1974 |
MoJazz | |
| Feels So Good |
1975 |
Motown | |
| A Secret Place |
1976 |
Kudu | |
| Live At The Bijou |
1978 |
Motown | |
| Skylarkin’ |
1979 |
Motown | |
| Paradise |
1979 |
Elektra | |
| Reed Seed |
1979 |
Motown | |
| Winelight |
1980 |
Elektra | |
| Come Morning |
1980 |
Elektra | |
| Baddest |
1981 |
Motown | |
| The Best Is Yet To Come |
1982 |
Elektra | |
| Inside Moves |
1984 |
Elektra | |
| Togethering (with Kenny Burrell) |
1984 |
Blue Note | |
| House Full of Love (Music from the “Cosby Show”) |
1986 |
Columbia | |
| Strawberry Moon |
1987 |
Columbia | |
| Then And Now |
1988 |
Columbia | |
| Time Out Of Mind |
1989 |
Columbia | |
| Next Exit |
1992 |
Columbia | |
| All My Tomorrows |
1994 |
Columbia | |
| Soulful Strut |
1996 |
Columbia | |
| Aria |
2000 |
Sony |
Hello, Tout est dans les boites: partitions, backing tracks, et l’original d’ Horace Silver.
@+
Horace Silver
If there was ever a man
Who was generous, gracious and good
That was my dad
The man
A human being so true
He could live like a king
‘Cause he knew
The real pleasure in life
To be devoted to
And always stand by me
So I’d be unafraid and free
If there was ever a man
Who was generous, gracious and good
That was my dad
The man
A human being so true
He could live like a king
‘Cause he knew
The real pleasure in life
To be devoted to
And always stand by me
So I’d be unafraid and free
If there was ever a man
Who was generous, gracious and good
That was my dad
The man, The man
by Horace Silver
Song for My Father is a 1965 album by The Horace Silver Quintet, released on the Blue Note label in 1965. The album was inspired by
a trip that Silver had made to Brazil. The cover artwork features a photograph of Silver’s father, John Tavares Silva, to whom the title song was dedicated. “My mother was of Irish and Negro descent, my father of Portuguese origin”, Silver recalls in the liner notes, “He was born on the island of Maio, one of the Cape Verde Islands.”
A jazz standard, “Song for My Father” is here in its original form. It is a Bossa Nova in F-minor with an AAB head. On the head, a trumpet and tenor saxophone play in harmony. The song has had a noticeable impact in pop music. The opening bass piano notes were borrowed by Steely Dan for their song “Rikki Don’t Lose That Number”, while the opening horn riff was borrowed by Stevie Wonder for his song “Don’t You Worry ‘Bout a Thing”. Earth Wind & Fire also borrowed the opening bass notes for their song Clover.
Allmusic reviewer Steve Huey praised the album:
One of Blue Note’s greatest mainstream hard bop dates, “Song for My Father” is Horace Silver’s signature LP and the peak of a discography already studded with classics…it hangs together remarkably well, and Silver’s writing is at his tightest and catchiest.
The album was identified by Scott Yanow in his Allmusic essay “Hard Bop” as one of the 17 Essential Hard Bop Recordings.
All compositions by Horace Silver, except where noted.
Bonus tracks on CD reissue:
10. “Silver Treads Among My Soul” – 3:50
Recorded on October 31, 1963 (#3, 6, 7, 8); January 28, 1964 (#9-10); October 26, 1964 (#1, 2, 4, 5).
Personnel
Tracks 1, 2, 4, 5
Tracks 3, 6-10
from Wikipedia
Fantástico este grupo!
Les Fenicians reprennent le répertoire de grands comme Wes Montgomery, Billie Holliday, Sonny Rollins, entre autres, et ils y apportent une touche particulière venant autant du rock-steady, du ska-jazz que du reggae
Ils sont vraiment bons et ils ont une classe qui impressionne certains virtuoses, et nous tout particulièrement. Évidemment, ces gars ne viennent pas de nulle part. Chacun a un passé solide de la scène catalane Ska-Reggae. Par exemple, certains membres de la bande ont joué dans des groupes comme le Dr Calypso ou Walkysons Skatalà.
Estos son los monstruos:
Original song from Wes Montgomery, recorded in 1966 and the backing track are in the library.
Also, now, the reggae version from the Fenicians!
Enjoy.
Studio album by Wes Montgomery
Released: 1968
Recorded: May 7 – 9, 1968 at Van Gelder Studio, Englewood Cliffs, New Jersey
Label: A&M
Producer: Creed Taylor
Road Song is an album by guitarist Wes Montgomery, released in 1968. It reached number one on the Billboard Jazz album chart and number 39 on the R&B chart. It also reached number 94 on the Billboard 200. It was his final recording before his death of a heart attack on June 15, 1968.
In his Allmusic review, music critic Scott Yanow wrote “The great guitarist sticks to simple melody statements (with a lot of octaves thrown in) while backed by Don Sebesky’s unimaginative arrangements for an orchestra; commercially the combination was a big success… this strictly for-the-money effort can be safely passed by.”
Track listing
Personnel
Production notes:
:>)azZClefs# 