Cyril Neville - Brand New Blues





“Brand New Blues” marks the first Cyril’s Neville release in eight years. Half the songs on Brand New Blues are original material co-written by Cyril. The new release churns up a lifetime of musical influences & passions; blues, funk and soul. Producer/musician Brian J of The Pimps of Joytime is at the helm of most production chores by playing most of the instruments to recording and writing with Cyril. A barrage of support appears on the record from family and friends who help Cyril achieve his vision of what is “Brand New Blues.” Guest appearances include brother and fellow Meter Art Neville (Organ) Ivan Neville (Organ), Ian Neville (Guitar), Tab Benoit (Guitar), Waylon Thibodeaux (Washboard) and Jumpin’ Johnny Sansone on harmonica The sessions were recorded in Brooklyn NY, Austin TX, Houma LA & New Orleans LA.

One of the four Neville Brothers, Cyril Neville was the youngest, born on January 10, 1948, in New Orleans, LA. Cyril picked up his love of music from his parents and his older brothers at an early age, but it wasn't until 1967 (at the age of 19) that Cyril began singing professionally, as he united with brothers Art and Aaron in the outfit Art Neville and the Neville Sounds, playing the New Orleans club circuit on a regular basis. Cyril and Aaron eventually left the group, forming another outfit, Soul Machine, shortly thereafter. 1970 saw the release of Cyril's debut solo single, "Gossip" b/w "Tell Me What's On Your Mind," which included backing music by brother Art's new outfit, the Meters. Soul Machine relocated to Nashville, then New York, but both moves failed to help put the group over the top. It just so happened at this time that the Meters were looking to expand their lineup, and asked Cyril to join in on vocals and congas — contributing to such albums as 1972's Cabbage Alley and 1975's Fire on the Bayou, In 74, the Rolling Stones offered The Meters a support slot on the bands sold out tour if they would hire Cyril Neville to sing and front the band. His work as a human rights advocate does not stray far from his art. The joys as well as the complications and frustrations of growing up in the oppressed South can be heard through-out his catalog as a solo Artist as well as his work with his brothers – The Neville Brothers

Just as the Meters splintered in 1976, Cyril became enraptured with reggae music (thanks to Bob Marley's landmark Natty Dread album), as all four Neville siblings formed the Neville Brothers group, issuing numerous subsequent recordings. In addition to his work with the Neville Brothers, Cyril has formed other bands over the years, including the Endangered Species Band in 1983 and the Uptown Allstars Band, while he also found time to launch his own record label, Endangered Species. Cyril also founded the New Orleans Musicians Organized (NOMO), which helps musicians who need business advice with their careers. Cyril Neville has issued several solo albums on his own over the years, including 1995's The Fire This Time, and a pair in 2000, New Orleans Cookin' and Soulo. Plus he has guested on various other artist's recordings over the years, including albums by Edie Brickell, Jimmy Buffett, Dr. John, Bob Dylan, Daniel Lanois, Willie Nelson, Tab Benoit, and Big Chief Monk Boudreaux among others.


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Vanguard Jazz Orchestra - Monday Night Live At Village Vanguad



On February 12, 1966, John Wilson wrote in The New York Times:
One band that is not likely to leave New York is The Jazz Band, an 18-piece group led by Thad Jones, a former Count Basie trumpeter, and Mel Lewis, a drummer who has served with Woody Herman, Stan (Kenton) and Benny Goodman…This all-star band (it includes Bob Brookmeyer, Hank Jones, Richard Davis, Snooky Young and Jerome Richardson, among others) ripped through Thad Jones’ provocative, down-to-earth arrangements with the surging joy that one remembers in the early Basie band or Woody Herman’s first Herd. Those were young bands whose skills sometimes could not keep up with their desires. But these are old pros, having a wonderful time and rising to each other’s challenges, even to such adventures as three-part improvisation…


What was obvious to everyone present at the Vanguard on the night of February 7, 1966 was that an exceptional ensemble had been born. What no one could have predicted was that the Thad Jones/Mel Lewis Orchestra would become one of the most acclaimed and innovative big bands in jazz history, that it would tour extensively throughout three continents, and that its offspring, the Vanguard Jazz Orchestra, would still be in residence on Monday nights twenty-eight years later.

Bill Kirchner - February, 1994


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For over four decades the Vanguard Jazz Orchestra has been committed to engaging audiences in jazz and related American music experiences. The orchestra serves as a creative outlet for some of the nation's foremost performers, composers, and arrangers. One of the driving forces behind the longevity and artistic excellence of this ensemble is a commitment to the original Thad Jones/Mel Lewis Orchestra precepts of sound and the nurturing and encouragement of creativity and experimentation in the creators, performers and listeners of jazz.

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Sixteen as One Music Inc., a not-for-profit 501(c)(3), was created by the Vanguard Jazz Orchestra to promote the development and growth of jazz music through education and community outreach programs. The goals of this endeavor are: To provide world-wide performances, workshops, lectures and symposia about jazz and related musical genres; To commission new arrangements and original compositions for jazz orchestra; To document historical and innovative projects through audio and video recordings; To initiate partnerships and collaborations with cultural, education and corporate institutions; To help build and sustain an international jazz audience; To foster and promote jazz education in schools and under-served communities.

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History of the Vanguard Jazz Orchestra: The Vanguard Jazz Orchestra is the current title for a band that began life as the Thad Jones-Mel Lewis Orchestra in 1966 and has performed continuously ever since.
The story is familiar but bears repeating that in 1966 cornetist, composer, arranger, Thad Jones and drummer Mel Lewis founded a band in New York. Having settled in New York after leaving their respective touring jobs with Basie and Kenton, Thad and Mel along with many of their colleagues needed an outlet for their creative energies and relief from the tedium of the studio work. With a handful of arrangements they approached legendary club owner Max Gordon and were booked at the Village Vanguard for 3 Mondays in February. Critical acclaim, awards and international success followed but in 1979, tired of frequent traveling and the economic uncertainty that even great jazz musicians endure in America, Thad left the band to accept leadership of the Danish Radio Orchestra in Copenhagen.


Mel decided to continue the band now billed as Mel Lewis and the Jazz Orchestra and enlisted the talents of his old friend and former band member Bob Brookmeyer who, miraculously was just returning to active playing and composing in New York. The band not only survived but with Brookmeyer’s writing continued the innovation and influence that Thad and Mel had began. Bob moved on to other projects and ultimately also settled in Europe, the new material coming from within the band now. In 1990 the band would endure a terrible blow when Mel Lewis died after a 5 year battle with cancer. For the members, all of whom had been there 5 years and several over 10, losing Mel was a deep family tragedy, for great bands invariably become families. They are also teams; and in this spirit decided to continue the band as a cooperative effort. ( When asked who was "fronting" the band one of the veterans was heard snapping "...the music".)

So three weeks have become a permanent gig spanning over three decades and another name change to; the Vanguard Jazz Orchestra. Several of the current key members played for Thad, so the original precepts of sound and swinging are proudly held and displayed while the other original precepts of creativity and experimentation are nurtured and encouraged. The Village Vanguard is still a great place to be on a Monday night no matter which side of the bandstand you’re on.

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Vanguard Jazz Orchestra - Monday Night Live

The Music

SET 1 – DISC 1 1. Mean What You Say: 8:49 2. Say It Softly: 6:51 3. St. Louis Blues: 15:50 4. Body and Soul: 7:09 5. Mornin’ Reverend: 5:00
SET 2 – DISC 2 1. Las Cucarachas Entran: 10:07 2. Willow Tree: 7:06 3. Don’t You Worry ‘bout a Thing: 4:08 4. Kids Are Pretty People: 8:57 5. The Waltz You Swang For Me: 5:57 6. Little Rascal on a Rock: 12:09

The Band
Trumpets: Nick Marchione (lead), Frank Greene (associate lead), Terell Stafford, Scott Wendholt Trombones: John Mosca (lead), Luis Bonilla, Jason Jackson, Douglas Purviance (bass trombone) Reeds: Dick Oatts (lead alto saxophone, soprano saxophone, flute, piccolo), Billy Drewes (alto and soprano saxophones, flute, clarinet), Rich Perry (tenor saxophone, flute), Ralph LaLama (tenor saxophone, clarinet, flute), Gary Smulyan (baritone saxophone) Rhythm Section: Jim McNeely–piano, John Riley–drums, Phil Palombi–Bass Michael Weiss, piano on Mean What You Say, St. Louis Blues, Mornin’ Reverend, Kids Are Pretty People, The Waltz You Swang For Me John Clark, french horn on Las Cucarachas Entran

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Ferdinando Farao - Darwinsuite




Ferdinando Faraò belongs to one of the few Italian jazz dynasties. The son of an amateur drummer, he is the brother of piano player Antonio Faraò and the cousin of piano player Massimo Faraò. Inspired by his father's wide collection of jazz records and captivated by a concert of Duke Ellington and Ella Fitzgerald that he had seen in Milan at the age of 10, he started to study the drums with the support of his family. By the age of 20 he had become the in-house drummer at Capolinea, Milan's most important jazz venue. In the '80s he played in the Claudio Fasoli Quartet and accompanied many North American musicians that toured Italy, such as Lee Konitz, Mal Waldron, Sal Nistico and Bob Mover. In the '90s he joined the quintet of Italian singer Tiziana Ghiglioni and has been increasingly involved in special audio-visual projects. His recording career as a solo artist started relatively late, in 1997, with the album Listening Self, featuring Pietro Tonolo on saxophone, Piero Leveratto on double-bass and Franco D'Andrea on piano. Faraò is a subtle drummer that leads from the back rather than putting himself under the spotlight. Also at ease on percussion and xylophone, he can provide a versatile and wide aural palette. A witty composer, Ferdinando Faraò privileges mid-tempo compositions in which he often experiments with odd time signatures, sudden rthythmic shifts and sampling.

Darwinsuite


Concept album in forma di suite, Darwinsuite prende spunto dalle celebrazioni darwiniane (nel 2009 la ricorrenza è duplice, bicentenario della nascita del grande scienziato e centocinquantenario della pubblicazione de “L'origine della specie”) per rendere omaggio alle attualissime idee del naturalista inglese. Evoluzione (in musica) in forma di suite, successione e variazione sul tema, flusso e riflusso.
Una suite che, proprio come una teoria scientifica che nasce, si divincola tra architetture di accordi emergenti e improvvise, centrifughe, irruzioni di frammenti eccentrici e di dettagli apparentemente insignificanti, che, come insegna il grande naturalista, così insignificanti non sono mai.
Un processo creativo di scoperta in cui il contributo di Ferdinando Faraò, sia quale batterista sia quale compositore, é riuscitissimo: un'opera originale e complessa, arricchita come in una “transmutazione” dalle personalità dei musicisti che vi hanno partecipato, da Tracanna a Falzone, da Caruso a Mangialajo Rantzer, sino all'originale sintesi espressiva del quartetto vocale Kibuchi Ferrara Bravo Forges.

ferdinando faraò, drums, compositions
tino tracanna, tenor & soprano sax
giovanni falzone, trumpet
beppe caruso, trombone
tito mangialajo rantzer, bass
shinobu kikuchi, soprano voice
serena ferrara, contralto voice
pilar brano, tenor voice
francesco forges, bass voice

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Steve Earle - Townes








Steve Earle’s new album Townes, is his highly anticipated follow up to the Grammy Award winning album Washington Square Serenade. The 15-song set is comprised of songs written by Earle’s friend and mentor, the late singer-songwriter, Townes Van Zandt.

The songs selected for Townes were the ones that meant the most to Earle and the ones he personally connected to. Some of the selections chosen were songs that Earle has played his entire career (“Pancho and Lefty,” “Lungs,” “White Freightliner Blues”). He learned the song “(Quicksilver Daydreams of) Maria” directly from Van Zandt. Earle taught himself “Marie” and “Rake” specifically for making this record. Earle recorded the New York sessions solo and then added the other instruments later on in order to preserve the spirit of Van Zandt’s original solo performances to the best of his recollection.

The track “Lungs,” was produced and mixed by the Dust Brothers’ John King and features Tom Morello of Rage Against the Machine/The Nightwatchman on electric guitar.


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Luca Pagano - Sotto Il Grande Ulivo




Bienvenue,

J'aimerais pouvoir vous dire qu'aujourd'hui les facteurs déterminants sont la qualité et l'originalité de sa musique. Que le monde des arts n'est pas un marché, que les médias font bien leur travail de diffusion et que le travail d'un musicien est celui de passer des heures sur son instrument, de composer, de jouer en public. Un travail d'études, de création, de rencontres, d'artiste. Si la réalité est bien différente, j'essaye de m'y adapter sans me trahir.

C’est à l’occasion d’une carte blanche reçue par l’AMR (Association pour la Musique impRovisée) de Genève que Luca Pagano guitariste et compositeur suisse à formé son quintet de jazz moderne. Cette création a eu lieu en novembre 2007 sous la forme de deux concerts dans la salle de l’AMR ; le Sud de Alpes.

La commande qu’il a reçu lui permet de collaborer avec d’autres musiciens confirmés en leur proposant de se réunir autour de ses compositions originales Le travail d’écriture a duré une année mais permet maintenant à la formation de naviguer à vue dans le répertoire en choisissant les pièces à explorer. Une grande liberté que l’on peut aussi retrouver dans l’espace que chaque soliste a à disposition pendant le concert. Certes la technique, la maîtrise de son instrument, est indispensable pour se sentir à l’aise dans cette musique dynamique qui avance et avance encore. Mais ici le but recherché est tout autre ; c’est celui de l’interaction entre musiciens. Créer ensemble un espace propice à la naissance de ces moments de magie propres au jazz qui peuvent surgir, sans préavis, à condition de savoir les attendre. Etre toujours à l’affut, prêt à reconnaître ces moments, pour les saisir et les cajoler. C’est pourquoi les arrangements permettent d’emprunter différentes portes de sorties, différents chemins. L’écriture et l’improvisation se tiennent la main et c’est aux musiciens de décider dans quelle direction s’aventurer. Chaque composition est donc un espace différent construit autour de la mélodie, du rythme, des arrangements mais aussi de la créativité des musiciens. La recherche d’un travail artistique et non pas d’une bonne interprétation de la pièce.

Le Luca Pagano Quintet a été conçu pour durer dans le temps et se produire régulièrement en faisant évoluer sa musique. Le groupe se donne les moyens de poursuivre son chemin artistique et de proposer son travail à d’autres importants acteurs culturels suisses ou étrangers.

Le premier Cd du Luca Pagano Quintet, « Sotto il grande Ulivo » sera produit en collaboration avec la Radio Suisse Romande. L’enregistrement se tiendra dans leurs studios en automne 2008.



Bien à vous Luca


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Hans Theessink - Birthday Bash




On April 5th and 6th 2008 the legendary Birthday Bash Concerts where held in the Metropol club in Vienna. Lots of fans and musical friends came from all over the world to celebrate Hans’ 60th birthday and what a celebration it was - a real big birthday bash! The atmosphere was wonderful and the musicians offered a musical firework full of surprises. The shows were recorded and “Hans Theessink – Birthday Bash” is the result. This double CD is a unique document with unusual musical combinations and sessions. With Hans you can find DONOVAN, THE DUBLINERS, TERRY EVANS, JACK CLEMENT, SCHIFFKOWITZ, LUKAS RESETARITS, INSINGIZI, THEESSINK, NALLE & MÖLLER, ERIC TRAUNER, ALLAN TAYLOR, JON SASS, ALEE THELFA, GOTTFRIED GFRERER, TEXAS SCHRAMMELN, MICHAEL SEIDA, VLADO KRESLIN

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Hans Theessink - Birthday Bash
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Hans Theessink & Terry Evans - Visions's album has been nominated for the 30th Blues Music Awards - Acoustic Album of the Year. Hans is the only European nominee!!


The James Moody and Hank Jones Quartet - Our Delight





Other than a few tunes on IPO's recent CDs dedicated to the music of Thad Jones ("One More - Music of Thad Jones" and "One More - The Summary") this new recording will - amazingly - be the first time these two modern jazz giants have recorded together in their entire careers spanning seven decades.

Hank, the dean of jazz pianists in his 90th year, has never been more popular and is playing as well as ever. Moody, who turned 83 this year, is also playing brilliantly. The two of them together have lived the entire history of modern jazz and it comes through every measure of their music.

The closing track features 2007 Grammy nominee Roberta Gamborini, a brilliant young vocalist who is a protégé of both Moody and Hank and has been getting phenomenal reviews in her recent performances with both of them.

In keeping with IPO's basic approach, this is a straight-ahead, no-nonsense recording of standards and tunes that have long associations with the musicians, including modern jazz classics penned by Tadd Dameron, with whom Moody first performed along with Miles Davis in the late 1940s, and Dizzy Gillespie, with whom Moody played in big and small bands throughout the next 40 years. There are also some piano-tenor duets between Moody and Hank, including a version of Body & Soul that recalls the benchmark performances by Coleman Hawkins, with whom Hank first worked in 1948.

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James Moody / Hank Jones Q.tet - Our Delight
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Sulle Rive Del Tango Vol 1 e 2




"sulle rive del tango" (on the tangoshores) is a collection of ‘unwilled’ tangos. in this selection are enclosed scores and songs composed with a mood that remembers a tango’s aftertaste but, mostly, aren’t exaclty tangos. This is why – between the others – goran bregovic, louis armstrong, carmen consoli, gianmaria testa, they touch the tango’s boundaries bringing to us a new and deeply interesting way of this intriguing and fascinating music and dancing style.



And now after the huge success of the first "sulle rive del tango", here we have the second chatper of this brand new way to live tango.
the new compilation celebrates the special meeting within peoples ("'lincontro", in italian) that only the tango allows.
as always, "sulle rive del tango" is a very unusual selection of songs of the world where the tango just more than smelled, and where the sensuality of this music genre is the departure point to discover the one we have in front of us.
the album includes - among others - cirque du soleil, vinicio capossela, lura, kantango and many other.
don't miss it!






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Sulle Rive Del Tango
Sulle Rive Del Tango ( l'incontro )

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Tracklist Sulle Rive Del Tango

01. el mago pitico la negra 0'41"
02. focu di raggia goran bregovic feat. carmen consoli 3'59"
03. osì ochenonsò sineterra 5'17"
04. allerdings otrs aires otrosaires 3'46"
05. regina electrocutango 5'43"
06. semilla negra marlango 4'34"
07. kiss of fire louis armstrong 3'05"
08. reflejo de luna alacran 4'11"
09. under the moon (full moon mix) seoan feat. ekaterina 3'49"
10. come un'america gianmaria testa 4'32"
11. dos gardenias ache tango 3'33"
12. peliculas demoliendo tangos 5'51"
13. in una stanca indifferenza joe barbieri 3'09"
14. romantik queen bee 3'31"
15. ocho electronico kantango 4'36"
16. try sidsel endresen & bugge wesseltoft 3'59



Tracklist Sulle Rive Del Tango ( L'incontro )

01. no es lo mismo la kinki beat 0'43"
02. mil pasos soha (feat. antoine essentier) 4'03"
03. mi confesion gotan project (feat. koxmoz) 4'17"
04. de l'autre coté ginkobiloba 3'36"
05. querer cirque du soleil 4'33"
06. canta um tango kantango (feat. lura) 5'47"
07. leonel el feo supervieille 2'25"
08. maintenant rupa & the april fishes 4'06"
09. scivola vai via vinicio capossela 4'26"
10. sur o no sur kevin johansen 4'50"
11. antes la negra 3'18"
12. man's world natasha atlas 3'55"
13. milonga #17 kantango 3'40"
14. ariele e calibano sineterra 4'33"
15. oblivion istanbul academia project 7'28"
16. mutual dario deidda 6'10"

Matt Schofield - Heads Tails & Aces




Young Schofield's playing on this debut is dynamite! And the guy knows how to pick'em, no rehashed SRV licks here, just a blindingly fine selection of material

- Guitarist Magazine




It's difficult to think of any guitarist in the last decade who has enjoyed quite the same unanimous acclaim as Matt Schofield. In the short space of time since his 2004 debut, this unassuming tone fanatic has already been dubbed one of the top ten British Blues guitarists of all time by Guitar and Bass magazine.

Now, with HEADS, TAILS & ACES, Matt has produced his most compelling set yet. With new recruits - drummer, Alain Baudry and bassist, Jeff Walker - this album just bristles with energy and scorching solos. And it's an entirely song-based album, with nine of the eleven tracks written or co-written by Schofield.

The breadth of material on this album is impressive, spanning everything from the smouldering Malaco-like soul groove of War We Wage, to the eccentric back beat driven Betting Man and the Jazz-tinged Nothing Left. Underpinned by Jonny Henderson's constantly empathetic keyboards, Matt stamps his own style on proceedings, slamming into solos that burn with intensity.

As ever, there is a power and emotion in Schofield's playing rarely heard these days and even more rarely in combination with such a fluid and melodic approach.

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Matt Schofield - Heads Tails and Aces
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BIOGRAPHY


Inspired by the Blues, infused with the funk rhythms of New Orleans and topped-off by virtuoso musicianship, Matt Schofield is being talked of as the finest Blues guitarist to have emerged in Europe for several generations, perhaps even in the World. His latest album "Siftin Thru Ashes" (Nugene Records) has received rave reviews on both sides of the Atlantic.

Britain's Guitarist magazine describes Schofield's guitar playing as "Dynamite", picking him as the only non-American in their review of the future of Blues guitar; while America's Blues Revue calls him "The entire package – a singer with range and soul, and a guitarist who delivers with devastating tone and superb dynamics". BBC Radio 2 presenter Paul Jones picked Schofield as one of his highlights of 2005, commenting "I think it's time he became a big star."

The LA Daily News describes Schofield as "Head and shoulders above the herd" while music bible AllMusic.com marks Schofield's approach "an enjoyable demonstration of what can happen when blues-rock and blues-jazz are united". Music magazine, MOJO, gave Siftin' Thru Ashes a four star (excellent) rating, something rarely given to UK Blues artists.

In 2006, just two years after his debut CD, Schofield gained the distinction of being one of only two living British artists to be given a four star (excellent) rating in the Penguin Book of Blues Recordings.

The band line-up harks back to the classic organ trios of the fifties and sixties. Jonny Henderson on Hammond organ gives sleazy texture and dynamics while holding down left hand bass lines, and "drummers' drummer" Evan Jenkins provides compelling grooves. But that's where any comparison with a traditional organ trio ends. With their huge sounding, multi-layered and rhythmically infectious delivery this band redefines the meaning of "power trio" and are unlike anything else on the Blues scene today.

In the Beginning…
Born in Manchester, Matt's family moved to Fairford in Gloucestershire when he was a youngster. He first started playing guitar seriously at 12. It was not the guitar heroes of that period (the late-eighties) that inspired him. Rather it was seeing a video of BB King, Albert Collins and Stevie Ray Vaughan playing together that fired Matt's imagination.

The call of music was strong. As soon as Matt finished college he ventured to London to check out the music scene, visiting the Blues jams around town, and was soon playing professionally. After touring and recording with the Lee Sankey Group, Matt was recruited by British Blues Diva, Dana Gillespie, to form part of her 'London Blues Band'. While all this was happening Matt consciously avoided being labelled a teenage wonder.

"When I started playing on the Blues circuit I was never comfortable with the 'hot young guitarist' label. Instead of being 'good for my age' I just wanted to be 'good'. So I decided to learn my trade first. I learned so much by backing other artists. What to do, and not do".

Working in the house band at many international festivals, including the Mustique Blues Festival for several years (often an exhausting 6 hours a night for 14 days) saw Matt backing a long list of artists, providing tremendous experience.

"The Trio came together almost by accident. Not having a bass player for a gig one night, we thought we'd give it a go with Jonny doing left-hand bass on the organ, and from the first note we knew we were onto something. People kept coming back to hear more and asking if we had a CD and where else they could see us. One of those 'if it feels good, it is good' things.

"The unique format of the organ trio allows an unusual freedom of improvisation and interaction. It's exciting because it's different every time! It's a very collaborative, sum of the parts thing.

"Jonny's extremely talented and the perfect keyboard foil for me. He has learned from many of the same musicians as I did, so he knows how to back me up perfectly, but can also really tear it up in his own right. His left hand bass gives The Trio such a distinctive groove plus, like me, he's a real 'tone' guy and has nailed that vintage Hammond sound.

"I'm very proud to have Evan involved. He's one of my favourite drummers anywhere. I have played together with him more than any other drummer, in many different situations. His feel and timing are second to none. Evan can play it all - Jazz, Rock, Pop, but he also has a natural feel for blues, and he always does it his own way."

Chet Baker - At Capolinea




Chet Baker was a primary exponent of the West Coast school of cool jazz in the early and mid-'50s. As a trumpeter, he had a generally restrained, intimate playing style and he attracted attention beyond jazz for his photogenic looks and singing. But his career was marred by drug addiction.

Baker's father, Chesney Henry Baker,Sr., was a guitarist who was forced to turn to other work during the Depression; his mother, Vera (Moser) Baker, worked in a perfumery. The family moved from Oklahoma to Glendale, CA, in 1940. As a child, Baker sang at amateur competitions and in a church choir. Before his adolescence, his father brought home a trombone for him, then replaced it with a trumpet when the larger instrument proved too much for him. He had his first formal training in music at Glendale Junior High School, but would play largely by ear for the rest of his life. In 1946, when he was only 16 years old, he dropped out of high school and his parents signed papers allowing him to enlist in the army; he was sent to Berlin, Germany, where he played in the 298th Army Band. After his discharge in 1948, he enrolled at El Camino College in Los Angeles, where he studied theory and harmony while playing in jazz clubs, but he quit college in the middle of his second year. He re-enlisted in the army in 1950 and became a member of the Sixth Army Band at the Presidio in San Francisco. But he also began sitting in at clubs in the city and he finally obtained a second discharge to become a professional jazz musician.

Baker initially played in Vido Musso's band, then with Stan Getz. (The first recording featuring Baker is a performance of "Out of Nowhere" that comes from a tape of a jam session made on March 24, 1952, and was released on the Fresh Sound Records LP Live at the Trade Winds.) His break came quickly, when, in the spring of 1952, he was chosen at an audition to play a series of West Coast dates with Charlie Parker, making his debut with the famed saxophonist at the Tiffany Club in Los Angeles on May 29, 1952. That summer, he began playing in the Gerry Mulligan Quartet, a group featuring only baritone sax, trumpet, bass, and drums — no piano — that attracted attention during an engagement at the Haig nightclub and through recordings on the newly formed Pacific Jazz Records (later known as World Pacific Records), beginning with the 10" LP Gerry Mulligan Quartet, which featured Baker's famous rendition of "My Funny Valentine."

The Gerry Mulligan Quartet lasted for less than a year, folding when its leader went to jail on a drug charge in June 1953. Baker went solo, forming his own quartet, which initially featured Russ Freeman on piano, Red Mitchell on bass, and Bobby White on drums, and making his first recording as leader for Pacific Jazz on July 24, 1953. Baker was hailed by fans and critics and he won a number of polls in the next few years. In 1954, Pacific Jazz released Chet Baker Sings, an album that increased his popularity but alienated traditional jazz fans; he would continue to sing for the rest of his career. Acknowledging his chiseled good looks, nearby Hollywood came calling and he made his acting debut in the film Hell's Horizon, released in the fall of 1955. But he declined an offer of a studio contract and toured Europe from September 1955 to April 1956. When he returned to the U.S., he formed a quintet that featured saxophonist Phil Urso and pianist Bobby Timmons. Contrary to his reputation for relaxed, laid-back playing, Baker turned to more of a bop style with this group, which recorded the album Chet Baker & Crew for Pacific Jazz in July 1956.

Baker toured the U.S. in February 1957 with the Birdland All-Stars and took a group to Europe later that year. He returned to Europe to stay in 1959, settling in Italy, where he acted in the film Urlatori Alla Sbarra. Hollywood, meanwhile, had not entirely given up on him, at least as a source of inspiration, and in 1960, a fictionalized film biography of his life, All the Fine Young Cannibals, appeared with Robert Wagner in the starring role of Chad Bixby.

Baker had become addicted to heroin in the 1950s and had been incarcerated briefly on several occasions, but his drug habit only began to interfere with his career significantly in the 1960s. He was arrested in Italy in the summer of 1960 and spent almost a year and a half in jail. He celebrated his release by recording Chet Is Back! for RCA in February 1962. (It has since been reissued as The Italian Sessions and as Somewhere Over the Rainbow.) Later in the year, he was arrested in West Germany and expelled to Switzerland, then France, later moving to England in August 1962 to appear as himself in the film The Stolen Hours, which was released in 1963. He was deported from England to France because of a drug offense in March 1963. He lived in Paris and performed there and in Spain over the next year, but after being arrested again in West Germany, he was deported back to the U.S. He returned to America after five years in Europe on March 3, 1964, and played primarily in New York and Los Angeles during the mid-'60s, having switched temporarily from trumpet to flügelhorn. In the summer of 1966, he suffered a severe beating in San Francisco that was related to his drug addiction. The incident is usually misdated and frequently exaggerated in accounts of his life, often due to his own unreliable testimony. It is said, for example, that all his teeth were knocked out, which is not the case, though one tooth was broken and the general deterioration of his teeth led to his being fitted with dentures in the late '60s, forcing him to retrain his embouchure. The beating was not the cause of the decline in his career during this period, but it is emblematic of that decline. By the end of the '60s, he was recording and performing only infrequently and he stopped playing completely in the early '70s.

Regaining some control over his life by taking methadone to control his heroin addiction (though he remained an addict), Baker eventually mounted a comeback that culminated in a prominent New York club engagement in November 1973 and a reunion concert with Gerry Mulligan at Carnegie Hall in November 1974 that was recorded and released by Epic Records. By the mid-'70s, Baker was able to return to Europe and he spent the rest of his life performing there primarily, with occasional trips to Japan and periods back in the U.S., though he had no permanent residence. He attracted the attention of rock musicians, with whom he occasionally performed, for example adding trumpet to Elvis Costello's recording of his anti-Falklands War song "Shipbuilding" in 1983. In 1987, photographer and filmmaker Bruce Weber undertook a documentary film about Baker. The following year, Baker died in a fall from a hotel window in Amsterdam after taking heroin and cocaine. Weber's film, Let's Get Lost, premiered in September 1988 to critical acclaim and earned an Academy Award nomination. In 1997, Baker's unfinished autobiography was published under the title As Though I Had Wings: The Lost Memoir and the book was optioned by Miramax for a film adaptation.

Baker's drug addiction caused him to lead a disorganized and peripatetic life, his constant need for cash requiring him to accept many ill-advised recording offers, while his undependability prevented him from making long-term commitments to record labels. As a result, his discography is extensive and wildly uneven.

by William Ruhlmann ( All Music )


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Chet Baker - At Capolinea
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