"ruben And The Jazz"

Given the significance of Afro-Latin rhythms in jazz’s development, there’s inherent value in a premier repertory ensemble like the Jazz at Lincoln Center Orchestra collaborating with legendary Panamanian singer Rubén Blades. But the delight of this 2014 live performance is hearing the musicians stretch themselves beyond the safety of well-trodden Latin jazz territory. Along with reliably excellent performances of salsa tunes, Blades brings Rat Pack brashness to American standards like “Too Close for Comfort,” “Fever,” and “They Can’t Take That Away From Me.” And in bassist Carlos Henriquez’s arrangements of Blades classics like “El Cantante,” the JALCO shifts between its always-convincing swing and bona fide clave, educating us in the rhythms’ historic connections along the way. After the full orchestra’s sheer sonic force, Blades’ “Patria” is an album highlight, with a scaled-down ensemble of percussionists, bass, and trumpeter Wynton Marsalis backing the singer in stark magnificence.

The most jazz-oriented of the elderly musicians in the Buena Vista Social Club, pianist Ruben Gonzalez was 77 at the time of this CD, his debut as a leader. Although he did not even own his own piano at the time, he plays brilliantly, performing a variety of traditional melodies plus two originals, often quoting other songs and really stretching himself. His chord voicings are distinctive and very inviting, his control of the piano is quite impressive, and the music sings its heart out. The CD was recorded spontaneously over a two-day period with Gonzalez mostly being the lead voice, assisted by trumpeter Manuel Mirabal (who has some fine solos), bassist Orlando "Cachaito" Lopez, several percussionists, and occasionally three background singers. This set is impossible not to love.

SALWSING! as an album has different purposes. One, to present the Roberto Delgado Orchestra as an outfit capable of expanding its original Panamanian roots to cover other musical genres. Another, to present my interest in exploring other vocal directions and thus eliminate the stereotype that affirms that we are conditioned to only exist artistically within specific boundaries, according to our nationality.

GREATEST HITS is a more specific offering than the concept often suggests, culling hits from '84, '85 and '88. With a career stretching back to the mid-'60s, the cuts found here are but a sampling of Ruben Blades' decade or so with his illustrious sextet, Seis Del Solar. As the father of progressive salsa/tropical pop, some of Blades' greatest songwriting of the period is to be found here, in all its glistening studio glory. "Buscando America" opens with wafts of foreboding, Tyner-esque piano before easing into Blades' stirring, synth-laden call for Pan-American unity. With a piercing trombone arrangement that recalls Blades' days in Willie Colon's band, "La Marea" is a sinewy cut of salsa that explicates all the seasick tosses-and-turns of a choppy love affair. The singer's early predilection for doo-wop rears its head on the "who-oh" chorus of the soaring "El Padre Antonio" and the tongue-in-cheek intro to the witty "Decisiones." In the context of that dark morass of pop hell known as the mid-'80s, seekers of sweet melody and politically-conscious songcraft have plenty to dig on GREATEST HITS, Spanish-speaking or not.

Throughout his storied career, iconic pianist/keyboardist Chick Corea has explored a wealth of music from across borders both geographical and stylistic. Time and again over the decades he’s returned to what he calls his “Spanish Heart” – the Spanish, Latin and flamenco traditions that have indelibly shaped his unmistakable sound. Now, with his new album Antidote, recorded with his brand-new Spanish Heart Band, Corea once again delves deeply into the Latin side of his musical heritage with a stunning collection of musicians from Spain, Cuba, Venezuela and the U.S.

Louis Armstrong - The Complete Louis Armstrong Decca Sessions 1935-1946 (2009) {7CD Box Set Mosaic MD7-243}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.70 Gb | MP3 @320 -> 1.14 Gb | Cover | 5% repair rar
© 1935-46, 2009 Decca / Mosaic Records | MD7-243
Jazz / Swing / Early Jazz / Big Band / Vocal Jazz / Trumpet

This is the first-ever major retrospective of this period. For the most part, the recordings represent Louis Armstrong leading the big band. Never had Louis sounded more secure, more hip, or more like a star. His example was an important beacon that popular standards were a legitimate repertoire for significant jazz recording stylists.

For his first solo project after replacing Dickie Betts in the Allman Brothers Band, 23-year-old Derek Trucks pushes the stylistic envelope even further than on his last diverse release. Prodding into Latin, Indian, and fusion jazz, this stylistically varied effort exudes enough blues and funky R&B to keep the Allman Brothers Band fan's attention while expanding their boundaries – sometimes radically – beyond what the typical Southern rock fan might expect or even tolerate. It's a brave and largely successful experiment, due in part to the vocals of his guest stars, since Trucks himself does not sing. Opening with the title track, a funky Meters-style bubbler that employs a gospel chorus to frame Trucks' searing slide work, it sounds like the guitarist is working within borders he established on his two previous albums.

Hardly anything about the album Encounters hints at the fact that this is a Belgian production. The songs on ‘Encounters’ definitely sound a lot jazzier than the ones on their 2013 self-titled debut EP, tying in wonderfully with Sarah Devos’ sultry voice. We’ll gladly award ‘Encounters’ a spot in our top ten for 2015….