The Ultimate Gospel Piano Course

John Elefante born March 18, 1958 in Levittown, New York, and his family soon moved to Long Beach, California. Growing up, he sang and performed drums for his family band, The Brotherhood. As an artist, his credits include writing and singing lead vocals on three multi-platinum albums; as producer, his albums have earned numerous Dove Awards, 4 Grammy Awards (most recently in 2000) and 10 Grammy nominations. He has maintained a close working relationship with his brother, Dino, throughout his career.

Hard bop is at the core of this band, but Byrd is moving further into post-bop…

Fuego - a title that might be somewhat misleading - is the final Blue Note recording exclusively pairing Donald Byrd with Jackie McLean, a fruitful partnership that set the yin of the (in this case) restrained trumpeter, against the yang of the tart and extroverted alto saxophonist. While not quite a unified whole, the two were involved in turf battles that were based on mutual respect, here exuding a quieter fire that toned down McLean and muted Byrd to attain an intriguing harmonic balance. Duke Pearson's clever piano in the middle, with Doug Watkins playing bass and favored drummer Lex Humphries, made for one of the more diverse sounds in modern jazz circa 1959-1960. Of course hard bop is at the core of this band, but Byrd is moving further into post-bop, as served up heartily by the two horns during the modal, rambling, and staggered theme of the title selection…

Donald Byrd - Fuego (1959) {Blue Note ‎724356380226, RVG Edition rel 2005}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 266 Mb | MP3 @320 -> 98 Mb
Full Artwork @ 600 dpi (jpg) -> 33 Mb | 5% repair rar
© 1959, 2005 Blue Note / Capitol | 7243 5 63802 2 6
Jazz / Hard Bop / Trumpet

Fuego – a title that might be somewhat misleading – is the final Blue Note recording exclusively pairing Donald Byrd with Jackie McLean, a fruitful partnership that set the yin of the (in this case) restrained trumpeter, against the yang of the tart and extroverted alto saxophonist. While not quite a unified whole, the two were involved in turf battles that were based on mutual respect, here exuding a quieter fire that toned down McLean and muted Byrd to attain an intriguing harmonic balance. Duke Pearson's clever piano in the middle, with Doug Watkins playing bass and favored drummer Lex Humphries, made for one of the more diverse sounds in modern jazz circa 1959-1960.