La4

Eight years after their debut recording, the L.A. Four (guitarist Laurindo Almeida, Bud Shank on alto and flute, bassist Ray Brown, and drummer Jeff Hamilton) recorded their eighth and final album. The band and its concept had not run out of gas, but Shank was soon to give up the flute altogether and play a more forceful brand of straight-ahead jazz. On this last effort, the L.A. Four as usual mixes cool-toned jazz, Brazilian music, and classical to form an appealing blend. Two group originals, a few classical themes, "My Funny Valentine," and Antonio Carlos Jobim's "Chega de Saudade" comprise the attractive set.

On this rewarding set, the L.A. Four (altoist Bud Shank, acoustic guitarist Laurindo Almeida, bassist Ray Brown, and drummer Jeff Hamilton) perform a Bach melody, "Carinhoso" (originally recorded by Shank and Almeida back in 1954), "Just Friends," a "Love" medley ("Love for Sale" and "Love Walked In"), and Chick Corea's "Spain." Shank sticks exclusively to alto for the date, leaving his flute in its case, and the result is a more high-powered program than usual.

For their third recording, the L.A. Four had drummer Jeff Hamilton permanently taking Shelly Manne's place but otherwise utilized their original players (altoist-flutist Bud Shank, guitarist Laurindo Almeida, and bassist Ray Brown). Most unusual in their repertoire on this set is Chuck Mangione's "Land of Make Believe," which was a current pop hit. Otherwise, the tunes are the usual mixtures of bossas, classical numbers, and standards, including "Summertime," "Mona Lisa," and "Nuages." Tasteful and lightly swinging music.

The second recording and first studio set by the L.A. Four matched together Bud Shank on alto and flute, guitarist Laurindo Almeida, bassist Ray Brown, and drummer Shelly Manne for a diverse yet consistently enjoyable program. The selections range from "Dindi" and "Manteca" to "St. Thomas" and a 13-minute exploration of "Concierto de Aranjuez." As usual, the band mixes together bossa nova and Brazilian jazz, some touches of classical music, and cool-toned bop. Recommended as a strong example of the group's appealing sound.

Pierre Schaeffer - Solfège de l'objet sonore (1967) {3CD Set, Ina-GRM ina c 2010/11/12 rel 2005}
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© 1967, 2005 Ina-GRM | ina c 2010/11/12
Classical / Electroacoustic / Electronic / Musique Concrète

It is a well-established fact that our approach to music is generally twofold: this is the physicists' as well as the musicians' doing. One the one hand, music is considered to be based on acoustics, or even mathematics, which ought to give it the status of a science; on the other hand , it is acknowledged that it proceeds from psychological and sociological phenomena which, over the ages, have developed into an art, itself depending on various crafts. There is no longer any contradiction between the two approaches so long as one is prepared to accept them jointly, with enough insight to respect the methods proper to each end of the "chain."