Ray Obiedo Latin Jazz Project Vol 1

Ray Vega moves from Concord to Palmetto for Pa'lante, an energetic sextet outing. The trumpeter is deeply immersed in bop and post-bop, as he makes clear with imaginative Latin arrangements of Charlie Parker's "Yardbird Suite," Duke Jordan's "Flight to Jordan," Wayne Shorter's priceless "El Gaucho," and, most audaciously, the first movement of John Coltrane's A Love Supreme. (Vega's choice of cornet for the Shorter tune is interesting.) Alto saxophonist Bobby Porcelli extends the post-bop theme with an original titled "K.D.," dedicated to Kenny Dorham and based on "Alone Together" changes. Vega contributes four originals - all good, but not as memorable as the covers…

The Charlie Shavers & Ray Bryant Quartet - Complete Recordings Vol.1-3 (1958-64) {3CD 2005 Lone Hill Jazz Remaster}
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© 2005 Lone Hill Jazz | LHJ 10182~84
Jazz / Bop / Trumpet / Piano

Pure and simple genius from trumpeter Charlie Shavers – a player with a sweet tone and a fluid groove – stepping out here with great accompaniment from pianist Ray Bryant! The CD brings together work from the albums Charlie Digs Paree and Charlie Digs Dixie – both originally recorded for MGM Records in the late 50s, and done in a clean, uncluttered style that really brought a strong focus to Shaver's solos, but also gave some excellent rhythmic support from Bryant – working here at the height of his early powers, in a mode that's clearly relaxed enough to get with the spirit of each different session.

This set was recorded in the studio on 4/4/56, one month before the classic "Round About Midnight at the Cafe Bohemia." The fellow Prophets are J. R. Monterose, the diminutive tenor saxist of the Sonny Rollins style of blowing; Dick Katz, a very busy pianist these days who continues to grow in stature; Sam Jones, bass and Arthur Edgehill, drums.
The group’s namesake opens with a minor-keyed unison line. The second and last eight bars have a chord sequence somewhat similar to All God's Chillun Got Rhythm. The theme is followed by eight bars of what George Wallington calls “the peck” (short, staccato-phrased interplay between the two horns).
The walking Blues Elegante’ has a twelve bar opening by Dick Katz and twenty-four of Sam Jone’s big-toned bass. The two horns follow with the rather unusual theme, Kenny playing muted…

Massimo Faraò studied with Maestro Flavio Crivelli and began his career collaborating with musicians from the Genoa Area, especially with the bassist Piero Leveratto. In 1993, he was invited to the US to play with Red Holloway and Albert “Tootie” Heath on a West Coast tour. In the same year, he founded the “We love Jazz” workshop, now one of the biggest events in Europe for jazz teaching.