#airto moreira

[jt1674]

#gato barbieri #lonnie liston smith #stanley clarke #john abercrombie #airto moreira #roy hanes #under fire #el parana

[de-salva]

MILES DAVIS - Spanish Key

* Live at Isle of Wight 1970)

Personnel:

Miles Davis - trumpet Gary Bartz - alto saxophone, soprano saxophone Keith Jarrett - organ Chick Corea - electric piano Dave Holland - bass, electric bass Jack DeJohnette - drums Airto Moreira - percussion

#Miles Davis #Gary Bartz #Keith Jarrett #Chick Corea #Dave Holland #Jack DeJohnette #Airto Moreira #YouTube

[dustedmagazine]

Airto Moreira & Flora Purim— Airto & Flora - A Celebration: 60 Years - Sounds, Dreams & Other Stories (BBE)

This massive compilation tracks the intertwined careers of two pivotal figures in fusion jazz, offering three hours of music from pioneers Airto Moreira and Flora Purim.

Though both Brazilian, the two came from starkly different backgrounds, Moreira from the rural hinterlands in the country’s far south, Purim from a cultured Jewish family in cosmopolitan Rio de Janeiro. Moreira was famously self-taught, drumming for the first time as a young teenager when a travelling samba band was missing a percussionist (he did well). Purim learned music from her pianist mother and a large collection of jazz 78s, then trained on the guitar with bossa nova master Manoel da Conceição. The two met when Moreira’s Sambalanço travelled to Rio and Purim sat in with the band in 1965. The outfit, slightly reconfigured as the Sambrasa Trio, became the pair’s first collaborative project together.

Purim left Brazil in 1968, fleeing a repressive military government. She connected with jazz players—Thelonius Monk, Wayne Shorter, Carmen MacRae, Joe Zawinul, Cannonball Adderly and Stan Getz—soon after her arrival in New York City and by 1969 was touring Europe with Getz. Moreira followed her to the States in 1969, arriving in New York, then flying to join her in Los Angeles. In 1970, he was invited to play with Miles Davis, who was then beginning to incorporate global sounds into his music.

Purim was arrested on drug charges in 1971, in an ill-advised attempt to raise money for a musician friend Hermeto Pascoal. She went to prison in 1974, just as her career was starting to take off. She learned that she had been named Downbeat’s Female Jazz Vocalist of the Year for 1974 while in jail. She was released in 1975. Afterwards she and Moreira connected with Chick Corea and joined Return to Forever.

It’s an extraordinary story, but despite the tumult both artists remained productive. Purim and Moreira released a string of albums together, with Purim often singing on Moreira’s releases and Moreira playing percussion on hers. BBE’s retrospective includes music released from 1964 through 1996, from earthy, percussion-heavy samba to cerebral fusion jazz anthems to airy new age meditations.

What strikes you first is that Purim and Moreira were very different artists. Purim’s high, extraordinarily agile soprano put a cool, sophisticated gloss on everything she touched, while Moreira’s best work was gutsy, visceral and celebratory. Together, though, they had an undeniable chemistry. “Andei” from Moreira’s 1970 debut Natural Feelings, for instance, melds the swaggering, sauntering exuberance of Moreira’s percussion with Purim’s note-perfect buoyancy. “Light as a Feather,” perhaps Purim’s best known song and the title track to the 1970 Return to Forever album, follows silky smooth, nearly disembodied vocals through gnarly thickets of improvised sax, keyboards, bass (that’s Stanley Clarke) and, of course, percussion. “Oh Sonho (Moon Dreams)” incorporates some of Purim’s most angelic, inhuman singing ever (and that’s saying a lot), and it comes from Moreira’s psychedelic samba-jazz masterwork Seeds on the Ground.

Moreira’s latter work turns fractious and lo-fi, and indeed, the 1990s cuts included here—“Musikana,” “The Happy People” and “The Peasant Dance”—are among my favorites. Yet while punk-trained ears may balk at the glassy smoothness of, say, “Open Your Eyes You Can Fly,” there’s a lot of friction even in the interstices. Purim made Moreira’s grooves sound unearthly, and Moreira surrounded her with terrestrial warmth. It was a great partnership, one that has lasted 60 years and counting and that is very well documented here.

Jennifer Kelly

#airto moreira #flora purim #a celebration #bbe #jennifer kelly #albumreview #dusted magazine #bossa nova #jazz #fusion #brazil #miles davis #return to forever #Bandcamp

[musicollage]

Deodato - Prelude. 1972 : CTI.

[ support the artist ★ buy me a coffee ]

#jazz #funk #soul jazz #pop music #deodato #1972 #cti #ron carter #ray barretto #billy cobham #stanley clarke #hubert laws #airto moreira #creed taylor #rudy van gelder #1970s #1970s jazz

[thevaultofretroscifi]

#Airto Moreira #1974

[doomandgloomfromthetomb]

For The Summer: Hermeto Pascoal / Airto Moreira / Flora Purim

Hey, a special treat for you today — a guest post from David "Observations of Deviance" Mittleman that digs into the Hermeto Pascoal / Airto Moreira / Flora Purim universe. For more, David is a great follow in various places — Twitter, YouTube and WFMU. Take it away!

Albert Ayler proclaimed, “Music Is The Healing Force Of The Universe.” Like nothing else, the music of Brazil makes the scorching summer days tolerable and even joyous. Brazilian musical healers include “O Bruxo,” the Wizard, aka Hermeto Pascoal, and the meteoric musical couple that shot from his orbit, Airto Moreira and Flora Purim. The Wizard is still going strong, living up to his sobriquet. On June 22, 2022 Pascoal celebrated his 86th birthday. Purim has also been active in 2022, releasing her first new studio album in fifteen years, which features her husband, legendary percussionist, Airto.

There is no way to capture Pascoal’s true range in a few words, but suffice it to say that he is something like Sun Ra crossed with Frank Zappa crossed with every sort of Brazilian musical style crossed with Miles Davis, with whom he recorded on “Live-Evil.” Pascoal’s live concerts are legendary. The 2004 performance I saw in Chicago remains one of the most magical events I’ve ever witnessed. Pascoal emanated bliss, love and joy. For those not lucky enough to capture the magic live, some recent reissues, and You Tube uploads, will send you into outer space.

In February, Far Out Recordings released a previously unissued Pascoal live performance from 1981, “Planetário da Gávea.” Appropriately recorded in a planetarium, the album contains everything Pascoal is known for - riotous improvisations, deep Brazilian rhythms and memorable melodies. The album’s second track, “Samba Do Belaqua,” gives you a taste of Pascoal’s sorcery.

In 1965, Pascoal and Airto teamed up with Humberto Clayber to record the Sambrasa Trio’s sole album, “Em Som Maior,” reissued in March by VampiSoul. The album has many brilliant moments, but the stand out track is “João Sem Braço.” After a brief mid-tempo introduction by the full trio, Airto breaks in with a thunderous drum clap, then the full trio breaks into full gallop. It is a tour de force of percussion ability and simpatico jazz trio improvisational communication.

Besides these official releases, the You Tube channel bigfootpegrande, has been uploading some amazing live Hermeto performances; here are just a few.

Hermeto Pascoal & Grupo / Pori Jazz Festival, Finland, July 15, 1984

The creative and technical dexterity displayed by Pascoal and group at the Pori Jazz Festival is unbelievable. Powerful and unforgettable.

Hermeto Pascoal & Grupo / Zagreb, Croatia, October 1990

More killer video. Sadly, it runs less than 20 minutes. Includes Hermeto interview in Portuguese with Croatian subtitles.

Hermeto Pascoal & Grupo / Chicago 1991

Per the video’s notes: “Epic, Wild!!” I concur.

Hermeto Pascoal & Grupo / Vienna, May 27, 2022

A very recent two hour live performance from Austria.

Hermeto Pascoal & Grupo (with Luciana Souza) / Central Park, NYC, June 21, 1997

Another rare US performance. “Opening for Hermeto was Medeski Martin and Wood. Dozens of ignorant tapers, with racks over racks and all kind of expensive mics displaying in the air, taped MMW and left when they finished. I don´t remember anyone staying [for Hermeto]."

Hermeto Pascoal & Grupo (w/ Naná Vasconcelos, Egberto Gismonti, Hugo Fattoruso) / Buenos Aires, 1981

Pascoal with other Brazilian heavyweights.

Hermeto Pascoal & Grupo / Antibes, Juan-les-Pins, France, June, 19, 1986

Pascoal and group jamming heavy in France.

Both Purim and Airto have had a long musical relationship with Pascoal. Hermeto played on both Purim and Airto’s solo albums, and the couple frequently perform Pascoal’s compositions. Purim continues this musical tradition on her new solo album, “If You Will,” released in April by Strut. A family affair, the album includes her daughter Diana Purim and husband Airto.

The album’s peaks include a new rendition of "500 Miles High,” Chick Corea’s classic jazz fusion composition, originally recorded in 1972 by Corea’s band Return to Forever, with Purim on vocals. The song’s lyrics express how listeners will feel; like everyone who hears her, they will be enraptured by her voice.

You'll see just one look and you'll know

She's so tender and warm

You'll recognize this is love

You'll find yourself on another plane

500 miles high

The bigfootpegrande You Tube channel has also uploaded several phenomenal live Airto and Purim live performances. Prime examples of her outside singing can be heard in the live performances linked below. While Purim’s remarkable vocal abilities are grounded in every phase of Jazz, she pushes the boundaries of traditional jazz into the stratosphere. Her repertoire includes an astounding array of extended vocal techniques, somewhat akin to Jazz scat singing, but far beyond what even the most adventurous Bebop artist would attempt.

Airto & Flora (feat. Hugo Fattoruso) / Boston, April 24, 1973

Incredible live performance. Includes versions of two Pascoal compositions (“Uri (The Wind)” and “O Gaio da Roseira”). The track “Xibaba” has a fire storm guitar solo from David Amaro that touches on Sonny Sharrock at its peak.

Flora Purim & Airto Moreira (feat. Nivaldo Ornelas) / Avery Fisher Hall, June 28, 1978

Another rare, early live performance from Airto and Purim. Includes a performance of “500 Miles High.”

Flora Purim & Airto Moreira (feat. George Duke) / Hollywood Bowl, June 16, 1979

Airto and Purium joined by legendary keyboard player George Duke. Another live version of “500 Miles High.”

Flora Purim Live at Terminal Island, March 3, 1975

As a bonus, here is one more phenomenal Flora Purim live performance. Purim was busted for coke in 1974 and spent sixteen months in a US prison. Towards the end of her incarceration, prison officials allowed Purim to bring in well known Jazz musicians to play for the inmates: Cannonball Adderley, George Duke, Airto Moreira, Miroslav Vitouš, Raul de Souza and Leon "Ndugu" Chancler.

The live prison performance was broadcast over the radio. Apparently she played one concert for the female inmates and one concert for the male inmates. Part of the performance has been uploaded to You Tube. Despite some audio flaws, it’s one of the best live from prison performances you will ever hear. Be sure to listen to the end for a short interview with Purim.

I hope the music of Pascoal, Airto and Purim brings you as much joy, healing and happiness this summer as it has brought me.

#hermeto pascoal #airto moreira #flora purim

[mitjalovse]

John McLaughlin is a lot of things as we have noticed from all the incredible examples of his ilustrious career, yet we could call him a great collaborator. I mean, anyone who worked with Miles Davis deserved that honour, though we mustn't forget – most who were in a group with the greatest jazz master kept honing their cooperative skills later on. Wayne Shorter was a member of the same Davis quintet as McLaughlin, so no surprise they ended up cooperating on a couple of solo records by Mr. Shorter. I sort of get why they did a couple of tunes together, i.e. Mr. Shorter continued to develop what Mr. Davis did in his own way, which is probably one of the reasons he asked Mr. Laughlin. I guess he wished to maintain a certain continuity.

#wayne shorter #super nova #super nova song #john mclaughlin #sonny sharrock #chick corea #miroslav vitous #jack dejohnette #airto moreira #niels jakobsen #duke pearson #70's music #jazz

[joshhaden]

The CD "Keith Jarrett & Paul Bley (New York - Anni '60 - '70)" (1997, Jazz & Dintorni) includes "Take Me Back" from Keith Jarrett's 1972 Expectations LP. w/ my father, Dewey Redman, Sam Brown, Paul Motian, Airto Moreira.

#charlie haden #jazz #jazz music #keith jarrett #dewey redman #sam brown #paul motian #airto moreira #Youtube

[altamontpt]

Joni Mitchell - Don Juan’s Reckless Daughter (1977)

Ao seu nono disco de estúdio, Joni Mitchell trocou as voltas a muita gente, apresentando-nos uma obra-prima que talvez poucos aceitem como tal. Don Juan’s Reckless Daughter é um disco aventuroso, um disco que se atreve a ser tão belo quanto experimental.

Ao seu nono disco de estúdio, Joni Mitchell trocou as voltas a muita gente, apresentando-nos uma obra-prima que talvez poucos aceitem como tal. Don Juan’s Reckless Daughter é um disco aventuroso, um disco que se atreve a ser tão belo quanto experimental. Estávamos nos finais dos anos 70 do século passado, e Joni Mitchell era senhora do seu domínio. Estaria, muito provavelmente, no topo da sua…

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#Airto Moreira #Don Alias #Jaco Pastorius #Joni Mitchell #Paul Simon #Wayne Shorter #Weather Report

[jt1674]

#gato barbieri #bolivia #merceditas #lonnie liston smith #john abercrombie #bernard purdie #airto moreira #jean françois jenny clark

[tocafitas]

Toca fitas na Casa Lúpulo - 30/09/2023

No sábado passado, fiz a minha segunda playlist ao vivo na Casa Lúpulo, para os Ibejis dançarem. O tema era uma festa em homenagem ao dia dos santos Cosme e Damião, representados na tradição Iorubá pelos Ibejis, orixás gêmeos, filhos de Iansã e Xangô que driblaram a morte com música. A história deles tá contada com mais detalhes no post do Instagram da Casa Lúpulo que eu deixo aqui: View this…

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#Abc Dialect #Airto Moreira #Aldo Sena #Antônio Carlos & Jocafi #Aparecida #Aroop Roy #BaianaSystem #Banda Black Rio #BNegão & Seletores de Frequência #Borchi #Bossacucanova #Bruce Leroys #Caetano Veloso #Canyons #Carlos Malta e Pife Muderno #Chico Buarque #Copacabana Club #Cris Delanno #Daniel T. #Deezer #Diogo Strausz #DJ Mam #DJ Marky #DJ Zé Pedro #Ed Lincoln #Elis Regina #Elza Soares #Fafá de Belém #Gal Costa #Geovana

[c-40]

A-T-3 200 Glastonbury

It's Glastonbury, the Royal Ascot of music festivals. It may now be bankers 'into' Buddhism, libertarian landlords, and the mindful mid-class who attend the festival but even before it went from bohemian to boho chic and pop music twats were going to Glastonbury. This was true in the 1990s, how do I know? I was there

A lot of nice people also got to Glastonbury. One of my best memories of Glastonbury was in 1995. The sun had come up so it must have been somewhere between 5 and 6am. At some point in the small hours I had bumped into my sister Angela and we were about to head back to our respective camps of friends when we walked past a small sound system playing music we liked. My mate Sally was there, I introduced my sister and we joined her for a dance. A track came on which blew me away, the timing was perfect, I asked Sally if she had any idea what it was and she told me it was the new Fila Brazillia - A Zed And Two L's. Sally was from Hull where I was studying and Fila Brazillia and their record label Porkys were at the centre of Hull's music scene, not only did this track perfectly capture the zeitgeist it also took me home. HIA played the dance tent that year if you want a slice of one of the brum scenes in 1995

As I'm thinking about Glastonbury 1995, the festival's 25th Anniversary and the year they introduced a dance tent (in the early 1990s the festival had been begging for it.) I'm wondering about who played that might have had records out in 1983, so here we go

The Cure headlined The Pyramid Stage on Sunday night. I never particularly liked The Pyramid stage and tended to avoid it, which was easy as there were far more interesting artists playing the smaller stages. The stage was better in the daytime but I have endured the crowds at night to see one or two headline (or the pre-headline) acts

At the end of 1982 The Cure went from their most goth to their most pop, this continued through 1983. Robert Smith had also joined Siouxsie And The Banshees again. Here's the 1983 extended mix of The Walk with it's Bobby 'O' bassline. 1990's Everything Mix is also brilliant

The Cure - The Walk (Extended)

Gil Scott-Heron was booked to play but didn't show up so I saw Michael Franti's Spearhead perform again. In 1995 I was buying cheap second hand records looking for breaks. Airto and Flora Purim albums frequently turned up, they played the Jazz tent in 1995. I remember I spent a lot of time in the jazz tent, it was easy to sit in if you were passing or if there was a bit of time before the next act I really wanted to see. In 1983 they released the live album Däfos with Mickey Hart which has this gem on it

Mickey Hart, Airto, Flora Purim - Passage

Augustus Pablo also played the Jazz Stage. I've seen some great reggae and dub at festivals. In 1983 Augustus Pablo releases the excellent compilation album King David's Melody which I could share the whole of

Augustus Pablo - Rockers Mood

Augustus Pablo - Mr Bassie

I prefer walking about on my own to being in groups. At festivals in meant I could go off to see War (and most of the above) when the rest of the people I was at the festival with weren't interested. It was friggin' WAR! They played earlier on The Pyramid Stage and it wasn't busy at all

1983 and members of War are doing their own things and writing and producing for other acts but they delivered this beauty

War - Life (Is So Strange)

#1983 #the cure #airto moreira #flora purim #augustus pablo #war #pop #reggae #dub #latin #funk #80s music #Youtube

[musicollage]

Hubert Laws – The Rite Of Spring. 1972 : CTI.

#jazz #orchestral jazz #cool jazz #jazz flute #jazz and classical music #hubert laws #1972 #cti #ron carter #jack dejohnette #airto moreira #bob james #don sebesky #rudy van gelder #van gelder studio #creed taylor #1970s #1970s jazz

[allmusic]

AllMusic Staff Pick: Airto Moreira Virgin Land

An all-star cast accompanies Brazilian percussion master Airto Moreira on this percolating collection of jazz fusion pieces. Produced by drummer Billy Cobham, the album locks into a steamy groove on Stanley Clarke's "Stanley's Tune" and never lets up. The Middle Eastern flavor of some melodies, Moreira and wife Flora Purim's unique vocalizations, and the use of unusual instrumentation on several cuts help make this recording a unique highlight of the electric fusion era.

- Jim Newsom

#allmusic staff picks #airto #airto moreira

[diceriadelluntore]

Storia Di Musica #300 - Miles Davis, Live-Evil, 1971

Quando si ascoltò questo disco per la prima volta, i critici ebbero un profondo senso di smarrimento: Come bisogna definirlo? Cosa è? È jazz? È rock? È qualcosa di altro? In parte era lo scopo del suo creatore, in parte perfino a lui, genio incontrastato delle rivoluzioni musicali, qualcosa "sfuggì di mano", divenendo addirittura qualcosa di altro dalla sua idea primigenia. Questo è un disco che parte da un percorso iniziato qualche anno prima, quando Miles Davis e il suo storico secondo quintetto iniziano ad esplorare le possibilità che gli strumenti elettrici e le strutture della musica rock possono dare al jazz. I primi esperimenti con Miles In The Sky (1968), poi con quel capolavoro magnetico che è In A Silent Way (1969), il primo con la nuova formazione elettrica, la quale sviluppa a pieno quella rivoluzione che va sotto il nome di jazz fusion con il fragoroso, e irripetibile, carisma musicale rivoluzionario che fu Bitches Brew (1970, ma registrato qualche giorno dopo il Festival di Woodstock, nell'Agosto del 1969). Davis è sempre stato curioso e non ha mai avuto paura di guardarsi intorno dal punto di vista musicale, ne è testimone la sua discografia. E nell'idea che il jazz stesse morendo, era sua intenzione innestarlo di nuova vitalità contaminandolo con altri generi, non solo il rock, ma anche il funk, il soul, la musica sperimentale europea. A tutto ciò, per la prima volta nel jazz (e questa fu l'accusa più viva di eresia), il ruolo del produttore, del suo fido e sodale Teo Macero, è proprio quello di cercare tra le sessioni di prove le parti migliori, o come amava dire Davis "le più significative", e metterle insieme in un lavoro sorprendente e meticoloso di collage musicale, che in teoria elimina la componente espositiva solista del musicista jazz, ma che allo stesso tempo regala una nuova filosofia musicale ai brani, del tutto inaspettata. Decisivo fu, nel 1970, il compito che fu affidato a Davis di curare la colonna sonora del film documentario A Tribute To Jack Johnson, di Bill Cayton, sulla vita del pugile che nel 1908 divenne il primo pugile di colore e il primo texano a vincere il titolo del mondo di boxe dei pesi massimi, quando sconfisse il campione in carica Tommy Burns. Per questa ragione fu considerato una sorta di simbolo dell'orgoglio razziale della gente di colore all'inizio del ventesimo secolo, soprattutto poiché nel periodo erano ancora in vigore le leggi Jim Crow, leggi che di fatto perpetuarono la segregazione razziale in tutti i servizi pubblici, istituendo uno status definito di "separati ma uguali" per i neri americani e per gli appartenenti a gruppi razziali diversi dai bianchi, attive dal 1875 al 1965.

Il disco di oggi somma tutte queste istanze, in maniera unica e per certi versi selvaggia, divenendo di fatto una sorta di manifesto che Il Signore Delle Tenebre ostenta alla sua maniera, cioè nel modo più sfavillante possibile. Live-Evil esce nel Novembre del 1971, ma è frutto di storiche serate live al The Cellar Dome di Washington DC, dove la band di Davis si esibì per diverse serate nel Dicembre del 1970, e una parte di registrazioni in studio sotto lo sguardo attento di Teo Macero, presso gli studi della Columbia di New York. Con Davis, nelle esibizioni al Cellar Dome, che come prima pietra dello scandalo usa la tromba elettrica, infarcita di pedali di effetti e di wah wah (amore trasmessogli da Jimi Hendrix) c'erano Gary Bartz (sassofono), John McLaughlin (chitarra elettrica), Keith Jarrett (piano elettrico), Michael Henderson (basso elettrico), Jack DeJohnette (batteria) e Airto Moreira (percussioni) e in un brano solo, come voce narrante, l'attore Conrad Roberts. Nelle sessioni in studio di aggiungono altre leggende, tra cui Herbie Hancock e Chick Corea (con lui nei precedenti dischi citati), Billy Cobham, Joe Zawinul e il fenomenale musicista brasiliano Hermeto Pascoal, la cui musica e i cui brani saranno centrali in questo lavoro. Tutto il magma creativo di queste idee sfocia in un doppio disco dalla forza musicale devastante, tanto che oggi alcuni critici lo definiscono un heavy metal jazz, che parte dalle origini più profonde ma sfocia in una musica caotica e sfacciatamente meravigliosa, trascinante e indefinibile, che gioca tutto sulle dissonanze, sugli ossimori, sui palindromi simbolici e musicali. E manifestazione più chiara ne è la copertina, bellissima, di Mati Klarwein, artista francese autore di alcune delle più belle copertine musicali, tra cui quella di Bitches Brew: lasciato libero di creare da Davis, pensò alla copertina con la donna africana incinta, come simbolo di creazione "primordiale", ma fu lo stesso Davis, a pochi giorni dalla pubblicazione, una volta deciso il titolo, che gli chiese un nuovo disegno, che accostasse il "bene" al "male" attraverso una rana. Klarwein in quel momento aveva una copertina della rivista Time che raffigurava il presidente Hoover, che fu presa come spunto per la rana del male, che campeggiò sul retro della copertina, e che vi faccio vedere:

Musicalmente il disco si divide in brani autografi di Davis, che diventano lunghissime jam session di sperimentazione, di assoli di chitarra, sfoghi di batteria, con la sua tromba elettrica che giganteggia qua e la, che raccolgono quel senso di rivoluzione, anche giocata sulla sua storica abilità di comunicazione (Sivad e Selim, che sono il contrario di Davis e Miles, la seconda scritta per lui da Pascoal, languida e dolcissima), il medley Gemini/Double Image, scritta con Zawinul, e le lunghissime e potentissime What I Say, quasi una dichiarazione di intenti, Funky Tonk, rivoluzionaria e la chiusura con Inamorata And Narration by Conrad Roberts, che è quasi teatro sperimentale, e le altre composizioni di Pascoal, Little Church e Nem Um Talvez, musica che stupì tantissimo lo stesso Davis, che considerava Pascoal uno dei più grandi musicisti del mondo: il brasiliano, polistrumentista, arrangiatore, produttore, è una delle figure centrali della musica sudamericana, e essendo albino è da sempre soprannominato o bruxo, lo stregone. Tutti brani vennero "perfezionati" da Macero, e addirittura nelle ristampe recenti è possibile leggere nelle note del libretto l'esatta costruzione dei brani, ripresi dalle sessioni live e dalle registrazioni in studio. Di quelle leggendarie serate al The Cellar Dome, nel 2005 la Columbia pubblicò un inestimabile cofanetto, di 5 cd, The Cellar Door Sessions 1970 con le intere esibizioni del Dicembre 1970: le parti usate in Live-Evil sono nel quinto e sesto disco, nei precedenti ulteriori esplorazioni musicali da brividi, per una delle serie di concerti storicamente più importanti del jazz.

Il disco verrà considerato il capolavoro che è solo dopo anni, in un periodo, quello degli anni '70, dove Davis accettò apertamente di sfidare la critica con la sua musica. Da allora però, per quanto in parte ancora enigmatico e "difficile", è considerato l'ennesimo pilastro della leggenda Davis, in uno dei suoi capitoli musicali che ebbe più fortuna, poichè buona parte dei fenomenali musicisti che contribuirono a questo disco erano in procinto, o già alle prese, con esperienze musicali che partendo dalla lezione del Maestro, ne approfondiranno i contenuti, e ne esploreranno i limiti: sarà quest'ambito che legherà le altre scelte di Novembre e questo omaggio, che come i precedenti numeri miliari (1,50,100,150,200,250) è dedicato al formidabile uomo con la tromba.

#miles davis #live-evil #1971 #recensione

[projazznet]

Donald Byrd – Electric Byrd

Electric Byrd is a jazz fusion album by Donald Byrd released by the Blue Note label in 1970. Donald Byrd – trumpet Jerry Dodgion – alto sax, soprano sax, and flute Frank Foster – tenor sax and alto clarinet Lew Tabackin – tenor sax and flute Pepper Adams – baritone sax and clarinet Bill Campbell – trombone Hermeto Pascoal – flute Wally Richardson – guitar Duke Pearson – electric piano Ron Carter – bass Mickey Roker – drums Airto Moreira – percussion

#donaldbyrd #jazzfusiob #trumpet #projazz #projazznet