Plus One Obvious Rar Download

Find album reviews, stream songs, credits and award information for Obvious - Plus One on AllMusic - 2002 - The year 2000 was a groundbreaking year for theMissing.

On The Gene Harris Trio Plus One [Concord CCD-4303], his debut recording as a leader for Concord, Gene Harris is joined by the dynamic Stanley Turrentine, who had not played with Gene since a 1960 recording with the Three Sounds. This auspicious reunion is enhanced by the impeccable rhythm team of Ray Brown and Mickey Roker. A lively and demonstrative audience at the Blue Note in New York lends a party atmosphere to this live date. 'I like recording live, particularly in clubs, where they're right on top of you,' Gene notes. 'There's constant interaction between the musicians and audience. At the Blue Note, you could feel the electricity in the air.'

And the super-charged music which resulted cuts across all stylistic and aesthetic boundaries. Quincy Jones had a band that was preparing to tour Europe in the summer of 1959.

The band was rehearsing in the mezzanine of the Olympia Theatre and I somehow wrangled an invitation to attend a rehearsal. It was a great hand with some of Quincy's friends from Seattle, like Buddy Catlett and Patti Brown. Les Spann was the guitarist and played some flute solos. Sahib Shihab was in the saxophone section and Joe Harris played drums.

I listened to a number of pieces in which there were solos played by various members of the band. It would be unfair to say that those solos were perfunctory, but later, when Phil Woods stood up from the lead alto chair to play his solo feature, the atmosphere changed. Phil played as if there were no tomorrow. The contrast was striking and I have always remembered the impression it left. If you practice rehearsing, then when the lime comes to perform, you are ready to rehearse. Phil practiced performing.

© -Steven Cerra, copyright protected; all rights reserved. I use Blogger as the platform to format and publish JazzProfiles. It’s free of charge and very compatible with other applications that Google hosts. But if you have ever tried to leave a comment about any of the features that post to the blog, you know that Blogger isn’t very accommodating in this regard.

I’m not sure why this is the case as other blogging platforms such as Wordpress make it very easy for readers to interact with the blog author. For the most part, I have been satisfied with this arrangement as it allows me to dwell in relative anonymity and to focus on preparing pieces for the blog.

It takes a great deal of time and effort to research and write the features that I bring up on JazzProfiles on an almost daily basis, and populate them with images, graphics and audio-visual examples of the music and the musicians under discussion. Besides, since I am not an authority on Jazz, I’ve always assumed that the readers of the blog would rather spend their time perusing its contents than corresponding with me.

However, should you like to leave a comment, ask a question or make a request, please feel free to contact me at scerra@roadrunner.com/ and I’ll do my best to provide you with a timely response. I will also negotiate the abstruse Blogger platform and nest your comment under the appropriate feature.

Ameritron 10 Meter Mods Pdf Files. I also plan to place a listing of “Readers Comments” in a permanent section of the blog’s sidebar and update it regularly. All of this by way of saying that the editorial staff at JazzProfiles welcomes your communications.

© -Steven Cerra, copyright protected; all rights reserved. Has left a new comment on your post ' ': Steven, You have done a great service by reproducing this article. Gene really created a great portrait of Miller, especially with his new (for the time) interviews.

I was a great admirer of Gene's writing, and can say we were friends. If you like, I can send you a link to a memorial article I wrote for Doug Ramsey's blog Rifftides that I wrote after Gene died. He could be quite frustrating at times, but I learned a lot from him, and he definitely helped me to become a better writer. Many thanks, Jeff has left a new comment on your post ' ': Thank you for this excellent blog post. I have listened to Tristano for years. I have Descent into the Maelstrom and other LPs of his.

Konitz is in my estimation one of the most consummate improvisors in the history of recorded jazz. Doctorsientetebien has left a new comment on your post ' ': Hi.

I have been visiting his blog for a few months almost daily and I have to thank him for his work, contributing interesting articles about music and Jazz musicians which is helping me discover new things, to value others that I did not appreciate at the time and to recover some that I enjoyed. And I have forgotten. -Greetings and many thanks from Toledo Spain. Tony Agostinelli has left a new comment on your post ' ': Great write up of one helluva release by Bill Lichtenauer of Tantara Productions. Magnificent list, great technology, and fantastic Kenton sounds. Thanks Steve.and thanks, Bill. And the liner notes were done superbly by Michael Sparke of the UK.

Tony Agostinelli Thanks Steven for making this available to a wider readership. This book was like a 'bible' to me when I first started collecting aged 16. I still have my original copy. Complete with marginalia as I filled in my collection. I had to wait until I moved to London in 1958 to acquire many of these albums on the British labels like Esquire. This brings back so many pleasant memories, but it also reminds me that time does proceed, relentlessly. This book was like a 'bible' to me when I was a serious collector, aged 16.

I still have my original copy, in excellent condition after all these years, over three continents complete with marginalia as I built my collection. Bravo to you Steve for making these early observations available for others to read.

Raymond Horricks followed this book up with 'These Jazzmen Of Our Time' (Gollancz, 1959), which contained some great early portraits by Herman Leonard. Has left a new comment on your post ' ': I met him twice. He was playing at a mall with the Westchester jazz band. That was around 97 or so.

They were taking a break and I started talking to him. He was super nice. I mention my grandfather was a jazz trumpet player Bunny Berigan.

I did not know who Bill was but like the way he played bass that day. I ran across his book on jazz in the white plains library.

I was surprise at knowledge and who he played with in jazz. I seen him again at the same place a year later and got to talk to him.Very nice again to me. I asked him about Zoot Sims. And about Benny Goodman which he your with in Russian.

My grandfather played with Benny too at one time. Seems they both found him hard to deal with. What a fine man Bill is.

Anonymous has left a new comment on your post ' ': I discovered Oliver Nelson in 1977 and could not believe my ears. At the time it was obviously a vinyl record and belonged to somebody else. However, thanks to the technology of today I can listen to my cd of Blues and the Abstract Truth to my heart's content. You have told me so much more about this wonderful man's unique style. If I want to feel good, I just listen to Stolen Moments. Jim Shelton has left a new comment on your post ' ': I have been listening to 1 of greatest piece of orchestration of Stan Kenton style music I've ever listened too arranged by a young trumpet player & arranger Bill Mathieu it's Kenton it Mathieu but mostly a great music. The complexed overlays, blending, fitting in soloists at just the right moment, plus the swelling of the whole orchestra to create the Kenton sound without losing his own indemnity is outstanding.

Thank Bill Thank you Stan. Jim Shelton Peter Haslund has left a new comment on your post 'Mark Murphy: 1932-2015, R.I.P.'

: Just discovered Mr. Gotta say it leaves me speechless that I listened to jazz since the 80s and never once heard his name. All the stuff that sounded so contrived with Sinatra (who obviously knew he was really singing black people's music) is fresh and free with Mark. Hi Steven, I read with interest your recent piece about the Boss Brass.

I live in Toronto, and when it comes to the Canadian jazz scene, it's hard to overstate how influential this band was. Besides the quality of McConnell's arrangements, the musicians were all top-name guys in the city (many with vigorous solo careers). What has always floored me about their playing is the tightness and especially intonation in the woodwinds -- the skill of the horn players at playing doubles (flutes and clarinets) is legendary. I feel fortunate to have been able to hear them live, on a number of occasions. From the stories I've heard, either third-hand or right from former Boss Brass members, Rob was a really hard guy to work with, but certainly pushed his group toward excellence.

I also liked your recent piece on Pat Martino. I'm a big fan of his style.

If you haven't read his autobiography, I highly recommend it! His personal story is, of course, fascinating and inspiring. Speaking of guitarists, someone you may want to profile someday is the Canadian jazz guitarist Ed Bickert. He was the guitarist for the Boss Brass for many decades. He is now quite elderly and no longer playing, but is another of those guys who was phenomenally influential, though I think he largely flew under-the-radar south of the border. Thanks for putting together such a great site, and best wishes. Jordan Wosnick You can share your thoughts, observations and general remarks in the Readers Forum by contacting JazzProfiles via Hi Steve.I'm not a Facebook or Twitter guy so here's hoping this email reaches you.

You indicated that you were not aware of published Mulligan biographies in your recent post on Gerry and I wanted to bring one to your attention that I think you will like: JERU'S JOURNEY by Sanford Josephson. It was published in 2015 by Hal Leonard Books. It's part of the Hal Leonard Biography Series which also includes bios of Cannonball Adderley, Herbie Mann & Billy Eckstine.

I own the Adderley and Mann bios and also recommend them. Jeru's Journey is an easy read and covers Mulligan's life from birth to his passing.

It is a very good overview and the author--who knew Mulligan and interviewed him before his passing--tells Gerry's story completely including Mulligan's drug addiction, domestic (wives) issues, etc. Along with good musical analysis and insights both of the author's and other musicians.

In addition to a good discography there are many photographs. The list price is $19.99. In closing, I would like to tell you how much I have enjoyed your blog over the years. I have recommended it to many musician friends and all have thanked me. Thanks again for helping to keep the jazz alive.

Bruce Armstrong You can share your thoughts, observations and general remarks in the Readers Forum by contacting JazzProfiles via Les Koenig was clearly a GIANT despite his obvious preference to be low-key, himself. THANK YOU, Steven Cerra!!! The world is a better place because of people like Les! Like Laurie(Pepper) & the list goes on & on forever! Like YOU, Steven!

Thanks to ALL who work behind the scenes, on or off-stage, etc. -in support of the featured 'Player' & 'Sidemen' so that 'We the people.' Can be out in the audience having the time of our lives enjoying 'the show' or 'Artistry, Talent, Efforts' and so on! My attitude is one of gratitude!!

THIS art form & ALL original American Art forms must be preserved and encouraged to not only survive, but to thrive!!! “Unique is an inadequate word to describe Erroll Garner.

He was a musical phenomenon unlike any other. One of the most appealing performers in Jazz history, he influenced almost every pianist who played in his era, and even beyond.

Self-taught, he could not read music, yet he did things that trained pianists could not play or even imagine. Garner was a one-man swing band, and indeed often acknowledged that his main inspiration was the big bands of the thirties – Duke, Basie, Lunceford, et al. He developed a self-sufficient, extremely full style that was characterized by a rock-steady left-hand that also sounded like a strumming rhythm guitar.

Juxtaposed against this was a river of chordal or single note ideas, frequently stated in a lagging, behind-the-beat way that generated terrific swing.” [. “In a truly formal sense, Shelly could barely play the drums. If you gave him a pair of sticks and a snare drum and had him play rudi­ments—an open and closed roll, paradiddles, and all that kind of thing—he didn't sound like much. He never had that kind of training and wasn't inter­ested in it. For him it was a matter of playing the drums with the music. He could play more music in four bars than almost anyone else.

His drums sounded gorgeous. They recorded sensationally. All you had to hear was three or four bars and you knew it was Shelly Manne. - Larry Bunker, Jazz drummer and premier, studio percussionist. The 1954 Birdland recordings on Blue Note provided the stylistic foundation for the rest of Art Blakey's career.

His style had completely crystallized. His pulsation was undeniable, a natural force; the counter-rhythms he brought to the mix made what he played that much more affecting. There was a purity about what he did—and always motion. He was spontaneous, free, creating every minute. That he was in the company of peers, all performing in an admirable manner, had a lot to do with making this 'on-the-spot' session such an important musical document. The band never stops burning. The exhilarating Clifford Brown moves undaunted through material, fast, slow, in between, playing fantastic, well-phrased ideas that unfold in an unbroken stream.

His technique, almost perfect; his sound, burnished. He's a gift to the senses. Lou Donaldson, an underrated alto player in the Bird tradition, offers much to think about while you're tapping your foot. Horace Silver is crucial to the effect of this music, much of it his own. Certainly the rhythms that inform his piano playing and writing make it all the more soulful. On this and other records he serves as a catalytic agent, provoking swing and engaging intensity. Hard-hitting, unpretentious, communicative, Silver has little use for compositional elements or piano techniques that impede his message.

A live-in pulse permeates his music and his playing, strongly affecting the shape, content, and level of excitement of his performances and those of his colleagues. An original and tellingly economic amalgam of Parker, the blues, shuffling dance rhythms, and a taste of the black church for flavor, Silver is quite undeniable.

Listen to his delightful 'Quicksilver' on A Night at Birdland With the Art Blakey Quintet, Vol. 1 (Blue Note). It capsulizes what he does. On this album, Curly Russell shows once again he can play 'up' tempos and interesting changes. He ties in well with Blakey.

Adobe Premiere Cs4 32 Bits Download Crackeado. But Silver and Blakey, in combination, determine the rhythmic disposition of the music. Blakey's natural time and fire raise the heat to an explosive level before the listener realizes how hot the fire has become. Perhaps more than other recordings Blakey has made, the Birdland session documents his great strengths and technical failings. At almost every turn, he shows what an enviably well coordinated, buoyantly confident, rhythmically discerning player he is.

“It is difficult for young musicians and jazz devotees to fully comprehend the tumultuous effect that the advent of bop had on drummers. The new music demanded new, relevant, trigger-fast, musical, well-placed reactions from the person behind the drum set—an entirely revamped view of time and rhythm, techniques, and musical attitudes. How well did drummers deal with bop? The innovators, like Kenny Clarke and Max Roach, opened the path and showed how it was done. Young disciples—if they had talent, sensitivity, and the necessary instincts— caught on and made contributions.

Other drummers stylistically modified the way they played, trying to combine the old with the new. This was tricky at best. Sometimes it worked; sometimes it was a matter of apples and oranges. Still others fought change and what it implied. Not welcomed by many swing drummers and their more traditional predecessors, the new wave was looked upon as the enemy, sources of disruption and unnecessary noise.

Those stuck in the past could not accept breaking time, using the drum set as both color resource and time center. The structural and emotional differences essential to bebop, the need for virtuosity, and the ability to think quickly and perform appropriately intimidated them. The demands of the music were strange and often devastating; a feeling of hostility built up in them. The basic reasons were quite clear. The new music could ultimately challenge their earning ability and position in the drum hierarchy.' “Rhythmically, Rollins is as imaginative and strong as in his melodic concepts.

The two are really inseparable, or at least should be. In his recordings as well as during several evenings at Birdland recently [Fall/1958] Rollins indicated that he can probably take any rhythmic formation and make it swing. This ability enables him to run the gamut of extremes— from almost a whole chorus of non-syncopated quarter notes (which in other hands might be just naive and square but through Rollins' sense of humor and superb timing are transformed into a swinging line) to asymmetrical groupings of fives and sevens or between the-beat rhythms that defy notation. As for his imagination, it is prodigiously fertile. And indeed I can think of no better and more irrefutable proof of the fact that discipline and thought do not necessarily result in cold or un-swinging music than a typical Rollins performance. No one swings more (hard or gentle) and is more passionate in his musical expression than Sonny Rollins. It ultimately boils down to how much talent an artist has; the greater the demands of his art both emotionally and intellectually the greater the talent necessary.”.

“Bill's music is profoundly expressive. It is passionate, intellectual, and without pretense. Eleven years with his trio afforded me the opportunity to perform, record, travel, and most importantly learn.

My development as an artist is largely due to his encouragement, support, and patience. He instilled confidence in me, while at the same time urging me to search for my own voice and for new ways to make the music vital and creative. And Bill believed that repertoire, both new and old, would organically flourish in repeated live performance.

In fact, there were precious few rehearsals, even before recording sessions. When Bill passed away late in 1980, it was clear that all of us in the jazz world had sustained a huge loss. I was shocked and saddened; in my heart I had always felt that some day there would be a reunion concert. Had I been able to look into a crystal ball and foresee his death, perhaps I might have stayed in the trio for a longer period. I still dream about one more set with Bill. He closes his eyes, turns his head to one side, and every heartfelt note seems etched and bathed in gold. How I miss that sound.”.

I got to play with Bobby Hutcherson at Dizzy's a few years ago, which ended up on a CD [2012's Somewhere In The Night on Kind of Blue Records]. I was four feet away from him, thinking, 'How is this man just hitting metal bars with wooden sticks with cotton on the end and making such an expressive statement?' The instrument is just like. He's imbuing it with his thoughts and feelings.

That's a miraculous thing. The instrument itself disappears when you're talking about a master on that level.