(Post-Bop, Straight-Ahead Jazz) Roy Haynes (feat. Roy Hargrove, Chick Corea) - Roy-Alty - 2011, WEB, FLAC (tracks), lossless
Треклист:
Roy-Alty
ROY HAYNES
Жанр ♢ Post-Bop, Straight-Ahead Jazz
Год издания диска ♢ 2011
Издатель (лейбл) ♢ Dreyfus Jazz
Аудиокодек ♢ FLAC (*.flac)
Тип рипа ♢ tracks
Битрейт аудио ♢ lossless
Продолжительность ♢ 71:45
Наличие сканов в содержимом раздачи ♢ нет
Источник (релизер) ♢ WEB (я)
Треклист:
➀ Grand Street
➁ They Call The Wind Mariah
➂ Off Minor
➃ These Foolish Things
➄ Milestones
➅ Tin Tin Deo
➆ All The Bars Are Open
➇ Pinky
➈ Equipoise
➉ Passion Dance
+ Introspection (bonustrack)
Исполнители:
Roy Haynes, drums
Chick Corea, piano (3, 7, 11)
Roy Hargrove, trumpet (1, 4-6, 9, 10)
Martin Berejano, piano (1, 2, 4-6, 8-10)
Jaleel Shaw, alto sax
Marcus Strickland, tenor sax
David Wong, bass
Roberto Quintero, percussion
Robert Rodriguez, percussion
Craig Haynes, percussion
Заслуженнейший "джазовый дедушка" Рой Хэйнс, не желая довольствоваться ролью почетного пенсионера, записал в 86 лет очередной альбом.
Приятно, что на qobuz'e предложен Limited Edition-вариант с бонустреком, который, как и композиции за номерами 3 и 7, является дуэтом Хэйнса с Кориа.
ROY HAYNES
Жанр ♢ Post-Bop, Straight-Ahead Jazz
Год издания диска ♢ 2011
Издатель (лейбл) ♢ Dreyfus Jazz
Аудиокодек ♢ FLAC (*.flac)
Тип рипа ♢ tracks
Битрейт аудио ♢ lossless
Продолжительность ♢ 71:45
Наличие сканов в содержимом раздачи ♢ нет
Источник (релизер) ♢ WEB (я)
Треклист:
➀ Grand Street
➁ They Call The Wind Mariah
➂ Off Minor
➃ These Foolish Things
➄ Milestones
➅ Tin Tin Deo
➆ All The Bars Are Open
➇ Pinky
➈ Equipoise
➉ Passion Dance
+ Introspection (bonustrack)
Исполнители:
Roy Haynes, drums
Chick Corea, piano (3, 7, 11)
Roy Hargrove, trumpet (1, 4-6, 9, 10)
Martin Berejano, piano (1, 2, 4-6, 8-10)
Jaleel Shaw, alto sax
Marcus Strickland, tenor sax
David Wong, bass
Roberto Quintero, percussion
Robert Rodriguez, percussion
Craig Haynes, percussion
Лог Audiochecker
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Started at: пятница, 17. 02. 2012. - 23:19.19 11 files found 01 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\01 - Grand Street.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 02 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\02 - They Call The Wind Mariah.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 03 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\03 - Off Minor.flac Extracted successfully Conclusion: this track is CDDA with probability 99% Tempfile successfully deleted. 04 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\04 - These Foolish Things.flac Extracted successfully Conclusion: this track is CDDA with probability 99% Tempfile successfully deleted. 05 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\05 - Milestones.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 06 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\06 - Tin Tin Deo.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 07 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\07 - All The Bars Are Opens.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 08 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\08 - Pinky.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 09 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\09 - Equipoise.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 10 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\10 - Passion Dance.flac Extracted successfully Conclusion: this track is CDDA with probability 99% Tempfile successfully deleted. 11 -===- C:\Users\пользователь\DoctorWeb\Desktop\Roy Haynes - Roy-Alty (2011)\11 - Introspection (Bonus Track).flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. Finished at: пятница, 17. 02. 2012. - 23:27.01 (operation time: 0:07.41)
Review
Master of space and time drummer Roy Haynes is a "time lord" in more ways than one. Haynes, who began playing in around 1944 in the glow of the swing era, has a new album with his Fountain of Youth Band and a few extra guests including Roy Hargrove, tenor sax player Marcus Strickland (brother of drummer EJ), and a pianist named Chick Corea on three duo tracks. The album is entitled "Roy-alty", and it is definitely an album of kingly playing from all concerned. The overall effect is of a pristine yet fiery and passionate presentation of some of the best tunes of modern jazz history, some other great tune selections, and of course of some of the best musicians of modern jazz.
The sound quality, the tracks chosen, and the magnificent soloing all combine to make this a masterpiece issue. The album has ten tracks, and four (tracks 3 to 6) provide a trip through some of the classics of the '40s and early '50s that sparkled then, or would have had there been better recording systems available, and sparkle now, authentically, through this release. These tunes are definitively presented anew: Thelonious Monk's early classic "Off Minor" features Corea in a stellar duo battle with Haynes, and it is followed by Miles Davis' early piece "Milestones", recorded originally with Charlie Parker during the latter's peak late '40s period. "Milestones" reminds how brilliant and fresh the Parker '47-'48 era was, and is a brilliant recording of the spirit of the time. Bebop has been overlooked by some who belong to the "jazz started with 'Trane" gang, but a lot of this may simply be due to the basic recording quality of the Parker sides, which afterall were by an indie label. This new recording shows the sparkle of the music as originally shown to the world, and has a special musical value for this reason alone.
"These Foolish Things" provides the romance, largely curtesy of the languid Hargrove and Haynes' pattering snare, while "Tin Tin Deo" evokes the great late '40s era of Afro-Cuban jazz as played by Dizzy Gillespie and personified by the tune's co-composer, the legendary percussionist Chano Pozo. Apart from Haynes, percussion on the album is provided by Roberto Quintero, Robert Rodriguez and Haynes' son Craig.
Haynes himself introduces "Tin Tin Deo", mentioning Pozo and the '40s, and saying what an influence he, Pozo, had. The tune itself is, like "Milestones" before it, a fresh and authentic communication of the verve of the original, with an added world-music factor... congas add a distinctly African (rather than latin) feel in the long play out to the end of the track, with Haynes' conventional drums (but not conventional playing!) matching them. This is one of the unique modern touches on the record, and one of the features that make it a must buy/must hear.
Another is the sound. Haynes' drums are clear and fluid in the sound-scape, and are of course one of the main unifying qualities to the whole work. Whether it is a patter, or a Haynes trademark snap and crackle, Haynes shows the eternal importance of the drum and the beat. It is likely that Haynes' recording of "Tin Tin Deo" is the definitive one to date: Hargrove's brilliant trumpet is not the only reason.
Behind these central historical tracks are other equally lush and expressionistically-played tunes. The album opens with the driving "Grand Street" and the well-chosen "They Call The Wind Mariah", Haynes' deep and resonant drums show the way, while pianist Martin Berejano's playing has developed an even richer feel, here reminiscent of a jazz styling of classical pianist Alicia de Larrocha's classic take on "Iberia". Berejano has been Haynes' pianist since 2006 (joining the other two members of the quartet, Jaleel Shaw on alto saxophone and David Wong on bass), and he always had a shining Debussy-like aspect--he now seems to have added an extra depth too. Following Haynes' unmistakable drums, Berejano leads off "Grand Street" before Hargrove provides the first horn solo.
A different Debussian touch is provided by Corea at the beginning of his second duet with Haynes on the album, "All The Bars Are Open" (a pun of course). The rumbling and exploratory music provides another reason to grab this disc.
Altoist Shaw provides some major moments on "Grand Street" and "Mariah". He is always making you think, even when running what may at first listen appear to be just a few sequences, as in his solo on "Equipoise". On the same track Hargrove experiments with flutters and other effects, including at one point playing "upside the melody" with accidentals. And behind all this is the power of Haynes.
Appropriately, the last track is called "Passion Dance". Shaw plays some clever freely-styled opening notes on the track. He is joined by Strickland, Hargrove and latin percussion in a frantic groove, Roy Haynes washing it all in cymbals as the coronation rises to its height. ~ Simon Jay Harper, jazztimes.com
The sound quality, the tracks chosen, and the magnificent soloing all combine to make this a masterpiece issue. The album has ten tracks, and four (tracks 3 to 6) provide a trip through some of the classics of the '40s and early '50s that sparkled then, or would have had there been better recording systems available, and sparkle now, authentically, through this release. These tunes are definitively presented anew: Thelonious Monk's early classic "Off Minor" features Corea in a stellar duo battle with Haynes, and it is followed by Miles Davis' early piece "Milestones", recorded originally with Charlie Parker during the latter's peak late '40s period. "Milestones" reminds how brilliant and fresh the Parker '47-'48 era was, and is a brilliant recording of the spirit of the time. Bebop has been overlooked by some who belong to the "jazz started with 'Trane" gang, but a lot of this may simply be due to the basic recording quality of the Parker sides, which afterall were by an indie label. This new recording shows the sparkle of the music as originally shown to the world, and has a special musical value for this reason alone.
"These Foolish Things" provides the romance, largely curtesy of the languid Hargrove and Haynes' pattering snare, while "Tin Tin Deo" evokes the great late '40s era of Afro-Cuban jazz as played by Dizzy Gillespie and personified by the tune's co-composer, the legendary percussionist Chano Pozo. Apart from Haynes, percussion on the album is provided by Roberto Quintero, Robert Rodriguez and Haynes' son Craig.
Haynes himself introduces "Tin Tin Deo", mentioning Pozo and the '40s, and saying what an influence he, Pozo, had. The tune itself is, like "Milestones" before it, a fresh and authentic communication of the verve of the original, with an added world-music factor... congas add a distinctly African (rather than latin) feel in the long play out to the end of the track, with Haynes' conventional drums (but not conventional playing!) matching them. This is one of the unique modern touches on the record, and one of the features that make it a must buy/must hear.
Another is the sound. Haynes' drums are clear and fluid in the sound-scape, and are of course one of the main unifying qualities to the whole work. Whether it is a patter, or a Haynes trademark snap and crackle, Haynes shows the eternal importance of the drum and the beat. It is likely that Haynes' recording of "Tin Tin Deo" is the definitive one to date: Hargrove's brilliant trumpet is not the only reason.
Behind these central historical tracks are other equally lush and expressionistically-played tunes. The album opens with the driving "Grand Street" and the well-chosen "They Call The Wind Mariah", Haynes' deep and resonant drums show the way, while pianist Martin Berejano's playing has developed an even richer feel, here reminiscent of a jazz styling of classical pianist Alicia de Larrocha's classic take on "Iberia". Berejano has been Haynes' pianist since 2006 (joining the other two members of the quartet, Jaleel Shaw on alto saxophone and David Wong on bass), and he always had a shining Debussy-like aspect--he now seems to have added an extra depth too. Following Haynes' unmistakable drums, Berejano leads off "Grand Street" before Hargrove provides the first horn solo.
A different Debussian touch is provided by Corea at the beginning of his second duet with Haynes on the album, "All The Bars Are Open" (a pun of course). The rumbling and exploratory music provides another reason to grab this disc.
Altoist Shaw provides some major moments on "Grand Street" and "Mariah". He is always making you think, even when running what may at first listen appear to be just a few sequences, as in his solo on "Equipoise". On the same track Hargrove experiments with flutters and other effects, including at one point playing "upside the melody" with accidentals. And behind all this is the power of Haynes.
Appropriately, the last track is called "Passion Dance". Shaw plays some clever freely-styled opening notes on the track. He is joined by Strickland, Hargrove and latin percussion in a frantic groove, Roy Haynes washing it all in cymbals as the coronation rises to its height. ~ Simon Jay Harper, jazztimes.com
Инфо
Рой Хэйнс родился в Роксбери, шт. Массачусетс 13 марта 1925 года. Его интерес к джазу родился, с его слов, вместе с ним. Сколько помнит себя Хэйнс, столько он и интересуется джазом. Музыкальная карьера Роя началась в 1945 году. С 1947 по 1949 годы он работает с саксофонистом Лестером Янгом. Чуть позже он уже играет в составе квинтета великого саксофониста Чарли Паркера. С 1949 по 1953 год колесит по миру с гастрольным турне вместе с легендарной Сарой Воэн. С 1954 по 1959 работает с Телониусом Монком.
За эти годы он нарабатывает свой собственный, уникальный и легко узнаваемый ценителями джаза стиль игры. Барабаны Хэйнса звучат особым, лишь ему присущим, образом, выводя собственную мелодию, которая, гармонично вплетаясь в общую композицию, остается, тем не менее, как бы немного в стороне. В шестидесятых годах Хэйнс успевает поиграть со многими великими «свободными импровизаторами», добавляя в каждую отыгранную композицию толику своего собственного уникального «ударного» стиля. Его барабаны можно услышать в композициях Стэна Гетца и Гарри Бертона. И все эти годы Рой Хэйнс сочиняет, сочиняет и еще раз сочиняет музыку.
В 1970-х годах музыкант собирает свой первый ансамбль и в течение нескольких лет его репертуару хватает той музыки, что была написана еще в 60-х годах. Примечательно, что она оказывается абсолютно современной и в семидесятых. В следующие двадцать лет Рой Хэйнс переиграет со всеми легендарными джазменами, имена которых вписаны в историю джаза. Майлс Дэвис, Диззи Гиллеспи, Кристиан МакБрайд, Джерри Малиган, Сонни Роллинс, Эрик Долфи – вот лишь немногие имена, на пластинках которых можно встретить имя великого барабанщика Роя Хэйнса. (Полина Челпанова)
За эти годы он нарабатывает свой собственный, уникальный и легко узнаваемый ценителями джаза стиль игры. Барабаны Хэйнса звучат особым, лишь ему присущим, образом, выводя собственную мелодию, которая, гармонично вплетаясь в общую композицию, остается, тем не менее, как бы немного в стороне. В шестидесятых годах Хэйнс успевает поиграть со многими великими «свободными импровизаторами», добавляя в каждую отыгранную композицию толику своего собственного уникального «ударного» стиля. Его барабаны можно услышать в композициях Стэна Гетца и Гарри Бертона. И все эти годы Рой Хэйнс сочиняет, сочиняет и еще раз сочиняет музыку.
В 1970-х годах музыкант собирает свой первый ансамбль и в течение нескольких лет его репертуару хватает той музыки, что была написана еще в 60-х годах. Примечательно, что она оказывается абсолютно современной и в семидесятых. В следующие двадцать лет Рой Хэйнс переиграет со всеми легендарными джазменами, имена которых вписаны в историю джаза. Майлс Дэвис, Диззи Гиллеспи, Кристиан МакБрайд, Джерри Малиган, Сонни Роллинс, Эрик Долфи – вот лишь немногие имена, на пластинках которых можно встретить имя великого барабанщика Роя Хэйнса. (Полина Челпанова)
Приятно, что на qobuz'e предложен Limited Edition-вариант с бонустреком, который, как и композиции за номерами 3 и 7, является дуэтом Хэйнса с Кориа.