(Big Band) [WEB] Jazz At Lincoln Center Orchestra with Wynton Marsalis - Live In Cuba (2CD) (2010) - 2015, FLAC (tracks), lossless
![(Big Band) [WEB] Jazz At Lincoln Center Orchestra with Wynton Marsalis - Live In Cuba (2CD) (2010) - 2015, FLAC (tracks), lossless](/upload/000/u2/92/29/big-band-web-jazz-at-lincoln-center-orchestra-with-wynton-ma.jpg "(Big Band) [WEB] Jazz At Lincoln Center Orchestra with Wynton Marsalis - Live In Cuba (2CD) (2010) - 2015, FLAC (tracks), lossless")
Треклист:
Jazz At Lincoln Center Orchestra with Wynton Marsalis - Live In Cuba (2CD) (2010) Жанр: Big Band
Носитель: WEB
Год издания: 2015
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 69:26 / 68:07
Источник (релизер): deep000
Наличие сканов в содержимом раздачи: нет
Disc 1
01. 2/3's Adventure (8:25)
02. Baa Baa Black Sheep (11:39)
03. Inaki's Decision (from Vitoria Suite) (11:50)
04. Sunset And The Mockingbird (from Queen's Suite) (5:31)
05. Como Fue (feat. Bobby Carcasses) (6:57)
06. Dali (from Portrait In Seven Shades) (7:09)
07. Light Blue (10:53)
08. Braggin' In Brass (7:03)
Disc 2
01. Limbo Jazz (6:37)
02. Doin' (Y) Our Thing (14:34)
03. I Left My Baby (feat. Chris Crenshaw) (7:52)
04. Bearden (The Block) (6:16)
05. Symphony In Riffs (8:27)
06. Spring Yaounde (5:35)
07. Things To Come (9:04)
08. The Sanctified Blues (from Congo Square) (9:41)
Носитель: WEB
Год издания: 2015
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 69:26 / 68:07
Источник (релизер): deep000
Наличие сканов в содержимом раздачи: нет
Disc 1
01. 2/3's Adventure (8:25)
02. Baa Baa Black Sheep (11:39)
03. Inaki's Decision (from Vitoria Suite) (11:50)
04. Sunset And The Mockingbird (from Queen's Suite) (5:31)
05. Como Fue (feat. Bobby Carcasses) (6:57)
06. Dali (from Portrait In Seven Shades) (7:09)
07. Light Blue (10:53)
08. Braggin' In Brass (7:03)
Disc 2
01. Limbo Jazz (6:37)
02. Doin' (Y) Our Thing (14:34)
03. I Left My Baby (feat. Chris Crenshaw) (7:52)
04. Bearden (The Block) (6:16)
05. Symphony In Riffs (8:27)
06. Spring Yaounde (5:35)
07. Things To Come (9:04)
08. The Sanctified Blues (from Congo Square) (9:41)
Об издании
LIVE IN CUBA captures nine-time Grammy Award-winner Wynton Marsalis and the world-renowned Jazz at Lincoln Center Orchestra’s dazzling first—and only—performances in Cuba.
Recorded in front of a clamorous, sold-out crowd at Havana’s Mella Theatre in October 2010, this two-disc album captures the big band’s unforgettable tracing of the connections between American jazz and Afro-Cuban music. LIVE IN CUBA is the inaugural release from Blue Engine Records, a project showcasing the music of Jazz at Lincoln Center.
According to Jelly Roll Morton, jazz music has always had a “Spanish tinge.” A little bit of marching band this, habanera rhythm that – more times than not, the musical influences came from the confluence of identities that fell on the shady side of the razor-thin New Orleans color line.
In 1940, New York resident and trumpeter Mario Bauzá recruited his brother-in-law, Frank “Machito” Grillo, a recently-immigrated singer from Cuba, to create a band capable of playing a new form of music. This infectious sound featured Afro-Cuban rhythms on the bottom and jazz on the top and fused his American musical experiences with the Cab Calloway and Chick Webb orchestras with the Cuban songs and traditions of his youth. They created the first Afro-Cuban band – “Machito and his Afro-Cubans.” This explosive ensemble played all of the trendy nightclubs in midtown Manhattan, eventually earning a residency at “La Conga” on 52nd Street and Broadway.
The quality of this band attracted an eager and enthusiastic public and sparked a surge of creative excitement among many of the greatest jazz musicians of the time. Charlie Parker, Kenny Dorham, and Stan Kenton, to name a few, would be influenced to record Latin albums. Dizzy Gillespie, a fellow trumpeter and section mate of Bauzá’s in Cab Calloway’s Orchestra, as well as a pioneering innovator of the new style called bebop, loved the Afro-Cuban sound. He wanted to integrate it into bebop. Aware of Dizzy’s interest, Bauzá introduced him to the genius Cuban conguero, Chano Pozo.
Dizzy hired Pozo and together, they would create innovative Afro-Cuban jazz recordings featuring masterpieces like “Cubana Be, Cubana Bop” and “Manteca.” The partnership was fruitful but short lived, as Pozo was murdered only one year later. Jazz, however, was forever transformed and Gillespie would champion this fusion for the rest of his storied career.
In 1961, asJohn D. Rockefeller commenced construction on Lincoln Center for the Performing Arts, the Cuban borders were closed to America, ending the formal free flow of arts, communication, and industry between the two countries.
From the 60s through to the 80s, Latin music in New York evolved with new sounds coming primarily from Puerto Rico and the Dominican Republic and their respective communities in New York. The old midtown nightclubs gave way to discos or changed formats, and America’s fascination with the island just 90 miles off the coast of Florida waned.
In 1987, Lincoln Center for the Performing Arts held its first jazz concerts, and in August of 1989, the master Dizzy Gillespie graced the stage. He told the young Artistic Director, Wynton Marsalis, about the importance of maintaining an orchestra by wryly quipping that “to lose one’s orchestral heritage should not be considered an achievement.” Gillespie went on to add that “Bebop was about integration,” encouraging Marsalis to embrace all of the foundations of jazz.
In 1996, Jazz at Lincoln Center became a constituent of Lincoln Center. From birth, the organization has presented and produced all forms and formats of jazz as modern, vibrant, and relevant – from the blues to bebop, be it small group or large ensemble. Today, the beating heart of Frederick P. Rose Hall (affectionately known as the House of Swing) is Dizzy’s Club Coca-Cola, which is dedicated to the legacy of the trumpeter, singer, dancer, teacher, and raconteur who reintroduced mainstream jazz to the delights of that “Spanish tinge.”
Jazz at Lincoln Center has presented the music of Cuban legends such as Chico O’Farrill, Frank Emilio, Chucho Valdés, Paquito D’Rivera, Pedrito Martinez, and Celia Cruz, as well as Afro-Latin legends Tito Puente, Ray Santos, Ray Barretto, and Jerry Gonzales. This album is a culmination of Jazz at Lincoln Center’s efforts to encourage the sharing of a musical heritage that has defined, enlivened, and elevated life in the United States and Cuba.
Following President Obama’s easing of travel restrictions between the U.S. and Cuba, the Cuban Institute of Music invited the Jazz at Lincoln Center Orchestra with Wynton Marsalis to come to Havana. The world had changed dramatically in the 60-plus years since Pozo and Dizzy first came together on stage and in the almost 40 years since the embargo, but this music, in its variety and naturalness, and the overwhelmingly enthusiastic audience response to it, speaks much more clearly to a deeper fundamental heritage that remains very much alive.
On October 5, 2010, the Orchestra embarked on a weeklong residency at the Mella Theater in Havana. Music Director Carlos Henriquez had meticulously programmed four concerts of material to demonstrate the range and capability of this extraordinary band. The musicians conducted master classes, went to jam sessions and gave impromptu lessons—all while being filmed by CBS’s “60 Minutes” and a documentary camera crew.
On their first full day in the city, members of the band went to the Guillermo Tomás Bouffartigue Music Conservatory where they were received with unprecedented warmth and affection. They conducted master classes and were treated to a stellar performance by the students. The next night they played their first concert in the Mella Theater, performing (as is their custom) everything from new compositions and arrangements to the classics. They played everything from Duke Ellington’s “Braggin’ in Brass” to Sherman Irby’s re-arrangement of the nursery rhyme “Baa Baa Black Sheep” to Carlos Henriquez’s new composition, “2/3’s Adventure.” The crowd clapped, cried and laughed, clearly recognizing a sound that resonated deeply, although it had not been heard live for decades. The Orchestra was moved and inspired.
The next night, the Orchestra was back in the Mella Theater for the second concert alongside Chucho’s ensemble, The Afro-Cuban Messengers, playing music of the Cuban diaspora. Arturo “Chico” O’Farrill’s singular masterpiece, “The Afro Cuban Jazz Suite,” featured the Orchestra with Chucho’s rhythm section of Yaroldy Abreu Robles and Dreiser Durruthy Bambolé on percussion, Lázaro Rivero Alarcón on bass, and drummer Juan Carlos Rojas Castro on drums. New arrangements of classics like “Como Fue” were performed along with three original compositions of Chucho’s, arranged especially for a combination of both ensembles. Everyone was showing out and Chucho played the keys right off of the piano. The show was so inspiring that some of the musicians were invited back to the home of legendary Afro-Cuban jazz flautist Orlando “Maraca” Valle for a post concert meal. After the late dinner, they went out into the night armed with instruments, hungry for other jam sessions.
By the night of the final concert, the band had played all over Havana, sowing the seeds of a musical future between Cuba and the United States. The last show was for kids. The packed house was peppered with students from all over the island. They heard Afro-Cuban, jazz and everything in between—a roster of the most promising students performed with the Orchestra in a sweep of jazz compositions that included Lee Morgan’s “Ceora”, Dizzy Gillespie’s “A Night in Tunisia” and Ray Santos’ “Azulito.”
This recording is a compilation of songs chosen from each of these shows. The orchestra was obviously inspired by the experience of reconnecting with their extended family from the deep, deep south. Listen as they try to match the joy and energy of these special audiences. “We had no idea. The hall was vibrating with the intense energy of discovery,” Marsalis said. “We were finding each other, and this opportunity has forever changed our lives.” Orchestra members were all beside themselves talking about the quality of student musicians and the warmth and hospitality of the Cuban people. Please join us on this journey from Cuba to New York, through New Orleans and back again.
Sidemen
JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS
Wynton Marsalis (trumpet); Kenny Rampton (Trumpet); Ryan Kisor (Trumpet); Marcus Printup (Trumpet); Vincent Gardner (Trombone); Chris Crenshaw (Trombone); Elliot Mason (Trombone); Sherman Irby (Alto saxophone); Ted Nash (Alto and soprano saxophones, clarinet); Walter Blanding (Tenor and soprano saxophones, clarinet); Victor Goines (Tenor and soprano saxophones, Bb clarinet, bass clarinet); Joe Temperley (Baritone and soprano saxophones, bass clarinet); Dan Nimmer (Piano); Carlos Henriquez (Bass); Ali Jackson (Drums).
Bobby Carcassés (vocal on “Como Fue”)
Recorded in front of a clamorous, sold-out crowd at Havana’s Mella Theatre in October 2010, this two-disc album captures the big band’s unforgettable tracing of the connections between American jazz and Afro-Cuban music. LIVE IN CUBA is the inaugural release from Blue Engine Records, a project showcasing the music of Jazz at Lincoln Center.
According to Jelly Roll Morton, jazz music has always had a “Spanish tinge.” A little bit of marching band this, habanera rhythm that – more times than not, the musical influences came from the confluence of identities that fell on the shady side of the razor-thin New Orleans color line.
In 1940, New York resident and trumpeter Mario Bauzá recruited his brother-in-law, Frank “Machito” Grillo, a recently-immigrated singer from Cuba, to create a band capable of playing a new form of music. This infectious sound featured Afro-Cuban rhythms on the bottom and jazz on the top and fused his American musical experiences with the Cab Calloway and Chick Webb orchestras with the Cuban songs and traditions of his youth. They created the first Afro-Cuban band – “Machito and his Afro-Cubans.” This explosive ensemble played all of the trendy nightclubs in midtown Manhattan, eventually earning a residency at “La Conga” on 52nd Street and Broadway.
The quality of this band attracted an eager and enthusiastic public and sparked a surge of creative excitement among many of the greatest jazz musicians of the time. Charlie Parker, Kenny Dorham, and Stan Kenton, to name a few, would be influenced to record Latin albums. Dizzy Gillespie, a fellow trumpeter and section mate of Bauzá’s in Cab Calloway’s Orchestra, as well as a pioneering innovator of the new style called bebop, loved the Afro-Cuban sound. He wanted to integrate it into bebop. Aware of Dizzy’s interest, Bauzá introduced him to the genius Cuban conguero, Chano Pozo.
Dizzy hired Pozo and together, they would create innovative Afro-Cuban jazz recordings featuring masterpieces like “Cubana Be, Cubana Bop” and “Manteca.” The partnership was fruitful but short lived, as Pozo was murdered only one year later. Jazz, however, was forever transformed and Gillespie would champion this fusion for the rest of his storied career.
In 1961, asJohn D. Rockefeller commenced construction on Lincoln Center for the Performing Arts, the Cuban borders were closed to America, ending the formal free flow of arts, communication, and industry between the two countries.
From the 60s through to the 80s, Latin music in New York evolved with new sounds coming primarily from Puerto Rico and the Dominican Republic and their respective communities in New York. The old midtown nightclubs gave way to discos or changed formats, and America’s fascination with the island just 90 miles off the coast of Florida waned.
In 1987, Lincoln Center for the Performing Arts held its first jazz concerts, and in August of 1989, the master Dizzy Gillespie graced the stage. He told the young Artistic Director, Wynton Marsalis, about the importance of maintaining an orchestra by wryly quipping that “to lose one’s orchestral heritage should not be considered an achievement.” Gillespie went on to add that “Bebop was about integration,” encouraging Marsalis to embrace all of the foundations of jazz.
In 1996, Jazz at Lincoln Center became a constituent of Lincoln Center. From birth, the organization has presented and produced all forms and formats of jazz as modern, vibrant, and relevant – from the blues to bebop, be it small group or large ensemble. Today, the beating heart of Frederick P. Rose Hall (affectionately known as the House of Swing) is Dizzy’s Club Coca-Cola, which is dedicated to the legacy of the trumpeter, singer, dancer, teacher, and raconteur who reintroduced mainstream jazz to the delights of that “Spanish tinge.”
Jazz at Lincoln Center has presented the music of Cuban legends such as Chico O’Farrill, Frank Emilio, Chucho Valdés, Paquito D’Rivera, Pedrito Martinez, and Celia Cruz, as well as Afro-Latin legends Tito Puente, Ray Santos, Ray Barretto, and Jerry Gonzales. This album is a culmination of Jazz at Lincoln Center’s efforts to encourage the sharing of a musical heritage that has defined, enlivened, and elevated life in the United States and Cuba.
Following President Obama’s easing of travel restrictions between the U.S. and Cuba, the Cuban Institute of Music invited the Jazz at Lincoln Center Orchestra with Wynton Marsalis to come to Havana. The world had changed dramatically in the 60-plus years since Pozo and Dizzy first came together on stage and in the almost 40 years since the embargo, but this music, in its variety and naturalness, and the overwhelmingly enthusiastic audience response to it, speaks much more clearly to a deeper fundamental heritage that remains very much alive.
On October 5, 2010, the Orchestra embarked on a weeklong residency at the Mella Theater in Havana. Music Director Carlos Henriquez had meticulously programmed four concerts of material to demonstrate the range and capability of this extraordinary band. The musicians conducted master classes, went to jam sessions and gave impromptu lessons—all while being filmed by CBS’s “60 Minutes” and a documentary camera crew.
On their first full day in the city, members of the band went to the Guillermo Tomás Bouffartigue Music Conservatory where they were received with unprecedented warmth and affection. They conducted master classes and were treated to a stellar performance by the students. The next night they played their first concert in the Mella Theater, performing (as is their custom) everything from new compositions and arrangements to the classics. They played everything from Duke Ellington’s “Braggin’ in Brass” to Sherman Irby’s re-arrangement of the nursery rhyme “Baa Baa Black Sheep” to Carlos Henriquez’s new composition, “2/3’s Adventure.” The crowd clapped, cried and laughed, clearly recognizing a sound that resonated deeply, although it had not been heard live for decades. The Orchestra was moved and inspired.
The next night, the Orchestra was back in the Mella Theater for the second concert alongside Chucho’s ensemble, The Afro-Cuban Messengers, playing music of the Cuban diaspora. Arturo “Chico” O’Farrill’s singular masterpiece, “The Afro Cuban Jazz Suite,” featured the Orchestra with Chucho’s rhythm section of Yaroldy Abreu Robles and Dreiser Durruthy Bambolé on percussion, Lázaro Rivero Alarcón on bass, and drummer Juan Carlos Rojas Castro on drums. New arrangements of classics like “Como Fue” were performed along with three original compositions of Chucho’s, arranged especially for a combination of both ensembles. Everyone was showing out and Chucho played the keys right off of the piano. The show was so inspiring that some of the musicians were invited back to the home of legendary Afro-Cuban jazz flautist Orlando “Maraca” Valle for a post concert meal. After the late dinner, they went out into the night armed with instruments, hungry for other jam sessions.
By the night of the final concert, the band had played all over Havana, sowing the seeds of a musical future between Cuba and the United States. The last show was for kids. The packed house was peppered with students from all over the island. They heard Afro-Cuban, jazz and everything in between—a roster of the most promising students performed with the Orchestra in a sweep of jazz compositions that included Lee Morgan’s “Ceora”, Dizzy Gillespie’s “A Night in Tunisia” and Ray Santos’ “Azulito.”
This recording is a compilation of songs chosen from each of these shows. The orchestra was obviously inspired by the experience of reconnecting with their extended family from the deep, deep south. Listen as they try to match the joy and energy of these special audiences. “We had no idea. The hall was vibrating with the intense energy of discovery,” Marsalis said. “We were finding each other, and this opportunity has forever changed our lives.” Orchestra members were all beside themselves talking about the quality of student musicians and the warmth and hospitality of the Cuban people. Please join us on this journey from Cuba to New York, through New Orleans and back again.
Sidemen
JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS
Wynton Marsalis (trumpet); Kenny Rampton (Trumpet); Ryan Kisor (Trumpet); Marcus Printup (Trumpet); Vincent Gardner (Trombone); Chris Crenshaw (Trombone); Elliot Mason (Trombone); Sherman Irby (Alto saxophone); Ted Nash (Alto and soprano saxophones, clarinet); Walter Blanding (Tenor and soprano saxophones, clarinet); Victor Goines (Tenor and soprano saxophones, Bb clarinet, bass clarinet); Joe Temperley (Baritone and soprano saxophones, bass clarinet); Dan Nimmer (Piano); Carlos Henriquez (Bass); Ali Jackson (Drums).
Bobby Carcassés (vocal on “Como Fue”)
Лог проверки качества
Disc 1
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -=== DO NOT EDIT THIS FILE! ===- Path: ...\CD 1 1 -=- 01. 2-3's Adventure.flac -=- CDDA (100%) 2 -=- 02. Baa Baa Black Sheep.flac -=- CDDA (100%) 3 -=- 03. Inaki's Decision (from Vitoria Suite).flac -=- CDDA (100%) 4 -=- 04. Sunset And The Mockingbird (from Queen's Suite).flac -=- CDDA (100%) 5 -=- 05. Como Fue (feat. Bobby Carcasses).flac -=- CDDA (100%) 6 -=- 06. Dali (from Portrait In Seven Shades).flac -=- CDDA (100%) 7 -=- 07. Light Blue.flac -=- CDDA (100%) 8 -=- 08. Braggin' In Brass.flac -=- CDDA (100%) Summary 100,00% CDDA 65924036
Disc 2
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -=== DO NOT EDIT THIS FILE! ===- Path: ...\CD 2 1 -=- 01. Limbo Jazz.flac -=- CDDA (100%) 2 -=- 02. Doin' (Y) Our Thing.flac -=- CDDA (100%) 3 -=- 03. I Left My Baby (feat. Chris Crenshaw).flac -=- CDDA (100%) 4 -=- 04. Bearden (The Block).flac -=- CDDA (100%) 5 -=- 05. Symphony In Riffs.flac -=- CDDA (100%) 6 -=- 06. Spring Yaounde.flac -=- CDDA (100%) 7 -=- 07. Things To Come.flac -=- CDDA (100%) 8 -=- 08. The Sanctified Blues (from Congo Square).flac -=- CDDA (100%) Summary 100,00% CDDA 177957076