(Post-Bop, Straight-Ahead) Adam Rogers - Дискография (5 альбомов) - Discography - 2002 - 2009, MP3, 320 kbps

Adam Rogers / Дискография (5 альбомов) - Discography Жанр: Post-Bop, Straight-Ahead Страна: U.S.A Год издания: 2002 - 2009 Аудиокодек: MP3 Тип рипа: tracks Битрейт аудио: 320 kbps Продолжительность: 5:14:29 Адам Роджерс (Adam Rogers) - Американский джазовый и классический гитарист. Свою сольную карьеру начал в 2002 году. Является участником Chris Potter Underground. Сотрудничал с Michael Brecker, Cassandra Wilson, Walter Becker, Norah Jones, John Patitucci, Paul Simon, John Zorn, Regina Carter и многими другими (более 150 записей). Он отличный исполнитель многих направлений музыки, но более известен своими работами в направлении современного джаза. Adam Rogers Official Site   2002 - Art Of The Invisible Продолжительность: 1:00:58 Битрейт: 320 kbps Треклист: 01 - Long Ago And Far Away 02 - Absalom 03 - Bobo 04 - The Aleph 05 - The Invisible 06 - Cathedral 07 - Book Of Sand 08 - In Broad Daylight 09 - The Unvanquished     Review ENG by David R. Adler After racking up an illustrious and highly diversified resumé as a sideman, guitarist Adam Rogers stepped out as a leader with the long-awaited Art of the Invisible on the Criss Cross label. Joined by pianist Edward Simon, bassist Scott Colley, and drummer Clarence Penn, Rogers displays staggering straight-ahead jazz chops and a sophisticated compositional voice. His program runs the gamut from standards and blues ("Long Ago and Far Away," "Bobo") to free ("The Aleph"). Other highlights include the deft arpeggiated lines of "The Invisible" and "Book of Sand," the blistering minor blues of "In Broad Daylight," the flowing lyricism of "Absalom," and the dark-hued balladry of "Cathedral" and "The Unvanquished." In addition to his clean, sturdy tone and stunning technical facility on electric (he brings Metheny to mind at times), Rogers plays sumptuously on both nylon- and steel-string acoustic instruments during the course of the record. Fans of modern jazz guitar, and highly refined jazz composition in general, should watch this player closely. (c) allmusic.com     2003 - Allegory Продолжительность: 1:12:16 Битрейт: 320 kbps Треклист: 01 - Confluence 02 - Phyrigia 03 - Was 04 - Genghis 05 - Angle Of Repose 06 - Orpheus 07 - Red Leaves 08 - Cleveland 09 - Purpose 10 - Angle Of Repose - Reprise     Review ENG by Rick Anderson There aren't that many guitarists who can claim to have played alongside both John Zorn and Norah Jones. But Adam Rogers, whose credits also include stints with Regina Carter, Elvis Costello, the Mingus Orchestra, and Simon Shaheen, and who was co-leader of the respected fusion band Lost Tribe, is nothing if not broad minded. The nice thing is that in his work as a leader he lets his wide range of experiences influence his playing without feeling the need to showcase all of them individually; instead, he plays in a generally quite straight-ahead style, with a unique combination of a warm, intimate tone and a sometimes aggressive attack. His compositions are highly sophisticated -- occasionally maybe just a bit too much so. On one or two numbers on Allegory it becomes a chore to try to follow the chord progressions, though Rogers' playing and that of saxophonist Chris Potter are incisive and interesting enough to make it worth the effort. But in most cases, Rogers' sharp musical intelligence works very much in the music's favor -- note in particular the thrilling rhythmic intricacy of "Was," and the blindingly quick guitar obbligatos that he layers subtly in the background. On "Red Leaves" he displays admirable classical guitar technique, and the slightly beboppish "Purpose" brings the body of the program to an exciting close. Recommended. (c) allmusic.com     2005 - Apparitions Продолжительность: 1:00:18 Битрейт: 320 kbps Треклист: 01 - Labyrinth 02 - Tyranny Of Fixed Numbers 03 - Persephone 04 - Continuance 05 - The Maya 06 - Appartitions 07 - Amphora 08 - Moment In Time     Review ENG by Ken Dryden Adam Rogers' third Criss Cross CD as a leader focuses exclusively on his challenging original works. Joining the guitarist are four superb musicians: tenor saxophonist Chris Potter, pianist Edward Simon, bassist Scott Colley, and drummer Clarence Penn. The many twists within the opener, "Labyrinth," are finessed with ease by the group, while Rogers adds a bit of distortion to his instrument for the intense "Tyranny of Fixed Numbers." The extended workout of "The Maya" is built upon an ostinato bass pattern, with Rogers and Potter playing in unison until the piece opens up and the bassist's role is freed; then the leader works his magic with an inventive solo. "Apparitions" is truly a haunting melody as Rogers and Potter introduce the theme, with Penn gradually adding background percussion. The finale, "Moment in Time," is an intriguing low-key ballad, omitting the piano and tenor sax, while Colley (a veteran of guitarist Jim Hall's trio) responds to the stripped-down setting with some of his best work of the session. Highly recommended. (c) allmusic.com     2007 - Time And The Infinite Продолжительность: 59:07 Битрейт: 320 kbps Треклист: 01 - Night And Day 02 - Elegy 03 - Time And The Infinite 04 - Young And Foolish 05 - Cheryl 06 - Esteban 07 - Without A Song 08 - Ides Of March 09 - I Loves You, Porgy     Review ENG by Karla Cornejo Villavicencio Too often, liner notes have about the objectiveness of a recommendation letter written by a mother on behalf of her child. It's possible that good qualities are exalted, but it's just as likely that strengths are exaggerated and comparisons with the genre's greats are too easily made. Guitarist Adam Rogers ' latest recording is a notable exception. The effusive praise is merited, and any declarations are fully supported by the tight arrangements and intoxicating melodies. "Young and Foolish" is described as achieving "effortless lyricism that exemplifies a 'profound simplicity.'" Nothing could be truer. The "I Loves You, Porgy" description name-drops Miles and Gil Evans , but only as a genealogical backdrop of sorts. Rogers, bassist Scott Colley and drummer Bill Stewart make this song their own in a refreshing, entirely honest way; it's a straightforward composition that is executed respectfully and unpretentiously, Rogers' sharp but mellifluous notes contoured by strong bass. The most compelling track, however, is "Esteban," inspired by Gabriel Garcia Marquez' short story "The Handsomest Drowned Man in the World," whose protagonist is named Esteban by enchanted villagers in a remote town in Colombia. The track sounds like the story feels, and the five minutes are packed with a regional sound that feels genuine and exotic, largely due to Rogers' emotional and versatile guitar playing. "Esteban" is followed by "Without a Song," a slinky, lighthearted track that delivers a brisk effect by way of Stewart's steady drumming. The liners quote Rogers as commenting that "even after years of playing, there is still so much mystery in this art, which can be wonderful, surprising, sometimes confusing, but rarely uninteresting." The same can be said for Time and the Infinite, and there is no trace of embellishment in that conclusion. (c) allaboutjazz.com     2009 - Sight Продолжительность: 1:01:50 Битрейт: 320 kbps Треклист: 01 - Sight 02 - I Hear A Rhapsody 03 - Kaleidoscope 04 - Yesterdays 05 - Memory's Translucence 06 - Let's Cool One 07 - Hourglass 08 - The Moontrane 09 - Beautiful Love 10 - Dexterity     Review ENG by Ken Dryden Adam Rogers is one of many top-drawer American jazz guitarists who has had more opportunities to record for European labels, with this being his fifth release for the Dutch label Criss Cross. With bassist John Patitucci and drummer Clarence Penn, Rogers plays a compelling mix of freshly interpreted originals and well-known jazz compositions, in addition to his potent originals. The trio takes "I Hear a Rhapsody" into new territory with their intricate improvising, while the unusual rhythmic nature of his scoring of "Yesterdays" teases the listener with its sudden changes in tempo. The jaunty Thelonious Monk piece "Let's Cool One" debuted on a rare date when Rogers was a sideman with Clark Terry, though Rogers' tasty arrangement was inspired by Steve Lacy's meeting with Don Cherry. The leader's subtle workout of Charlie Parker's "Dexterity" is a welcome change from racehorse performances adapted by many of the saxophonist's followers. In one of his originals, Rogers adds a surprise, he overdubs a bit of piano in the finale to "Sight," a dramatic post-bop vehicle with a bit of a Spanish tinge. "Memory's Translucence" is the most unusual track, inspired by Ornette Coleman and Ronald Shannon Jackson; it starts in a melodic manner but detours into free jazz territory. This is another excellent outing by Adam Rogers, a talent deserving of greater recognition in his homeland. (c) allmusic.com     Мои раздачи Bill Evans (Saxophone) mp3 Collection Pat Martino mp3 Collection Kurt Rosenwinkel mp3 Discography Не забываем говорить "СПАСИБО"