64877 KB / 192 kbps
Temas:
1. So What (9:43)
2. Freddie Freeloader (10:29)
3. Blue in Green (8:10)
4. All Blues (8:17)
5. Flamenco Sketches (9:51)
6. Petits Machins (7:40)
All arrangements by Conrad Herwig & Brian Lynch
Músicos:
Conrad Herwig—Trombone
Brian Lynch—Trumpet
Mario Rivera—Baritone Saxophone
Paquito D'Rivera—Alto Saxophone, Clarinet
Dave Valentin—Flute
Edsel Gomez—Piano
John Benitez—Bass
Robby Ameen—Drums
Richie Flores—Congas, Percussion
Artists Note:
With Another Kind of Blue: The Latin Side of Miles Davis, our objective was to reinvent Miles' seminal work within the framework of Afro-Cuban and Afro-Caribbean rhythms. To that end, we tackled each tune with a specific approach in mind:
"So What" is rendered in Afro-Cuban 6/8 times with the original introduction by Bill Evans and Paul Chambers voiced for our horns.
"Freddie Freeloader" became a jazz songo, with Miles' solo, transcribed, serving as a point of departure for the group's improvisations.
"Blue in Green" is performed as a bolero, though it retains the subtle character of Miles' original.
"All Blues", played here, in its original 4/4 meter, is a boogaloo-cha.
Flamenco Sketches", artfully arranged by my friend and compatriot Brian Lynch, gained new life as a guaguanco.
The discographical diehards among you will know that "Petit Machins" is not from Kind of Blue, but from another Miles masterwork, "Filles De Kilimanjaro". It's included here as a bonus track.
My thanks extend to all of the musicians involved in this project, especially guest Paquito D'Rivera, who throughout this week-long engagement, proved himself a virtuoso performer (as well as an all-time great friend). Gracias Jefe! Likewise, Dave Valentin, who came in and blew the house down with his showmanship and effervescence.
To my family, Maria, Glenn, and Mark Herwig, I give a big hug and lots of love for their patience and support. Big thanks, too, go to Jeff Levenson, Steven Bensusan, and everyone at the Blue Note, NYC. Que Viva Miles Davis!
Conrad Herwig, December 2003
———————————————
Producer's Note:
It's a mark of greatness, the ability to inspire. That's why Miles, whose career was built on inspirational touchstones, continues to tug on musicians and creative thinkers.
When Conrad mentioned this project to me, an idea that had been incubating since the afterglow of his Latin Side of John Coltrane (Astor Place) in 1996, it seemed both obvious and inevitable: Miles, done Latin-style. Who better to bow before than a jazz deity with a history of hyphenating his music in the service of cultural adaption?
Miles's restless personality, exerting a lunar pull on the planet's tides of art, is still felt, to be sure, and ought to be measured as one does other forces of nature — through the shifts and alterations transforming the landscape. That we're led to redraw the boundaries of our own imagination only attests to his power.
That's why Conrad's desire to take on these timeless compositions aligns perfectly with Miles's spirit. Reimagine the world and it becomes yours. Sounds hip. Much like this music. Enjoy it.
Jeff Levenson, December 2003
Produced by Jeff Levenson
Executive Producer: Steven Bensusan
Recorded by Aura Sonic Ltd., Live at the Blue Note, New York, March 6-8, 2003
Engineered by Steve Remote (March 7-8) and Duke Marcos (March 6)
Assisted by Jon D'Uva, Andy Bigan, and Mark Tomase
Mixed by Steve Remote
Pro-Tools Engineer: Jon D'Uva
Mastered by Greg Calbi, Sterling Sound
Photography by Dino Perucci
Art Direction and Package Design by Molly Gobel
Biografía:
New York jazz trombonist Conrad Herwig has recorded 17 albums as a leader. His new CD releases are “Sketches of Spain y Mas” and “Another Kind of Blue-The Latin Side of Miles Davis” on Half Note Records, which was nominated for a 2005 Grammy Award. These are the follow-up projects to the 1998 Grammy- nominated CD, “The Latin Side of John Coltrane”. These exciting new projects were both recorded live at the Blue Note Jazz Club in New York City and feature special guests Paquito D’Rivera,Dave Valentin and Brian Lynch (co-musical director of the group).
His most recent solo recordings on the CrissCross label are “Obligation”, “Land of Shadow”, “Hieroglyphica”, “Unseen Universe”, “Osteology”, and “Heart of Darkness” which received 4 and 1/2 stars in DownBeat Magazine. He has also been voted #1 Jazz Trombonist (TDWR) in the 2002 Downbeat Jazz Critic’s Poll.
In constant demand as a sideman, Herwig has been a featured member in the Joe Henderson Sextet, Tom Harrell’s Septet and Big Band, and the Joe Lovano Nonet (featured as a soloist on Lovano’s Grammy Award winning “52nd St Themes"). Conrad also performs and records with Eddie Palmieri’s “La Perfecta II” and Afro-Caribbean Jazz Octet, Paquito D’Rivera’s Havana-New York Connection, the Mingus Big Band (often serving as musical director, and arranger on the new 2007 Grammy nominated-"Live at the Tokyo Blue Note"), and the Carnegie Hall Jazz Band (Jon Faddis, musical director) among many others.
Mr. Herwig is an alumnus of North Texas State University in Denton, Texas(where he performed in the One O’Clock Jazz Lab Band), Goddard College in Plainfield, VT , (Bachelor of Arts in Afro-Caribbean ethnomusicology), and Queens College,CUNY, (Master of Arts, Jazz Studies). Conrad has conducted masterclasses, seminars, and workshops at major universities and conservatories around the world including the Sibelius Academy, Finland; the Royal Irish Academy, Dublin; the University of Koln, Germany; Eastman School of Music, Rochester, NY; the University of Southern California and literally hundreds of others.
Herwig is a recipient of performance and teaching grants from the National Endowment for the Arts. He is currently Professor of Jazz Trombone, Jazz Improvisation, and Jazz Comp/Arr at Rutgers,The State University of New Jersey. Conrad was elected to the Board of Advisors of the International Trombone Association for a second time in 2006.
One of the most in-demand jazz educators, Conrad Herwig is a Conn-Selmer clinician and performs exclusively on Bach Stradivarius trombones.
Rumbéatelo:
With Another Kind of Blue: The Latin Side of Miles Davis, our objective was to reinvent Miles' seminal work within the framework of Afro-Cuban and Afro-Caribbean rhythms. To that end, we tackled each tune with a specific approach in mind:
"So What" is rendered in Afro-Cuban 6/8 times with the original introduction by Bill Evans and Paul Chambers voiced for our horns.
"Freddie Freeloader" became a jazz songo, with Miles' solo, transcribed, serving as a point of departure for the group's improvisations.
"Blue in Green" is performed as a bolero, though it retains the subtle character of Miles' original.
"All Blues", played here, in its original 4/4 meter, is a boogaloo-cha.
Flamenco Sketches", artfully arranged by my friend and compatriot Brian Lynch, gained new life as a guaguanco.
The discographical diehards among you will know that "Petit Machins" is not from Kind of Blue, but from another Miles masterwork, "Filles De Kilimanjaro". It's included here as a bonus track.
My thanks extend to all of the musicians involved in this project, especially guest Paquito D'Rivera, who throughout this week-long engagement, proved himself a virtuoso performer (as well as an all-time great friend). Gracias Jefe! Likewise, Dave Valentin, who came in and blew the house down with his showmanship and effervescence.
To my family, Maria, Glenn, and Mark Herwig, I give a big hug and lots of love for their patience and support. Big thanks, too, go to Jeff Levenson, Steven Bensusan, and everyone at the Blue Note, NYC. Que Viva Miles Davis!
Conrad Herwig, December 2003
———————————————
Producer's Note:
It's a mark of greatness, the ability to inspire. That's why Miles, whose career was built on inspirational touchstones, continues to tug on musicians and creative thinkers.
When Conrad mentioned this project to me, an idea that had been incubating since the afterglow of his Latin Side of John Coltrane (Astor Place) in 1996, it seemed both obvious and inevitable: Miles, done Latin-style. Who better to bow before than a jazz deity with a history of hyphenating his music in the service of cultural adaption?
Miles's restless personality, exerting a lunar pull on the planet's tides of art, is still felt, to be sure, and ought to be measured as one does other forces of nature — through the shifts and alterations transforming the landscape. That we're led to redraw the boundaries of our own imagination only attests to his power.
That's why Conrad's desire to take on these timeless compositions aligns perfectly with Miles's spirit. Reimagine the world and it becomes yours. Sounds hip. Much like this music. Enjoy it.
Jeff Levenson, December 2003
Produced by Jeff Levenson
Executive Producer: Steven Bensusan
Recorded by Aura Sonic Ltd., Live at the Blue Note, New York, March 6-8, 2003
Engineered by Steve Remote (March 7-8) and Duke Marcos (March 6)
Assisted by Jon D'Uva, Andy Bigan, and Mark Tomase
Mixed by Steve Remote
Pro-Tools Engineer: Jon D'Uva
Mastered by Greg Calbi, Sterling Sound
Photography by Dino Perucci
Art Direction and Package Design by Molly Gobel
Biografía:
New York jazz trombonist Conrad Herwig has recorded 17 albums as a leader. His new CD releases are “Sketches of Spain y Mas” and “Another Kind of Blue-The Latin Side of Miles Davis” on Half Note Records, which was nominated for a 2005 Grammy Award. These are the follow-up projects to the 1998 Grammy- nominated CD, “The Latin Side of John Coltrane”. These exciting new projects were both recorded live at the Blue Note Jazz Club in New York City and feature special guests Paquito D’Rivera,Dave Valentin and Brian Lynch (co-musical director of the group).
His most recent solo recordings on the CrissCross label are “Obligation”, “Land of Shadow”, “Hieroglyphica”, “Unseen Universe”, “Osteology”, and “Heart of Darkness” which received 4 and 1/2 stars in DownBeat Magazine. He has also been voted #1 Jazz Trombonist (TDWR) in the 2002 Downbeat Jazz Critic’s Poll.
In constant demand as a sideman, Herwig has been a featured member in the Joe Henderson Sextet, Tom Harrell’s Septet and Big Band, and the Joe Lovano Nonet (featured as a soloist on Lovano’s Grammy Award winning “52nd St Themes"). Conrad also performs and records with Eddie Palmieri’s “La Perfecta II” and Afro-Caribbean Jazz Octet, Paquito D’Rivera’s Havana-New York Connection, the Mingus Big Band (often serving as musical director, and arranger on the new 2007 Grammy nominated-"Live at the Tokyo Blue Note"), and the Carnegie Hall Jazz Band (Jon Faddis, musical director) among many others.
Mr. Herwig is an alumnus of North Texas State University in Denton, Texas(where he performed in the One O’Clock Jazz Lab Band), Goddard College in Plainfield, VT , (Bachelor of Arts in Afro-Caribbean ethnomusicology), and Queens College,CUNY, (Master of Arts, Jazz Studies). Conrad has conducted masterclasses, seminars, and workshops at major universities and conservatories around the world including the Sibelius Academy, Finland; the Royal Irish Academy, Dublin; the University of Koln, Germany; Eastman School of Music, Rochester, NY; the University of Southern California and literally hundreds of others.
Herwig is a recipient of performance and teaching grants from the National Endowment for the Arts. He is currently Professor of Jazz Trombone, Jazz Improvisation, and Jazz Comp/Arr at Rutgers,The State University of New Jersey. Conrad was elected to the Board of Advisors of the International Trombone Association for a second time in 2006.
One of the most in-demand jazz educators, Conrad Herwig is a Conn-Selmer clinician and performs exclusively on Bach Stradivarius trombones.
Rumbéatelo:
3 comentarios:
Thanks a million for this!
Gracias a ti, estamos a la orden, hasta que no me bloqueen este blog, el único objetivo es difundir la música de los artistas, sin la finalidad de piratearlos al por mayor, no es con propósito comercial.
Muchas gracias. Miles en versión latina... ufff, qué interesante se oye.
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