Tag: Miles Davis Kind of Blue

Throwback: RIP Jimmy Cobb

Growing up, jazz was a formative part of my childhood. John Coltrane was God and Miles Davis was Jesus. Hallowed be thy names! Hallelujah and amen, forever and ever!  

Copious amounts of ink — both real and virtual — have been spilled writing about Miles Davis’ Kind of Blue, the recording sessions that birthed it and the musicians, who recorded it, which included John Coltrane (tenor sax), Julian “Cannonball” Adderley, Bill Evans (piano), Wynton Kelly(piano), Paul Chambers (bass), Jimmy Cobb (drums) and of course, Miles Davis (trumpet). Personally, Kind of Blue is a quintessential New York album: if you ever get a chance, play the album while walking down a lengthy stretch of Fifth Avenue on a drizzly Spring afternoon. Trust me, it works. 

I was heartbroken to hear that Jimmy Cobb, the last living link to Kind of Blue died yesterday and I wanted to pay a tribute to Cobb and the rest of the legendary musicians, who recorded such a gorgeous and meaningful album. I stumbled across this rare bit of live footage of Miles and the crew performing Kind of Blue album track “So What?” live. Check it out.  And if you’re somehow unfamiliar with the album, go to Spotify and spend an afternoon with it. 

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New Video: Joan Pérez-Villegas Releases a Gorgeous and Whimsical Composition from Debut Album

Joan Pérez-Villeagas is a Mallorca, Spain-born, Bern, Switzerland-based percussionist, composer, bandleader and producer, who began studying percussion at the Conservatory of Music and Dance in Palma when he was eight. When he turned 19, he relocated to Barcelona, where he wound up earning a Bachelor’s in Classical and Contemporary Percussion at ESMUC — and while in Barcelona, he developed a deep interest in jazz and traditional music that led him to earn his Masters in Jazz Composition under the tutelage of Lluís Vidal.

So far, the Spanish-born, Swiss-based percussionist, composer, bandleader and producer’s career has led him to a diverse array of projects across an eclectic and diverse range of styles and genres including chamber music, classical symphonies, pop, traditional music, jazz and scores for dance, theater and film. And during that same period, he’s managed to be rather busy: he’s studied with the Balearic Symphony Orchestra, been a guest artist at Stellenbosch International Chamber Music Festival (SICMF) 2016 in South Africa and at Festival Cistermusica 2016 in Portugal with his percussion duo Face two Phase, with which he won first prize at the fourth annual International Chamber Music Competition Cidade Alcobaça (CIMCA) in Portugal.

Blau Salvatge, the Pérez-Villegas and Marc Urrutia co-produced album is the Spanish-born, Swiss-based artist’s full-length debut as a composer and bandleader. The album, which was recorded over the course of two days with Alberto Pérez at Barcelona’s Sol de Sants Studio and collection of friends and fellow students including Pau Lligadas (bass), Josep Cordobés (drums), Ariadna Rodríguez (violin), Pau Vidal (flute), Toni Pineño (clarinet), Joan Mar Sauqué (trumpet), Max Salgado (French horn), Leire Corpas (guitar)  and of course, Pérez-Villegas (marimba and vibraphone) at Barcelona’s Sol de Sants Studio features six kaleidoscopic compositions that manage to be individually distinct and focused on a different compositional process while part of a larger, cohesive whole centered around some unconventional arrangements. 

The album’s first single “Vaivè” sets up the overall tone and sound of the forthcoming album: Featuring  a cinematic and mind-bending arrangement of French horn, baritone clarinet (a rarity for most contemporary jazz), trumpet, flute, bass, drums and vibraphone, the composition finds this remarkably soulful and thoughtful collection of young musicians darting, weaving, bopping and strutting through several different styles    and tempos including Birth of the Cool and Kind of Blue-era Miles Davis, Horace Silver, breezy Brazilian jazz, Spanish folk music and film and TV scores — while evoking contemplation, awe, wonder and childlike whimsy. 

Shot by Àngel Pérez, the recently released and intimately shot video captures the young Spanish-born, Swiss-based percussionist, composer, bandleader and producer with his cast of collaborators in the studio as they recorded the composition. 

Now, if you’ve been frequenting this site over the course of the last year or so, you’ve likely come across a reference to Maurice “Mobetta” Brown, a highly acclaimed, Chicago, IL-born, Brooklyn-based classically trained trumpeter, who has been mentored by Wynton Marsalis and Ramsey Lewis, and has collaborated with an incredibly diverse array of renowned artists including Santigold, Ski Beatz, John Legend, Talib Kweli, Cee-Lo Green, Sean “Puff Daddy” Combs, Musiq Soulchild, Tedeschi Trucks Band (with whom he won a Grammy in 2012 for Best Blues Album), Wyclef Jean, Santana and a growing list of other equally impressive artists. And although he may be classically trained, as a solo artist and bandleader, Brown’s work draws from contemporary hip-hop, funk, neo-soul while nodding at jazz’s classical tradition — namely the work of Louis Armstong, as Brown will freely rhyme and sing during his compositions, essentially pushing the sound of contemporary jazz towards new directions without forgetting its origins.

The Mood is Brown’s latest album of original compositions and the album’s second and latest single, album title track “The Mood” is a swaggering composition that manages to draw from contemporary soul, smooth jazz, Miles Davis’ famous modal compositions — in particular, Kind of Blue, Davis’ jazz fusion period and hip-hop in a seamless and funky composition that allows enough room for each musician to strut, show their stuff and expand upon the composition’s smooth flowing melody. And if the one that that’s certain, Brown will cement himself as arguably one of contemporary jazz’s most exciting and ambitious composers and artists with an imitable sound and approach.