Christian instrumental cd in Jazz Instrumental Music

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Rewind That [2/26]

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"Rewind That" (03/28/2006) Jazz General Scott, Christian (Jazz), ConcordPersonnel: Christian Scott (trumpet); Christian Scott ; Donald Harrison (alto saxophone); Walter Smith III (tenor saxophone); Zaccai Curtis (Fender Rhodes piano, Wurlitzer organ); Zaccai Curtis (Fender Rhodes piano); Luques Curtis (acoustic bass); Matt Stevens (guitar); Thomas Pridgen (drums). Audio Mixer: Ron Davis. Recording information: Fantasy Studios, Berkeley, CA (02/09/2005-02/11/2005). The young New Orleans trumpeter Christian Scott combines jazz and hip-hop to smoothly sophisticated effect on this sophomore, Grammy-nominated 2006 set. His accomplished solos are underpinned by a supple, sympathetic band that conveys late-1960s Miles Davis in its determinedly after-hours feel. The smooth jazz tendencies hinted at on "So What" are undercut by the spare colorations of the title track and the tense undertones of "Suicide," while on "Paradise Found," Scott and ensemble show that they're also capable of a finely understated lyricism.

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"The Quintessence: New York to Los Angeles 1939-1941" (07/30/2002) Jazz Instrument Christian, Charlie, FremeauxThis French double-disc, 32-track anthology by Fremeaux & Associates is a decent, even solid collection of material of Charlie Christian's early recording years with the Benny Goodman band, in a number of studios all across the United States. Some of the track selections are curious, and considering the nine-volume retrospective on the Masters of Jazz imprint, this is but a mere drop in the bucket. Nonetheless, there are still plenty -- plenty -- of novices out there who are still discovering Christian some eight decades after he impacted music forever with his playing and had such a profound effect on jazz. So these sides, all of them showcasing him in the company of some prominent soloists, including Count Basie and Lester Young, offer plenty of proof that the genius was real. The notes are just OK, but the sound is terrific considering the source material. The only truly confounding thing here is the inclusion of four takes on disc two of "Benny's Bugle," all strung together as one long jam. ~ Thom Jurek

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"After Hours" (05/09/2000) Jazz Instrument Christian, Charlie, Original Jazz Classics/Dizzy Gillespie. Personnel includes: Charlie Christian (guitar); Dizzy Gillespie (trumpet); Rudy Williams (alto saxophone); Don Byas, Kermit Scott (tenor saxophone); Joe Guy, Hot Lips Page, Victor Coulson (trumpet); Thelonious Monk, Al Tinney, Ken Kersey (piano); Nick Fenton, Ed Paul (bass); Kenny Clarke, Tom Miller (drums). Recorded live at Minton's Playhouse and Clark Monroe's Uptown House, New York, New York in May 1941. Originally released on Esoteric (548). Includes liner notes by Leonard Feather. Digitally remastered by Kirk Felton (2000, Fantasy Studios, Berkeley, California). Personnel: Charlie Christian (guitar); Rudy Williams (alto saxophone); Don Byas, Kermit Scott (tenor saxophone); Dizzy Gillespie, Hot Lips Page, Joe Guy (trumpet); Al Tinney, Thelonious Monk (piano); Kenny Clarke, Tom Miller (drums). Audio Remasterer: Kirk Felton. Liner Note Author: Leonard Feather. Recording information: Clark Monroe's Uptown House, New York, NY (05/06/1941-05/12/1947); Minton's Playhouse, New York, NY (05/06/1941-05/12/1947). AFTER HOURS is an excellent live document of the early roots of bebop, capturing this exciting music in the process of being built by its pioneering architects. Recorded live in New York City at jam sessions at Minton's Playhouse and Monroe's Uptown House in 1941, these tapes feature young modernists Charlie Christian, Dizzy Gillespie, Thelonious Monk, Kenny Clarke, and Don Byas as they pushed the structural materials of swing toward something new and intense. Beyond the historical significance of these sessions, however, the music is simply fabulous. There are revisions of "Stardust" and "Stompin' at the Savoy, " but the tunes are mainly blues-based improvisations, with plenty of syncopated play and stretched-out soloing from all involved. Christian's guitar takes center stage--his fluid, fleet-fingered style and mellow amplified tone have become such a stock part of jazz guitar, it is hard to remember that he almost single-handedly wrote the book. Though Gillespie gets double-billing on this set, he only appears on four of the nine tunes, but one can hear early hints of the advanced technical style that would explode in his work with Charlie Parker in the later '40s. This music is truly classic.

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Live At Tonic [5/2] *

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"Live at Tonic" (05/02/2006) Jazz General McBride, Christian, Ropeadope Records (USA)Personnel: Christian McBride (acoustic guitar, electric guitar, acoustic bass, electric bass); Christian McBride (bass instrument); Jenny Scheinman (violin); Rahsaan Patterson (trumpet); Geoff Keezer, Jason Moran (piano, keyboards); Terreon Gully (drums); Scratch (background vocals); Eric Krasno, Charlie Hunter (guitar); DJ Logic (turntables). Audio Mixer: Jeffrey Chestek. Recording information: Tonic, New York, NY. Photographer: Michael Didonna. One of the leading jazz bassists of the 1990s and 2000s, Christian McBride is known for his formidable technique, his infallible chemistry with other players, and his restless sense of experimentation. The three-disc set LIVE AT TONIC is an impressive demonstration of these qualities. Recorded over two nights at New York City's avant music nightclub Tonic, LIVE finds McBride playing with a killer backing band and being joined by some of the hottest musicians on the scene, including pianist Jason Moran, guitarist Charlie Hunter, and turntablist DJ Logic. This is a hefty dose of compelling, joyful contemporary jazz.

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"More Encores: Christian Marclay Plays With the Records Of..." (05/18/2004) Jazz Instrument Marclay, Christian, ReRAudio Mixer: Christian Marclay. Recording information: Harmonic Ranch (01/1987-05/1988); Horvitz Studio (01/1987-05/1988); King St. Studio (01/1987-05/1988); Noise NY (01/1987-05/1988). Christian Marclay may be the unwitting inventor of turntablism. This disc is a stellar example of why. The music here is by such unlikely compatriots as Johann Strauss, John Zorn, John Cage, Serge Gainsbourg and Jane Birkin, Ferrante and Teicher, Louis Armstrong, Martin Denny, Maria Callas, Jimi Hendrix, and Frederic Chopin. Basically, Marclay terrorizes the listener with his turntable manipulations of music by these artists. Each of the pieces here is dedicated to an artist whose records were used to create it. In the case of the Cage composition, Marclay cut slices from several records and pasted them back together on a single disc. On everything else the records were mixed together via several turntables simultaneously, then recorded and overdubbed in analogue. So what does it sound like? It's a mess, pure and simple. But in many cases, it's a compelling mess. The Cage piece is one example where the deep cracks in the records are audible as pieces of music from "Works for Prepared Piano," the string quartets and "Atlas Eclipticalis," among others, were used. The Chopin piece is like mad circus music, careening like an organ grinder's monkey got hold of the instrument. The Louis Armstrong track was recorded using a hand-crank gramophone and therefore its non-sampled charm is everywhere present. Also, the Gainsbourg/Birkin track in some ways tracks better than their own songs. Ultimately, though, all the speed changes become irritating throughout. Given that this was the ultimate use of a turntable back in 1988, and was a different take on sampling, it's an interesting disc. [Originally issued as a 10" vinyl record, More Encores was reissued on CD by Chris Cutler's Recommended label in 1996.] ~ Thom Jurek

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"Records 1981-1989" (09/23/1997) Jazz Instrument Marclay, Christian, Atavistic RecordsRecords 1981-1989 is a fascinating collection of Marclay's work during the 1980s, the results of hours of home recordings -- using up to eight turntables and various other instruments of his own making -- plus many live performances (one track comes from a nationally televised appearance on the David Sanborn/Hal Willner program Night Music). Marclay did much more than just scratching and sampling for these tracks -- "One Thousand Cycles" uses an increasing variety of repeated samples and clicks to create a complex rhythm of its own, while "Pandora's Box" varies the speed on its array of plunderphonics. (Though the latter sounds like an easy contemporary of late-'90s major-label turntablist LPs, it was originally released on a 1984 avant-indie compilation from Sweden that also featured Sonic Youth and Live Skull.) ~ John Bush

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"The Original Guitar Hero" (09/24/2002) Jazz Instrument Christian, Charlie, Legacy RecordingsThis is a selection from the 4-CD box THE GENIUS OF THE ELECTRIC GUITAR. Personnel: Charlie Christian (guitar); George Auld (tenor saxophone); Cootie Williams (trumpet); Benny Goodman (clarinet); Lionel Hampton (vibraphone); Count Basie, Fletcher Henderson, Johnny Guarnieri, Dudley Brooks (piano); Artie Bernstein (bass); Nick Fatool, Jo Jones, Harry Jaeger (drums). Producer: John Hammond. Compilation producers: Michael Brooks, Michael Cuscuna. Recorded in 1939-1940. Includes liner notes by Les Paul and Brad Tolinski. All tracks have been digitally remastered. Personnel: Charlie Christian (electric guitar); Benny Goodman (clarinet); Georgie Auld (tenor saxophone); Cootie Williams (trumpet); Count Basie, Dudley Brooks, Fletcher Henderson, Johnny Guarnieri (piano); Lionel Hampton (vibraphone); Harry Jaeger, Jo Jones , Nick Fatool (drums). Liner Note Authors: Derek Trucks; Duke Robillard; Brad Tolinski; Herb Ellis; Jimmie Vaughan; Joe Satriani; Les Paul; Russell Malone; Tal Farlow; B.B. King; Vernon Reid; Barney Kessel; Walter Becker; Warren Haynes; Bill Frisell; John Scofield; Brian Setzer. Recording information: Word Studios, NY (10/02/1939-11/07/1940). This eight-track sampler from Columbia's The Genius of the Electric Guitar box set is a fairly ill-advised promotional gimmick that offers a slice of the box to people who may be unsure of its overall worth. It is far from a definitive sampler, though, and as such is a waste of money, because those who are convinced to buy the box will have paid an extra ten bucks, while those who decide that the sampler stands on its own will be deprived of many of Christian's essential performances. If you're a big Christian fan, buy the box; otherwise, the original (and still-available) Genius of the Electric Guitar is still the best way to go. ~ Jim Smith This eight-track sampler from Columbia's The Genius of the Electric Guitar box set offers a slice of the box to people who may be unsure of its overall worth. It is far from a definitive sampler, though. If you're a big Christian fan, buy the box; otherwise, the original (and still-available) Genius of the Electric Guitar is still the best way to go. ~ Jim Smith

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"Front Line" (11/19/1996) Jazz Instrument Christian, Jodie, DelmarkPersonnel includes: Jodie Christian (piano); Norris Turney (alto saxophone); Eddie Johnson (tenor saxophone); Sonny Cohn (trumpet). Personnel: Jodie Christian (piano); Francine Griffin (vocals); Norris Turney (alto saxophone); Eddie Johnson (tenor saxophone); Sonny Cohn (trumpet); Ernie Adams, Gerryck King (drums). Recording information: Riverside Studios, Chicago, IL (01/08/1996/01/09/1996). Photographer: Todd Winters. If a city has any type of jazz scene, it has some improvisers who enjoy local hero status -- people who are highly regarded locally but not well-known elsewhere. Local jazz heroes can be found in places that range from Copenhagen to Seattle to Rio de Janeiro; they can be tenor saxophonists like Philadelphia's Bootsie Barnes, singers like Boston's Paul Broadnax, or pianists like Chicago's Jodie Christian. If someone is unfamiliar with Christian, it doesn't necessarily mean that he/she doesn't know jazz -- but it does indicate that he/she hasn't spent much time checking out Chicago's jazz scene. Thankfully, the Chicago-based Delmark Records gave Christian a chance to do some recording in the 1990s, and 1996's Front Line was his third Delmark album. Produced by label owner Bob Koester, this CD finds the artist leading a hard-swinging group of Chicagoans that includes Norris Turney on alto sax, Eddie Johnson on tenor sax, John Whitfield on bass, and Ernie Adams or Gerryck King on drums. Francine Griffin, a likable but obscure singer, joins the sextet on Duke Ellington's "Don't Get Around Much Anymore." But all of the other material is instrumental, and that includes a few Christian originals as well as solid performances of Wayne Shorter's "Lester Left Town" and Miles Davis' "All Blues." Turney was heavily influenced by Johnny Hodges and spent some time as lead alto sax in the Ellington big band, which explains why standards from the Ellington/Strayhorn songbook are a high priority. In addition to "Don't Get Around Much Anymore," Christian puts his spin on "Mood Indigo," "Chelsea Bridge," and "In a Mellow Tone." Outside of the Windy City, Christian isn't nearly as well known as he deserves to be, but that doesn't make Front Line any less appealing. ~ Alex Henderson

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"The Immortal Charlie Christian [Columbia]" (09/30/1992) Jazz Instrument Christian, Charlie, Legacy RecordingsPersonnel: Charlie Christian (guitar); Don Byas (tenor saxophone); Dizzy Gillespie, Joe Guy (trumpet); Thelonious Monk, Kenny Kersey (piano); Nixk Finton (bass); Kenny Clarke (drums). Recorded live at Minton's, New York, New York in May 1941. Personnel: Charlie Christian (guitar); Don Byas (tenor saxophone); Dizzy Gillespie, Joe Guy (trumpet); Ken Kersey, Thelonious Monk (piano); Kenny Clarke (drums). Liner Note Author: Leonard Feather. Recording information: Minton's in Harlem (05/1941). Aside from the name being misspelled on front and back cover, guitarist Charlie (not Charley) Christian was at the forefront of the bebop revolution. These ten tracks show why, and also gives rise to the notion of Christian being the first to wield an amplified electric guitar. The CD has a nice range of bop classics, three written by co-conspirator Dizzy Gillespie, two originals of Christian's, a lone standard, and a tribute to Jack Kerouac. This collection represents not only a smidgen of what Christian did before his career was tragically cut short, but opens a window into his grand contributions to jazz. Though only an appetizer and a bit flawed, it is tasty. ~ Michael G. Nastos

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"Experience" (06/15/1992) Jazz Instrument Christian, Jodie, DelmarkPersonnel: Jodie Christian (piano, whistling), Larry Gray (bass), Vincent Davis (drums). Personnel: Jodie Christian (whistling, piano); Vincent Davis (drums). Liner Note Author: Emmanuel Cranshaw. Recording information: PS Recording Studio (05/29/1991-02/12/1992). Photographer: Melvin Williams. A local legend in Chicago for decades, Jodie Christian is a flexible pianist able to play anything from bebop to fairly free jazz. On this set he performs six standards (including "Mood Indigo," "End of a Love Affair," and "All the Things You Are") and four originals. Some of the tunes are taken as unaccompanied piano solos (on "Blues Holiday" Christian also whistles) while the other songs have the pianist supported by bassist Larry Gray and drummer Vincent Davis. Christian mostly sticks to the modern mainstream and he sounds quite fine throughout this largely melodic set. ~ Scott Yanow

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"Sofienberg Variations" (04/08/2003) Jazz Instrument Wallumrod, Christian, ECM Records (USA)Personnel: Christian Wallumrod (piano, harmonium); Trygve Seim (tenor saxophone); Arve Henriksen (trumpet); Nils Okland (violin, fiddle); Per Oddvar Johansen (drums). Recorded at Sofienberg Kirke, Oslo, Norway in October 2001. Personnel: Trygve Seim (tenor saxophone); Arve Henriksen (trumpet); Christian Wallumrod (piano, harmonium); Per Oddvar Johansen (drums). Recording information: Sofienberg Kirke, Oslo, Norway (10/2001). Photographer: Ellen Ane Eggen. Arrangers: Christian Wallumrod; Arve Henriksen.

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"djTrio [Digipak]" (04/13/2004) Jazz Instrument Marclay, Christian, AsphodelLiner Note Author: Christian Marclay. Recording information: Arts At Brad College; Electroluxe Festival, Tonic; Pompidou Center; Sculpture Garden's Ring Auditorium; The Andy Warhol Museum; The Detroit Institute Of Arts; The Hirshhorn Museum; The Richard B. Fisher Center For The Performing; Tonic's Subtonic PhOnOmena. Editors: Christian Marclay; DJ Olive. As close as Christian Marclay has ever come to conventional DJ mixing -- which is to say, not very close at all -- djTrio collects seven live performances by Marclay's ever-shifting collective of turntable masters, including Toshio Kajiwara, Erik M, DJ Olive, and Marina Rosenfeld. This is not traditional turntablism in that the beat is never the point. Similarly, the traditional structure of soundclash-style records, where each DJ takes turns soloing while the others provide a steady beat backdrop, is out the window: this is more like three DJs soloing on top of each other. However, it's not as chaotic and difficult to absorb as many of Marclay's solo performances, because although Marclay's extreme noise-for-noise-sake aesthetic prevails, his cohorts are at least partially rooted in traditional turntablism, which provides just enough familiarity for the listener to throw Marclay's sound art into sharp relief. Relatively becalmed pieces like "New York, August 21, 2003" aren't really that far removed from the likes of DJ Shadow, making djTrio a less threatening introduction to Christian Marclay's musical world than many of his solo recordings. ~ Stewart Mason

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"Radio Broadcasts: 1939-1941" (09/04/2001) Jazz Instrument Christian, Charlie, Stardust RecordsPersonnel includes: Charlie Christian (electric guitar); Georgie Auld (tenor saxophone); Cootie Williams (trumpet); Benny Goodman (clarinet); Lionel Hampton (vibraphone); Count Basie, Fletcher Henderson, Johnny Guarnieri (piano); Artie Bernstein (bass); Nick Fatool, Harry Jaeger, Dave Tough (drums). Recorded between 1939 & 1941. Personnel: Charlie Christian (electric guitar); Benny Goodman (clarinet); Pete Mondello (saxophone); Georgie Auld (tenor saxophone); Cootie Williams (trumpet); Lou McGarity, Cutty Cutshall (trombone); Count Basie, Fletcher Henderson, Johnny Guarnieri (piano); Lionel Hampton (vibraphone); Artie Bernstein (acoustic bass); Harry Jaeger, Dave Tough, Nick Fatool (drums). Liner Note Author: Athan Maroulis. Recording information: 08/11/1939-06/11/1941. When people hear the term "electric jazz," they usually think of fusion, soul-jazz or crossover jazz. But the use of electric instruments in jazz actually goes back to the late 1930s, when Eddie Durham became the first person to record jazz on the electric guitar. Charlie Christian was right behind him, but while Durham only played the guitar part of the time (he was also a trombonist), Christian was a full-time guitarist -- and it was he who, more than anyone, made countless swing and bop players want to play the electric guitar. This excellent CD is full of electric guitar solos that were way ahead of their time. Although Benny Goodman is actually the leader on these live performances of 1939-1941, Christian is featured prominently on swing era favorites like "Flying Home" and "Rose Room." All of these performances (which took place at Carnegie Hall, Madison Square Garden, and other venues) were broadcast over the radio (during the this time, live broadcasts of swing concerts were quite plentiful). You have to remember that in those pre-bebop days, jazz was part of pop culture. Goodman, Glenn Miller, and other swing icons helped define popular culture in the 1930s and early 1940s, just as the Beatles would define popular culture in the 1960s. So, by hooking up with Goodman, Christian brought his guitar solos to a very large audience. The improviser influenced everyone from country honky-tonkers to beboppers, but, tragically, he didn't live long enough to see how great an impact he had on bop guitarists -- his death from tuberculosis in 1942 at the age of 25 came about three years before the bebop revolution officially got underway. This fine collection paints an exciting picture of a jazzman who, like Clifford Brown, remained influential long after his untimely death. ~ Alex Henderson

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"Reminiscing" (08/28/2001) Jazz Instrument Jodie Christian Trio, DelmarkPersonnel: Jodie Christian (piano); Dennis Carroll (bass); Tony Walton (drums). Recorded at Riverside Studio, Chicago, Illisnois on July 11-12, 2000. Includes liner notes by Jodie Christian. Personnel: Jodie Christian (piano); Tony Walton (drums). Liner Note Author: Jodie Christian. Recording information: Riverside Studio, Chicago, IL. Photographer: Jodie Christian. Reminiscing is an appropriate title for this 2000 session, which finds Jodie Christian doing exactly that -- reminiscing and looking back on his long career in music. Born in 1932, the Chicago-based pianist was in his late sixties when he recorded this hard bop/post-bop CD; the songs he selects are ones that meant a lot to him along the way. And in the liner notes, Christian explains why particular songs are important to him. He says that George & Ira Gershwin's "Embraceable You" was the first standard that he ever learned, and that Antonio Carlos Jobim's "How Insensitive" became a part of his repertoire after he heard fellow pianist Ahmad Jamal playing the Brazilian gem. "Morning Star" is a song that Christian learned from vibist Emmanuel Cranshaw, while "Love Walked In" and "It's Good to Have You Near" are songs that he discovered on Andre Previn's Right Is the Rain LP. It's important to stress that even though Christian (who is joined by bassist Dennis Carroll and drummer Tony Walton) acknowledges various musicians that he admired along the way, he never goes out of his way to emulate any of them. The pianist always sounds like his own man, which means that he doesn't play "How Insensitive" exactly like Jamal or "Love Walked In" exactly like Previn. Christian's interpretation of "How Insensitive," in fact, is quite unusual -- a melancholy standard that is usually played at a slow or medium tempo becomes fast and exuberant in Christian's swinging hands. Reminiscing is a musical autobiography that the Chicagoan can easily be proud of. ~ Alex Henderson

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"Rain or Shine" (05/30/1994) Jazz Instrument Christian, Jodie, DelmarkPersonnel includes: Jodie Christian (piano); Art Porter (alto saxophone). This set by Chicago pianist Jodie Christian has both strong and weak moments. Easily the low point is the Art Ensemble of Chicago's Roscoe Mitchell's playing on oboe during "Song for Atala" (way out-of-tune) although his work on soprano ("Coltrane's View") and alto ("Mr. Freddie") is better. Christian has a couple trio numbers ("Yardbird Suite" and "Come Rain or Come Shine") with Francine Griffin's so-so vocals. Several tunes feature altoist Art Porter, who would make a name for himself as a crossover saxophonist before his untimely death; Porter shows how strong a jazz player he could be. Christian's versatility is displayed during this wide-ranging set and most of the selections work quite well. ~ Scott Yanow

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Deals on Christian instrumental cd in Jazz Instrumental Music. Visit BizRate to find the best deals on Jazz Instrumental Music. See which Music stores have the Christian instrumental cd that you want. Read reviews on Music merchants and buy with confidence. Find savings on Rewind That [2/26] - Classic Mix: By the Texas Christian University Jazz Ensemble by Texas Christian University Jazz Ense.