V.A. — Jazz en el Cine Negro Espanol 1958-64

Take one look at the pulpy cover and you know what you're in for — Spanish film noir crime jazz of the same era as Peter Gunn, Johnny Staccato and Touch of Evil. Consider yourself under arrest, amigo.

The package's luridly illustrated bi-lingual insert explains how the crime films of Julio Coll, Juan Bosch and other directors broke significant stylistic ground by delving into the seedy side of life in Franco's Spain through such films as Un Vaso de Whisky (A Glass of Whiskey, '58) and A Sangre Fria (In Cold Blood, '59).

Jazz En El Cine Negro Espanol delivers a riveting 79-minute program of hard-boiled brass, vulgar organ tones, well-chilled vibes and smoky atmosphere. Most of the music is by Jose Sola, with additional tracks by Augusto Alguero, Enrique Escobar and Federico Martinez Tudo, who are relatively unknown to film music fans.

Essentially, this Fresh Sound compilation produced by Jordi Pujol marks the first exploration into a neglected realm for many soundtrack connoisseurs. It will be a welcome addition to their collections.

Although one might expect frequent use of percussion and Latin rhythms, there is a fair amount of stylistic experimentation here. Some of the best passages employ the frenetic percussive style to depict dramatic action far from the dance floor. Other tracks favor swing and jazz styles that wouldn't sound out of place in a typical Hollywood production of the era. There's even a bit of rollicking rock 'n' roll featuring jangling electric guitar rhythms and wailing saxophone. Reinforcing the Hollywood influence is the presence of American singer Gloria Stewart on the slow, sultry "Manhattan Blues."

Peppered with dialogue and the sounds of on-screen action, the listening experience is akin to playing a video just for the aural atmosphere. About half of the tracks exceed the 10-minute mark as multiple cues flow one after another. This is an ideal personal soundtrack for fans of vintage crime novels. Like watching a film noir festival, however, the experience is likely to encourage heavy drinking and cigarette smoking!

This review was previously published at the author's soundtrack review site www.ScoreBaby.com.

Kind Of Blue: Why It's Important

Miles Davis (trumpet)
Kind Of Blue

Pretty much everyone on the planet will site Miles Davis' Kind Of Blue (Columbia Records) as the most important jazz album of all time. But if you aren't truly familiar with it you won't really understand why. I hope in this entry that I can help explain. And, if you haven't purchased it already you will soon.

Originally recorded in 1959 with John Coltrane (tenor sax), Julian "Cannonball" Adderley (alto sax), Bill Evans and Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums), this is considered one of the fiercest, dazzling and romantic recordings ever made.

One of the many things that makes Kind Of Blue a masterpeice is the pure fact this album was recorded in only a few hours. The delicate tension between the musicians is felt with every note. I don't mean tension in a negative way. I mean that each member works off of each other with almost a boxing like mentality ("I can do you a note better"). The piano work by Bill Evans is impeccable and unmatched. This is by far one of his highest moments on record. Cannonball Adderley and Paul Chambers are in fantastic form. The real star is the sometimes underrated Jimmy Cobb on drums; Jimmy Cobb is also the only surviving member of this historic recording and carries the torch brightly whenever he performs any song live or speaks about it in interviews.

There have been various incarnations of this album since the advent of the CD. Most recently a super (and I mean super) deluxe version with blue vinyl, double CD & DVD, archival booklet and more, which is just about overkill. I would suggest sticking with the single disc if you just want the basics. There is a double disc version which includes some wonderful outtakes and a live version of the classic first track on the album "So What". I don't think its necessary unless you really are a true jazz fan.

You should own any single disc version since 1997 (check the copyright date on the back of the inlay). The original masters were found earlier that year and the sound quality and little intricacies are much more noticeable on any version since 1997. For this reason I would suggest not buying a digital version online or a used version at a CD store. Take the extra cash and buy a classic album. You won't be disappointed.

If you already own Kind Of Blue you will know most of this but I tend to believe not everyone does so I hope this finally convinces you. You hear some of the most legendary performers at the peak of their powers during one of the most historic moments in music history. Everyone says if you're going to start listening to jazz, Kind Of Blue is the album you need to start with. There really is no argument when it comes to this.

For more proof check out this performance.

Jason Moran: Pushing Jazz Forward

Jason Moran (piano; 1975)

Born in Houston and a well studied disciple of the great legendary, Andrew Hill, Jason Moran is one of my favorite of all time. I truly believe like Dave Douglas is to the trumpet, and David S. Ware is to the saxophone, that Jason Moran is to the piano and is one of the few forward thinking musicians who is pushing jazz in new directions.

Jason Moran's style is inventive, melodic and thought-provoking. He has recorded seven albums for Blue Note. The most acclaimed as well as my favorite is Modernistic (Blue Note) is an album that challenges everything jazz is about. Encompassing elements of jazz, electronica and classical with outstanding ease.

Unlike many of my favorites Jason does tour regularly so you should take the opportunity to see him if he comes to your town. A real visionary at piano, Jason Moran not only has been compared to his mentor, Andrew Hill, but also the enigmatic Thelonious Monk - high praise, but spot on.

A real experience as you search for new jazz to listen to, every one of his albums are worth the purchase.

Live In Brasil: http://www.youtube.com/watch?v=0x6prMAgKgE

Michael Brook: Ambient Jazz

Michael Brook (guitar)

Michael Brook is one of those extremely underrated and under recorded artists whom most people immediately become addicted to once they hear one of his (only) four albums. He is mostly known for his collaboration and production work with Brian Eno, Daniel Lanois and Nusrat Fateh Ali Khan but has contributed and scored a number of soundtracks including Albino Alligator and An Inconvenient Truth.

Michael Brook shares a stylistic philosophy similar to that of Brian Eno, Daniel Lanois and Harold Budd, ethereal and melodic but yet you enjoy the journey on which he takes you with each record. All four of his albums are still widely available but I would suggest starting with his second album Cobalt Blue (4ad). Cobalt Blue features elements of guitar, electronic and percussive manipulation that not even the best known guitarists like a John Scofield or Pat Mathney could conjure up.

While most people upon listening may not view this as jazz, I believe it fits neatly into the pocket of Carlos Santana or John McLaughlin, with a mixture of eastern and western instrumentation. Cobalt Blue as well as the live album, Cobalt Blue Live At The Aquarium are available of iTunes.