Musique illimitée
Écoutez cet album en haute-qualité dès maintenant dans nos applications
Démarrer ma période d'essai et lancer l'écoute de cet albumProfitez de cet album sur les apps Qobuz grâce à votre abonnement
SouscrireProfitez de cet album sur les apps Qobuz grâce à votre abonnement
Téléchargement digital
Téléchargez cet album dans la qualité de votre choix
Some may be surprised to know that reggae music actually has deep roots in jazz. Ska, reggae's stylistic precursor, came into being as a fusion of Jamaican mento, calypso, and American R&B, but some of its earliest and best players were Kingston jazz musicians, and early ska tunes were very often characterized by swinging rhythms and walking basslines. Ska eventually slowed down and its rhythms shifted, resulting first in the short-lived "rocksteady" style before it slowed further and became reggae, which dominated the island's music scene for a decade and a half before eventually being supplanted by the more raucous dancehall style. Pianist Monty Alexander has been bringing jazz back to reggae music (and vice versa) for decades; Harlem-Kingston Express finds him in a live setting, continuing to explore the connections between traditional reggae and straight-ahead jazz while also forging new ones. An example of the latter approach is his strange but intriguing take on the dub reggae classic "King Tubby Meets the Rockers Uptown." The original tune was a dub remix of Jacob Miller's "Baby I Love You So," mixed by the legendary producer King Tubby and embellished by Augustus Pablo's melodica; it is considered by many to be the finest example of 1970s dub ever recorded. Alexander starts out playing the tune more or less straight, taking the melodica part himself -- then suddenly, the ensemble erupts into a frantic Afro-Cuban middle section before modulating and coming back to the original theme. Elsewhere, he delivers a brisk but unexceptional take on "Sweet Georgia Brown," a partly successful reggae adaptation of the jazz standard "Freddie Freeloader," and a surprisingly perfect arrangement of Bob Marley's "No Woman No Cry." Alexander continues to be a highly effective ambassador between two once-fraternal musical styles that have sadly lost touch with each other since childhood. Here's hoping he plans to do a Jackie Mittoo tribute album at some point.
© Rick Anderson /TiVo
Vous êtes actuellement en train d’écouter des extraits.
Écoutez plus de 100 millions de titres avec votre abonnement illimité.
Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.
À partir de 12,49€/mois
Todd Barkan, Producer - Monty Alexander, Composer, Producer, MainArtist - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Todd Barkan, Producer - H. Swaby, Composer - Augustus Pablo, Composer - Monty Alexander, Producer, MainArtist - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Todd Barkan, Producer - Monty Alexander, Composer, Producer, MainArtist - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Casey, Composer - Bernie, Composer - Pinkard, Composer - Todd Barkan, Producer - Monty Alexander, Producer, MainArtist - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Miles Davis, Composer - Todd Barkan, Producer - Monty Alexander, Producer, MainArtist - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Todd Barkan, Producer - Monty Alexander, Producer, MainArtist - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Todd Barkan, Producer - Michael Jackson, Composer - Monty Alexander, Producer, MainArtist - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Todd Barkan, Producer - Monty Alexander, Producer, MainArtist - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
William Attaway, Composer - Todd Barkan, Producer - Monty Alexander, Producer, MainArtist - Lord Burgess, Composer - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Bob Marley, Composer - Todd Barkan, Producer - Monty Alexander, Producer, MainArtist - Katherine Miller, Producer, MixingEngineer - Jana Herzen, Producer
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Chronique
Some may be surprised to know that reggae music actually has deep roots in jazz. Ska, reggae's stylistic precursor, came into being as a fusion of Jamaican mento, calypso, and American R&B, but some of its earliest and best players were Kingston jazz musicians, and early ska tunes were very often characterized by swinging rhythms and walking basslines. Ska eventually slowed down and its rhythms shifted, resulting first in the short-lived "rocksteady" style before it slowed further and became reggae, which dominated the island's music scene for a decade and a half before eventually being supplanted by the more raucous dancehall style. Pianist Monty Alexander has been bringing jazz back to reggae music (and vice versa) for decades; Harlem-Kingston Express finds him in a live setting, continuing to explore the connections between traditional reggae and straight-ahead jazz while also forging new ones. An example of the latter approach is his strange but intriguing take on the dub reggae classic "King Tubby Meets the Rockers Uptown." The original tune was a dub remix of Jacob Miller's "Baby I Love You So," mixed by the legendary producer King Tubby and embellished by Augustus Pablo's melodica; it is considered by many to be the finest example of 1970s dub ever recorded. Alexander starts out playing the tune more or less straight, taking the melodica part himself -- then suddenly, the ensemble erupts into a frantic Afro-Cuban middle section before modulating and coming back to the original theme. Elsewhere, he delivers a brisk but unexceptional take on "Sweet Georgia Brown," a partly successful reggae adaptation of the jazz standard "Freddie Freeloader," and a surprisingly perfect arrangement of Bob Marley's "No Woman No Cry." Alexander continues to be a highly effective ambassador between two once-fraternal musical styles that have sadly lost touch with each other since childhood. Here's hoping he plans to do a Jackie Mittoo tribute album at some point.
© Rick Anderson /TiVo
À propos
- 1 disque(s) - 10 piste(s)
- Durée totale : 00:52:37
- 1 Livret Numérique
- Artistes principaux : Monty Alexander
- Compositeur : Various Composers
- Label : Motema
- Genre : Jazz
2011 Motema 2011 Jazz at Lincoln Center & Monty Alexander Under License to Motema
Améliorer les informations de l'album
Pourquoi acheter sur Qobuz ?
-
Streamez ou téléchargez votre musique
Achetez un album ou une piste à l’unité. Ou écoutez tout notre catalogue en illimité avec nos abonnements de streaming en haute qualité.
-
Zéro DRM
Les fichiers téléchargés vous appartiennent, sans aucune limite d’utilisation. Vous pouvez les télécharger autant de fois que vous souhaitez.
-
Choisissez le format qui vous convient
Vous disposez d’un large choix de formats pour télécharger vos achats (FLAC, ALAC, WAV, AIFF...) en fonction de vos besoins.
-
Écoutez vos achats dans nos applications
Téléchargez les applications Qobuz pour smartphones, tablettes et ordinateurs, et écoutez vos achats partout avec vous.