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Danilo Perez - PanaMonk
Artist: Danilo Perez
Title: PanaMonk
Recording Date: Jan 3, 1996,Jan 4, 1996
Label: Impulse!
Orig Year: 1996
Number of Discs: 1
Genre: Jazz
Category: Afro-Cuban Jazz, Jazz Instrument, Latin, Piano
Source:Original CD
Extractor: EAC 0.99 prebeta 4
Used drive : HL-DT-STDVDRAM GSA-E10L
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue Multiple wav file with Gaps (Noncompliant)
Accurately ripped (confidence 2)
Size Torrent: 288 Mb
Cover Included
Tracks:
Track List
Monk's Mood 1
PanaMonk
Bright Mississippi
Think of One
Mercedes' Mood
Hot Bean Strut
Reflections
September in Rio
Everything Happens to Me
'Round Midnight
Evidence/Four in One
Monk's Mood 2
Personnel:
Danilo Perez: Piano
Olga Roman: Vocals
Avishai Cohen: Bass
Jeff "Tain" Watts: Drums
Terri Lyne Carrington: Drums
Listen to sample
http://www.amazon.com/gp/recsradio/radio/B000002NWH/ref=pd_krex_dp_a
http://www.youtube.com/watch?v=ezupLVOOxoA
http://www.youtube.com/watch?v=zdi3P-gxGVA&NR=1
http://www.goear.com/listen.php?v=681aa82
bio
Danilo Pérez was born in Panama in 1966. He is considered one of the finest contemporary pianists and jazz composers of our era.
Danilo started his musical training at 3 years old with his father Danilo Sr, a professional bandleader and singer, gave Danilo Jr. his first set of bongos. By the time he was 10 years of age he was studying the European Classical Piano repertoire at the National Conservatory in Panama, eventually transferring to the Berklee College of Music to study Jazz composition and then serving as a professor at the New England Conservatory of Music. While growing up in Panama, Perez was notably influenced by the works of Gershwin, Duke Ellington, John Coltrane, and his mentor in spirit Thelonious Monk.
Career
When Danilo Perez moved to the United States his prominence increased immensely. He played with living jazz legends who played a key role in shaping Perez's technique and style. Between 1985 and 1988, while being a student at Berklee, Perez played with Jon Hendricks, Terence Blanchard, Claudio Roditi y Paquito D’Rivera. He also was part of the Grammy winning album, Danzon. Wynton Marsalis asked Perez to tour Poland with his band in 1995; Danilo Perez was the first Latin artist to perform with Marsalis. For the 1996 Summer Olympics in Atlanta, Perez and Marsalis played together again. He performed as a special guest at President Clinton's Inaugural Ball, and played the piano on the Bill Cosby theme song.
He also played with Dizzy Gillespie, Jack DeJohnette, Charlie Haden, Michael Brecker, Joe Lovano, Tito Puente, Gerardo Núñez, Wynton Marsalis, John Patitucci, Tom Harrell, Gary Burton, Wayne Shorter, Roy Haynes, Steve Lacy and others.
Influences
Conceivably Perez biggest influence in terms of style and thought was Dizzy Gillespie. Perez had the opportunity to perform with Gillespie and his United Nations Orchestra from 1989 until the band leader’s death in 1992. Perez states in a press report for the Independent that “One of the things Dizzy taught me was to learn about my own heritage even more than I knew already. He said it was more important for jazz for you to get to what your roots are, than to learn about other things…” Danilo assimilated the be-bop and post-bop styles. He was also a member of the Grammy winning record Live At The Royal Festival Other influential studies that Perez has achieved have been his album for Impulse! records, PanaMonk, which is a study of and tribute to Thelonious Monk. According to DownBeat magazine, Pana Monk is one of the most important jazz piano albums.
Recordings as a Leader
In 1994, Perez recorded his most personal album, The Journey, a musical account of the torturous trip African slaves made across the oceans in the hulls of the slave ships. The album made it to the top ten jazz lists of New York's Village Voice, the New York Times, Billboard Magazine, and the Boston Globe. It also allowed Perez to become a recognizable name in the jazz community. Perez set up the album as a dream series tracing the route of slaves, stolen or sold from their homes and transported across the sea. The Journey begins with "The Capture," makes it way through the "The Taking," "Chains," The Voyage," and finishes with "Libre Spiritus." Renowned saxophonist David Sanchez and percussionist Giovani Hildalgo play on the album, which was recorded in two days at the Power Station in New York City.
His third album, PanaMonk, Perez paid tribute to Thelonious Monk as well as all the other musicians he had been in contact with up to that point. An almost entirely wordless album, PanaMonk lets the music speak for itself. A listener can hear the appreciation and love Perez has for improvisational playing and composing, all of which Monk was revered for. Perez told JazzTimes Magazine, "His (Monk's) music was the epitome of small group playing, the epitome of jazz music. If you really want to know about jazz and swing, he's one of the best to go to.
Perez fourth album, Central Avenue, earned in 1998 the Grammy nomination for best Jazz album of the year. Central Avenue is a blend of blues, folk songs, a sprinkling of Caribbean influence and some Middle Eastern melodies thrown in for added spice. Tommy LiPuma, who worked with Perez on PanaMonk, produced the album. Central Avenue is a combination of all the cultures that can be encountered.He arranged the ensemble of bassists John Pattutucci and Avishai Cohen, and drummer Jeff "Tain" Watts. Most of the songs were done in one take in order so to not lose the freshness of the session. The only song not done in one take was "Panama Blues." For that song, which features Panamanian folk singer Raul Vital, Perez recorded the folksinger and his chorus of mejorana singers in the mountain regions of Panama and then brought the recording back to New York where he and his ensemble added their musical touch. Mejorana is an improvisational style of singing where the singers can go on for hours, especially when supplied with alcohol. Perez told Graybow of Billboard, "[I heard] the blues in their voices, much like the blues down in Mississippi," and instantly wanted to record them. But, Perez didn't want to take the singer out of his environment and thus lose the influence.
Wayne Shorter Quartet
In 2000, Danilo joined Wayne Shorter, to form Shorter's great quartet with John Patitucci and Brian Blade. Perez has played concerts with the group extensively since then, and appears on all three of the recordings Shorter has made during this period: Footprints Live! (2002), Alegría (2003), and Beyond the Sound Barrier (2005).
A resident of Boston, Danilo Perez is currently on faculty at Berklee College of Music and the New England Conservatory of Music.
Review by Scott Yanow
This is one of the more interesting Thelonious Monk tribute albums of the 1990s. Pianist Danilo Perez does not really sound much like Monk except in a couple places on purpose, but he has clearly learned from Monk's music, particularly in his use of space and quirky dissonances. The trio performances range from respectful ballads and Latinized treatments of Monk tunes to originals that somehow fit logically into the mood of the set. Perez takes "'Round Midnight" and the two brief versions of "Monk's Mood" (which open and close the CD) unaccompanied, interacts closely with bassist Avishai Cohen on the other pieces, welcomes the haunting wordless vocal of Olga Roman to "September in Rio," and utilizes either Terri Lyne Carrington or Jeff Watts on the nine trio pieces. The music overall is adventurous, rhythmic, and quite joyful. A memorable outing by the talented Danilo Perez.
Michael Brecker's work in the '70s and early '80s as both ahigh-profile session musician and one-half of the fusion-lite Brecker Brothers with his trumpeter brother Randy does little to prepare listeners for his somewhat more challenging solo records. 1990's NOW YOU SEE IT...NOW YOU DON'T is a remarkable album breathing new life into a style of jazz-fusionwhich had seemed moribund for ages.
Brecker and his revolving cast of musicians, largely anchored by Jim Beard's atmospheric, sometimes almost Eno-esque synthesizers, play withpassion and intensity. Brecker's storming solos on "Peep" meld John Coltrane's sheets of sound technique to Wayne Shorter's fearless improvisatory style, and the opening "Escher Sketch" explores polyrhythms like nobody in fusion had since the early days of Weather Report. Excellent stuff.
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He was the friend JoFlavio, conspicuous member of dilucidante blog Cigar Jazz, who came up with the story that Thelonious Monk could not play piano. His are the following lines: "I follow the career of Monk since the early 60's. Not only as a pianist, but mostly as a composer. Monk was once considered a" lesser pianist, "perhaps by poor technique, that even the impossible touch "up time" - compared, for example, an Oscar Peterson, Herbie Hancock, Chick Corea, etc.. It was clear his effort to play. Yes, as a consolation, was creative harmony. The great legacy of Monk's who composed the themes in some ways revolutionary for its time. As a pianist, in my opinion, did the school. " Well, well. It did not take a minute, was sparked a major controversy has arisen here in Jazzseen, general uproar, accusations free, hacker attacks, stir, strife and crisis. Summoned hastily, and I Reinaldo Santos Neves, Special Meeting of the Club from Tuesday, where his partner Andrew, an expert on Monk, was summoned to speak. An uncomfortable silence sat at the table of the Club, while everyone waited afflicted the final sentence. Andrew said: "The emphasis is on bebop improvisation, with a marked presence of the rare composers case of Thelonious Monk. His unorthodox melodies, full of complex chord progressions, used to intimidate even the most nimble musicians and there is no doubt that his style has influenced a number of important pianists of the bebop and post bop, including Bud Powell, Mal Waldron, Andrew Hill, Dollar Brand, Randy Weston, Herbie Nichols, Cecil Taylor, Misja Mengelberg, Anthony Davis, Karl Berger, Chick Corea , Geri Allen, all defendants confessed, in the sense that, apart from recognizing the influence of Monk, reflect or reflected in some stage of their careers in the clear inspiration monkiana pianistic approach - the beginner should start their research by Mal Waldron. Not to mention many other musicians who dedicated her enthusiastic tributes (see list below) and several groups that were born under the primary condition for him to revisit the work.
Monk's compositions have their own logic, non-Aristotelian, prepared with great structural precision and concision, uncommon in other compositions of bebop. Master of unexpected accents and disordered - see, for example, Rhythm-n-ing - caused serious difficulties for those who wished to perform his works, even the most skilled virtuoso of the piano. This feature greatly transpires at the end of phrases, where almost always the note played was absolutely unexpected to the listener that, paradoxically, to continue listening to the composition, ended by pleading that the sentence ended with such a "wrong note" - listen, for example, Off Minor. And all this starting with a simple melody, a simple theme, often built on a chord of good ol 'twelve-bar blues, but with a deep final effect. And for those who know the history of Monk as a pianist, known for its speculative interventions. He walked around the stride of Fats Waller, at a trumpet-piano Earl Hines, the sullen piano and percussion of Duke Ellington, the comping style of Count Basie, where discrete chords gave support to the soloist. Unlike Bud Powell, who in the evolution of style comping virtually abandoned the left hand, which in practice only followed his speedy right hand, Monk has followed a different path, we might call "evocative," because the chords of his left hand assumed paper essentially percussive and were never long in residence: in several passages we can see that Monk just stopped playing, letting the bass and drums could look saxophone or trumpet in his solos. So much originality meant that, before being recognized as the improvisational genius who was, Monk was considered a "lesser pianist" and impossible to be classified: he did not play swing, he did not play bebop. What the hell he was playing?
Monk, with his compositions "tune" was able to tune a piano sound in tune. Full of unpredictable contours to the ears of middle class, his compositions show entire scales totally incompatible with each other, with colors enemy. Combined with an absolutely innovative rhythmic style, these characteristics harmonics caused a huge stir in the ears more educated. And lastly, but equally brilliant: the use of silence in Monk is as important as the use of sound. When we observe the play, we have the clear assurance that he will never know which note to play. Vacillating, he seems to suffer terribly, every second, to decide in which key will take your finger. And often, when he decides, knock, knock, knock, as if knocking on our door. And enter.
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