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sheetmusiclibrarypdf · 1 year

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Phil Woods - Sonata For Alto Saxophone And Piano (sheet music)

Phil Woods - Sonata For Alto Saxophone And Piano (sheet music) Phil Woods Please, subscribe to our Library. Thank you! Best Sheet Music download from our Library.DiscographyAs leader/co-leader Compilation As sideman

Phil Woods - Sonata For Alto Saxophone And Piano (sheet music)

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Phil Woods

Woods ( Springfield , Massachusetts , November 2, 1931 - Stroudsbourg, Pennsylvania , September 29, 2015 ) was an American jazz Philip Wells musician , saxophonist alto , and clarinetist ; he has also occasionally played the soprano . He falls into the stylistic current of bebop.

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Phil Woods studied music with Lennie Tristano , who has been a major influence on his career, at the Manhattan School of Music and The Juilliard School . His friend Joe Lopes taught him to play the clarinet, as there was no lead saxophone at Juilliard at the time. Although he never copied Charlie Parker , he was known as the "New Bird", a nickname that has also been applied to other musicians such as Sonny Stitt and Cannonball Adderley at one point or another in his careers. He wanted to take the baton from Parker and expressed it like this: “They say that Charlie Parker was God. In that case, I am his messenger ” or “I never get tired of playing Charlie Parker's music, in the same way that no one gets tired of playing Mozart”. His professional career began in 1954 with a brief collaboration with Richard Haynes . He later was engaged by the Charlie Barnet Orchestras and by the Jimmy Raney Quintet . Also in 1954 he recorded his first album under his name and in a quintet for the "New Jazz" label and entitled Phil Woods and New Jazz Quintet . In 1956, he entered Dizzy Gillespie, performing all over the world during the three years he was with him. He then moved on to drummer Buddy Rich's Orchestra band in 1958 and between 1959 and 1961, he played in the Quincy Jones . In 1961, Phil Woods recorded his first album as a quintet with his own compositions, Rights of Swing , for the "Candid" label with the accompaniment of Tommy Flanagan on piano and Curtis Fuller on trombone. In 1962, he participated in the group that accompanied Benny Goodman on a tour in the Soviet Union sponsored by the State Department, of which the album Benny Goodman and his Orchestra in Moscow remains . Phil Woods later performed and recorded in the Thelonious Monk and Oliver Nelson groups , but did not record again as a leader until 1966. He collaborated with a host of jazz musicians throughout his life. His contributions can be highlighted of him on albums by John Lewis ( Orchestra USA ), Sonny Rollins ( Alfie ), Stéphane Grapelli ( Master Sessions, vol. 1 ) and Bill Evans ( Symbiosis ). Or in soundtracks of famous films like El hustler or Blow Up . After going to France in 1968, Woods led The European Rhythm Machine , along with pianist Gordon Beck; Henri Texier, on double bass; and Daniel Humair, on drums, a group that tended towards the jazz avant-garde. He returned to the United States in 1972 and, after a failed attempt to establish an electronic group, he formed a quintet that lasted, with some changes in its members, until 2004. In 1973, after a musical encounter with Michel Legrand , Woods recorded the album Musique du Bois , which is situated in the modern jazz tradition and helps to redirect jazz to its natural channels on the basis of updating the forms of bebop. In 1979, Phil Woods recorded More Live , at the Armadillo World Headquarters in Austin, Texas. His best-known work as a sideman has perhaps been Billy Joel's pop song " Just the Way You Are ", in which he plays alto sax. He also played alto sax on Steely Dan's "Doctor Wu", from his well-known and highly praised 1975 album Katy Lied , as well as Paul Simon's 1975 hit Have a Good Time . During his last years he recorded some tributes to fellow musicians such as Thelonious Monk , Our Monk , a selection of his compositions recorded with the Italian pianist Franco D'Andrea. When he was named a Master of Jazz by the US National Endowment for the Arts 5 in 2007, he said: “Jazz will never die. It's music forever, and I like to think that my music is somewhere and will have a duration that may not be forever, but that it can influence others." Although Woods is primarily a saxophonist, he is also a fine clarinet player and his solos are scattered throughout his recordings. A good example is his clarinet solo in Misirlou from the album Into The Woods . Woods was married to Chan Parker, the widow of Charlie Parker, for seventeen years. On the morning of September 29, 2015, great teacher Phil Woods passed away after a long battle with pulmonary emphysema. Discography As leader/co-leader 1954– 55: Pot Pie (New Jazz, 1963) with Jon Eardley 1955: Woodlore (Prestige, 1956) 1956: Pairing Off (Prestige, 1956) 1956: The Young Bloods (Prestige, 1957) with Donald Byrd 1957: Four Altos (Prestige) with Gene Quill, Hal Stein, Sahib Shihab 1957: Phil and Quill with Prestige with Gene Quill 1957: Sugan (Status) 1957: Warm Woods (Epic) 1961: Rights of Swing (Candid) 1967: Greek Cooking (Impulse!) 1968: Alto Summit (MPS) with Lee Konitz, Pony Poindexter and Leo Wright 1968: Alive And Well In Paris (Pathé) 1969: Round Trip (Verve) 1970: Phil Woods and his European Rhythm Machine at the Frankfurt Jazz Festival (Embryo) 1970: Phil Woods and his European Rhythm Machine at the Montreux Jazz Festival (MGM) 1972: Live At Montreux 72 (Verve) 1974: New Music by the New Phil Woods Quartet (Testament) 1974: Musique du Bois (Muse) 1975: Floresta Canto (RCA) with Chris Gunning Orchestra 1975: Images (RCA Victor) with Michel Legrand 1976: Phil Woods & The Japanese Rhythm Machine (RCA Victor) 1976: The New Phil Woods Album 1976: Altology (Prestige) 1977: Live from the Show Boat 1977: Summer Afternoon Jazz (Hindsight) 1978: Song for Sisyphus (King (Japan)) 1979: I Remember (Gryphon) 1980: Phil Woods Quartet Live (Clean Cuts) 1980: Phil Woods/Lew Tabackin (Omnisound) with Lew Tabackin 1981: Three for All (Enja) with Tommy Flanagan and Red Mitchell 1981: 'More' Live (Adelphi) 1981: European Tour Live (Red) 1982: Live from New York (Palo Alto) 1983: At the Vanguard (Antilles) 1984: Integrity (Red) 1984: Heaven (Evidence) 1984: Piper at the Gates of Dawn (Sea Breeze Jazz) with Chris Swansen 1986: Dizzy Gillespie Meets Phil Woods Quintet (Timeless) with Dizzy Gillespie 1987: Bop Stew; Bouquet (Concord) 1988: Evolution; Here's to My Lady (Concord) 1988 "Little Big Band Évolution" 1989: Embracable You (Philology) 1989: My Man Benny, My Man Phil (MusicMasters) with Benny Carter 1989: Here's to My Lady (Chesky) 1990: Flash (Concord) 1990: Phil's Mood (Philology) 1991: All Bird Children; Real Life (Concord) 1991: Flowers for Hodges (Concord) 1991 "Altoist" 1991: Real Life, The Little Big Band (Chesky) 1992: Full House (Milestone) 1994: Just Friends; Our Monk (Philology) 1995: Plays the Music of Jim McNeely (TCB) 1996: Mile High Jazz Live in Denver (Concord) 1996: Another Time, Another Place (Evening Star) with Benny Carter 1996: Astor and Elis (Chesky) 1996: The Complete Concert (JMS) with Gordon Beck 1997: Celebration! (Concord) 1998: The Rev and I (Blue Note) with Johnny Griffin 1999: Cool Woods (somethin' else) 2003: The Thrill Is Gone (Venus) 2004: Beyond Brooklyn with Herbie Mann, finished weeks before Mann's death 2006: Pass the Bebop (Cowbell) with Benjamin Koppel and Alex Riel Trio 2006: Tel Aviv Jazz Festival (Philology) with Robert Anchipolovsky and Tony Pancella Trio 2006: American Songbook (Kind of Blue) with Brian Lynch 2007: American Songbook, Vol. 2 (Kind of Blue) with Brian Lynch 2009: Ballads & Blues (Venus) 2011: Man with the Hat (Pazz) with Grace Kelly 2011: Phil & Bill with Bill Mays (Palmetto) Compilation Into the Woods (The Best of Phil Woods) (Concord, 1996) Moonlight In Vermont (CTI, 2005) As sideman With Manny Albam Jazz Goes to the Movies (Impulse!, 1962) The Soul of the City (Solid State, 1966) With Gary Burton 1962: Who Is Gary Burton? (RCA, 1963) 1964: The Groovy Sound of Music (RCA, 1965) With Dizzy Gillespie World Statesman (Norgran, 1956) Dizzy in Greece (Verve, 1957) The New Continent (Limelight, 1962) Rhythmstick (CTI, 1990) With Friedrich Gulda Friedrich Gulda at Birdland (RCA Victor, 1957) A Man of Letters (Decca, 1957) With Quincy Jones The Birth of a Band! (Mercury, 1959) The Great Wide World of Quincy Jones (Mercury, 1959) I Dig Dancers (Mercury, 1960) The Quintessence (Impulse!, 1961) Quincy Jones Explores the Music of Henry Mancini (Mercury, 1964) Golden Boy (Mercury, 1964) I/We Had a Ball (Limelight, 1965) Quincy Plays for Pussycats (Mercury, 1965]) – recorded in 1959-65 With Michel Legrand Legrand Jazz (Philips, 1958) After the Rain (Pablo, 1982) Michel Legrand and Friends (RCA, 1975) With Bryan Lynch Simpático (The Brian Lynch/Eddie Palmieri Project) (ArtistShare, 2006) Bolero Nights for Billie Holiday (Venus, 2008) With Herbie Mann The Jazz We Heard Last Summer (Savoy, 1957) Yardbird Suite (Savoy, 1957) With the Modern Jazz Quartet Jazz Dialogue (Atlantic, 1965) MJQ & Friends: A 40th Anniversary Celebration (Atlantic, 1994) With Thelonious Monk The Thelonious Monk Orchestra at Town Hall (Riverside, 1959) – live Big Band and Quartet in Concert (Columbia, 1963) – live With Oliver Nelson Impressions of Phaedra (United Artists, 1962) Full Nelson (Verve, 1963) More Blues and the Abstract Truth (Impulse!, 1964) Fantabulous (Argo, 1964) Oliver Nelson Plays Michelle (Impulse!, 1966) Happenings with Hank Jones (Impulse!, 1966) The Sound of Feeling (Verve, 1966) Encyclopedia of Jazz (Verve, 1966) The Spirit of '67 with Pee Wee Russell (Impulse!, 1967) The Kennedy Dream (Impulse!, 1967) Jazzhattan Suite (Verve, 1968) With Lalo Schifrin Samba Para Dos with Bob Brookmeyer (Verve, 1963) Once a Thief and Other Themes (Verve, 1965) With Jimmy Smith Monster (Verve, 1965) Hoochie Coochie Man (Verve, 1966) Got My Mojo Workin' (Verve, 1966) With Clark Terry The Happy Horns of Clark Terry (Impulse!, 1964) Squeeze Me! (Chiaroscuro, 1989) With George Wallington Jazz for the Carriage Trade (Prestige, 1956) The New York Scene (Prestige, 1957) Jazz at Hotchkiss (Savoy, 1957) Read the full article

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noloveforned · 2 years

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this week's no love for ned airs on wlur at 8pm tonight and will be followed by a reair of last week's show at 10pm. if you're around, please tune in for four full hours of no love for ned at 8pm tonight! and if not, catch up with last week's show below...

no love for ned on wlur – july 1st, 2022 from 8-10pm

artist // track // album // label the jesus and mary chain // i love rock 'n' roll // munki // sub pop automatic // turn away // excess // stones throw flasher // still life // love is yours // domino wolf girl // breaking news // every now and then // everything sucks class // into the night // class cassette // feel it wire // stepping off too quick (not about to die) [6th demo] // not about to die- studio demos, 1977-1978 // pinkflag gino and the goons // pills in my pocket // do the get around // drunken sailor pill // dark glass // soft hell // mexican summer david nance // credit line // pulverized and slightly peaced // petty bunco gorgeous bully // sober // am i really going to die here cassette // faux punk the jeffrey lewis and peter stampfel band // log-ins and pins // both ways // (self-released) linda martell // i almost called your name // color me country // org music karen dalton // when a man loves a woman // in my own time // light in the attic joan shelley featuring bill callahan // amberlit morning // the spur // no quarter phil woods // the day when the world // phil woods and his european rhythm machine // inner city carole king // haywood // home again- live from the great lawn in central park, new york city on may 26th, 1973 // third man kahil el'zabar featuring david murray // necktar // spirit groove // spiritmuse roger allen hughes // the cosmic fool // vacation from my mind compilation // forager tirzah // hive mind (speakers corner quartet remix) // highgrade // domino julius rodriguez featuring mariah cameron // all i do // let sound tell all // verve quelle chris featuring navy blue // so tired you can't stop dreaming // deathfame // mello music group oneness of juju // breezin' // bush brothers and space rangers // strut topaz jones // baba 70s // don't go tellin' your momma // new funk academy kadhja bonet // jgs // jgs digital single // ninja tune jennifer lopez // love of my life (arkadi remix) // marry me soundtrack // sony music latin men i trust // hard to let go // hard to let go digital single // (self-released) india shawn featuring unknown mortal orchestra // too sweet // before we go // epic the reds, pinks and purples // i still owe you everything // i still owe you everything ep // (self-released) my raining stars // if you // 89 memories // shelflife potpourri // eisenhower // first dance // bingo

#wlur #radio shows

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jazzfunkdid · 5 years

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Phil Woods And His European Rhythm Machine ‎– I Remember Bird

#Phil Woods And His European Rhythm Machine

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thejazzspot · 7 years

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Phil Woods and his European Rhythm Machine ‎- Phil Woods and his European Rhythm Machine (1970, Les Disques Pierre Cardin - CAR 333 U, Fra)

Phil Woods is surely among the most respected names in the history of Jazz. He played and recorded with seminal figures of bebop but also with a vast batch of contemporary Jazz artists and of more alternative forms of this genre. From his immense legacy of collaborations one can highlight Benny Goodman, Thelonious Monk, Dizzie Gillespie, Buddy Rich, Quincy Jones, Zoot Sims, Lee Konitz, Jean-Luc Ponty, Tom Harrell, John Riley and Hal Galper, among many others. In addition to his numerous contributions as sideman, it is equally relevant that Woods has led his own bands since the mid-1950s, through which he refreshed the bop tradition with his compositions and captivating solos.

Woods' style on the alto saxophone helped define a school of post-Charlie Parker stylists in the line of musicians like Cannonball Adderley. Parker's basic vocabulary has been extended to a broader phrasing, and Woods’ full-bodied tone, occasionally decorated by growls and other blues inflections, makes him an exciting and easily recognizable performer.

Leaving behind a promising career in the United States as leader and sideman, Woods headed to Europe, believing that this would be a healthier place for a jazz musician (both politically and culturally). And it was in Paris, in a short time, that Woods formed his European Rhythm Machine with Daniel Humair on drums, Henri Texier on bass and George Gruntz on piano (later replaced by Gordon Beck).

Released by the almost unknown label founded by fashion designer Pierre Cardin, and later by the American Inner City, "Phil Woods and his European Rhythm Machine" reveals a new phase of Woods' career as musician and composer. While not a very representative record for his more traditional followers, this studio debut with his European lineup is surely a work relevant to Phil Woods' more exploratory career and to Jazz made in the old continent.

Under the artistic direction of Emmanuel "Pinpin" Sciot, the peculiar illustration of the cover (and back cover) was left to an English artist mainly known for the creation of strange mechanical inventions. In a kind of satire to technological evolution, Rowland Emett created the funny information system "Fleur Bleue", imagined for Honeywell Inc.

With regard to music, the introduction is made to the sound of "Chromatic Banana", certainly the most representative of the themes of this album. Over the course of 12 minutes, Wood and his peers give birth to a varied palette of sounds ranging from an intense and rhythmic jazz fusion to more atmospheric moments. Under the excellent marking of Texier and Humair, and a keyboard that transports us to the psychadelic frames of "Bitches Brew", Woods' saxophone brings this piece closer to the avant-garde territories. In the second half, the theme incurs to moments of a pleasant improvisation, with an immense solo by Texier accompanied by his voice in a sort of scat-singing. "C'est pas mal", one can hear at the end, before a new attack by the quartet takes place.

By Gordon Beck, "Ultimate Choice" is based on a piano-saxophone dialogue, where Woods' straight-ahead bop register is elaborated under a fast and complex structure. Resembling the flight of a fly, the saxophonist's thrilling attacks are balanced with a rhythmic section marked by a captivating enthusiasm that culminates in a great drum solo.

On a warmer tone, the B-side begins with Phil Woods's well-known composition "The Last Page", recreated here with a sonority marked by Gordon Beck's keyboards, but also by Woods' approach with instruments such as the clarinet and the Varitono sax (in addition to the alto saxophone). In a compositional combo, "The Last Page" merges Gordon Beck's "Sans Melodie," on a bridge between a classic ballad and a more bop/rock beat.

Through ways with a progressive rock hint, the short "A Look Back" (that connects to the final theme) is marked by Phil Woods' spontaneity and exploratory sense in an adventure with the use of a tape recorder and a varied percussion. Finally, in another theme by Beck, "The Day When the World ..." is introduced to the folk flavor of the Hohner electric piano progressing to a rhythmic rock-fusion. Concluding in an original way, the musicians are introduced (in English and French) by one of Phil Woods' sons that ends like this: - "From America, my dad Phil Woods on alto saxophone". - "Non, c'est mon Pápá, Philippe du Bois, from France!"

For all this, one can say we stand before a pleasant mix of a straight bebop with moments of a more avant-garde experimentation. The music of this record is unpredictable, spiritual, exciting and full of surprises, with Gordon Beck in great shape and Phil Woods thinking "out of the box" but without losing his identity. In fact, Gordon Beck's keyboards (piano and organ) and the more liberating forms adopted by Phil Woods seem to be the main points of distinction of this session. However, the remaining members can not be disassociated from the overall sound of this date. Henri Texier's fluent and inventive forms (bass, flutes, percussion and voice) as well as Daniel Humair's creativity and polyrhythmic approach (drums and percussion) are equally crucial elements for the more exploratory vein emerging from this session.

Among various curiosities there is a transcription (in the inner cover) of a correspondence received from an admirer disappointed with the new direction Phil Woods was taking on this album. "What happened? Where's the melody? What the hell is a Chromatic Banana" are some of the questions to wich Woods answers in a somewhat jocular tone. Moreover, along the liner notes it can also be found several hilarious comments that show the joviality and the good mood reigning during the making of this recording.

One of the greatest bop saxophonists of all time, Phil Woods had a long and productive career but his passage through Europe would definitely mark his artistic progression. Although he has again changed direction after returning to the United States, the creative and colorful music he played during his stay in Europe (even though not being consensual to his followers) represents an undeniable reference in his career.

Mister W

Total or partial reproduction of the contents of this site is strictly prohibited. It can only occur with prior permission of the author. To that end, please contact [email protected]

*** Portuguese Version ***

Phil Woods é seguramente um dos nomes mais respeitados da história do Jazz. Tocou e gravou com figuras seminais do bebop mas também com um vasto lote de artistas do jazz contemporâneo e de outras formas mais alternativas deste género. Do seu imenso legado de colaborações podemos destacar Benny Goodman, Thelonious Monk, Dizzie Gillespie, Buddy Rich, Quincy Jones, Zoot Sims, Lee Konitz, Jean-Luc Ponty, Tom Harrell, John Riley e Hal Galper, entre muitos outros. Para além das suas inúmeras contribuições como sideman, é igualmente relevante o facto de Woods ter liderado as suas próprias bandas desde meados da década de 1950, através das quais refrescou a tradição bop com as suas composições e solos contagiantes.

O estilo de Woods no saxofone alto ajudou a definir uma escola de estilistas pós Charlie Parker na linha de músicos como Cannonball Adderley. O vocabulário básico de Parker foi extendido a um fraseado mais amplo e o tom encorpado de Woods, ocasionalmente decorado por rosnados e outras inflexões pelo blues, faz dele um executante excitante e facilmente reconhecível.

Abandonando uma carreira promissora nos Estados Unidos como leader e sideman, Woods rumou á Europa, acreditando que esta seria um lugar mais saudável para um músico de jazz (tanto política como culturalmente). E foi em Paris, num curto espaço de tempo, que Woods formou a sua European Rhythm Machine com Daniel Humair na bateria, Henri Texier no baixo e George Gruntz no piano (mais tarde substituido por Gordon Beck).

Editado pela quase desconhecida editora discográfica fundada pelo desenhador de alta-costura Pierre Cardin, e mais tarde pela norte americana Inner City, “Phil Woods And His European Rhythm Machine” revela-nos uma nova fase da carreira de Woods como músico e compositor. Mesmo não sendo um disco muito representativo para os seus seguidores mais tradicionais, esta estreia de estúdio com a sua formação Europeia é seguramente uma obra relevante para a carreira mais exploratória de Phil Woods e para o Jazz feito no velho continente.

Sob a direcção artística de Emmanuel “Pinpin” Sciot, a peculiar ilustração da capa (e contra-capa) foi deixada a cargo de um artista inglês conhecido sobretudo pela criação de estranhas invenções mecânicas. Numa espécie de sátira á evolução tecnológica, Rowland Emett dá aso à sua imaginação com um divertido desenho do computador “Fleur Bleue”, imaginado para a Honeywell Inc.

Quanto á música, a introdução faz-se ao som de “Chromatic Banana”, por certo o mais representativo dos temas deste àlbum. Ao longo de 12 minutos, Wood e os seus pares dão corpo a uma variada palete de sons que variam entre um Jazz de fusão, intenso e ritmado, e momentos de maiores contornos atmosféricos. Sob a excelente marcação de Texier e Humair, e um teclado que nos transporta para o psicadelismo de discos como “Bitches Brew”, o saxofone de Woods eleva esta peça para territórios mais próximos do jazz avant-garde. Na segunda metade, o tema incorre por momentos de uma agradável libertação improvisacional, com um imenso solo de Texier acompanhado pela sua voz (ao que se julga) em jeito de scat-singing. “C'est pas mal”, ouve-se no final, antes de uma nova investida do quarteto.

Da autoria de Gordon Beck, “Ultimate Choice” tem por base um diálogo piano/saxofone alto, onde o registo mais bopiano de Woods é fundido sob uma estrutura rápida e complexa. Assemelhando-se ao vôo de um moscardo, as investidas alucinantes do saxofonista são equilibradas por uma secção rítmica marcada por um entusiasmo captivante que culmina num belo solo de bateria.

Numa toada morna, o lado B tem início com a conhecida composição de Phil Woods “The Last Page”, aqui recriada com uma sonoridade marcada pelos teclados de Gordon Beck mas também pela abordagem de Woods que aqui recorre a instrumentos como o clarinete e o saxofone varitono (para além do habitual alto). Numa combo composicional, "The Last Page” funde-se com “Sans Melodie" de Gordon Beck, numa ponte entre a balada e um ritmo mais bop/rock.

Por caminhos com laivos de rock progressivo, o curto "A Look Back" (que estabelece a ligação ao tema final) é marcado pela espontaneidade e sentido exploratório de Phil Woods numa aventura com o recurso a um gravador e a uma percussão variada. Por fim, em mais um tema da autoria de Beck, "The Day When the World..." é introduzido ao sabor folk do piano eléctrico Hohner para se deslocar para um ritmado rock de fusão. Concluindo de uma forma original, os músicos são apresentados (em inglês e francês) por um dos filhos de Phil Woods que termina desta forma: -“From America, my dad Phil Woods on alto saxophone”. -”Non, c'est mon Pápá, Philippe du Bois, from France!”

Por tudo isto, podemos dizer que estamos perante uma agradável mistura de um bop mais direto com momentos de uma experimentação mais vanguardista. A música deste registo é imprevisível, espirituosa, estimulante e cheia de surpresas, com um Gordon Beck em grande nível e um Phil Woods a pensar “fora da caixa”, sem no entanto perder a sua identidade. Efectivamente, os teclados (piano e orgão) de Gordon Beck e as formas mais libertadoras adoptadas por Phil Woods, parecem constituir as principais marcas diferenciadoras desta sessão. Contudo, os restantes membros não podem de forma alguma ser desassociados da sonoridade global deste trabalho. As formas fluentes e inventivas de Henri Texier (contra-baixo, flautas, percussão e voz) bem como a criatividade e a abordagem poli-rítmica de Daniel Humair (bateria e percussão) são elementos igualmente cruciais para a veia mais exploratória que ressalta desta sessão.

De entre os vários detalhes curiosos, destaca-se uma transcrição (na capa interior) de uma correspondêcia recebida de um admirador descontente com a nova direcção que Phil Woods decidira tomar neste álbum. “What happened? Where's the melody? What the hell is a Chromatic Banana” são algumas das perguntas que Woods faz questão de responder com uma divertida abordagem num tom algo jocoso. De resto, ao longo das notas do disco, são vários os comentários hilariantes que deixam transparecer a jovialidade e o clima da boa disposição reinante durante a feitura desta gravação.

Um dos maiores saxofonistas “bop” de todos os tempos, Phil Woods teve uma carreira longa e produtiva mas a sua passagem pela Europa viria a marcar em definitivo o seu percurso no jazz. Embora tenha novamente mudado de direcção depois de regressar aos Estados Unidos, a música criativa e colorida que tocou durante a sua estadia na Europa (mesmo não sendo consensual junto dos seus seguidores) constitui uma inegável marca de referência no seu percurso artístico.

Mister W

A reprodução dos conteúdos deste espaço é expressamente proibida. A mesma só poderá ocorrer com a autorização prévia do autor. Para tal, favor contactar [email protected]

#Phil Woods #Phil Woods and his European Rhythm Machine #Gordon Beck #henri texier #daniel humair #1974 #Les Disques Pierre Cardin #Reviews

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