蓝米切尔 - “”
如果你听一会儿，从侧面温顿·凯利钢琴出来的混蛋。而小号和钢琴对方索赔这么有个性，喜欢互相增进彼此不允许其他后续。我会本能地说声“谢谢”。当然，萨姆 - 琼斯的基础罗伊·布鲁克斯，也鼓，同时建立了牢固的整体旋律，公司已经在适当的独奏部分主见。我认为它揉揉我的爵士乐Korezo。
Blue Mitchell -- "Blue's Moods"
今朝の一枚は・・・ Blue Mitchell の人気定盘 "Blue's Moods" --- これは谁が何と言おうと、理屈抜きで素晴らしい！
トランペットの音色に派手さはなく、どちらかというと大人しい感じの Blue Mitchell ・・・だからこそ Blue のニックネームなのだとどこかに书いてあったが、本当に聴き易く亲しみが持てる。「人懐こい」という形容词がぴったりかもしれない。
同じテンダー系のトランペットでも Kenny Dorham や Art Farmer は、むしろ夜の部にとっておきたいところだ。一曲目 ”I'll Close My Eyes” 、曲名はあまり朝向きでないけれど、曲调はまさにお目覚めミュージックとして最高、メリハリのよいトランペットの音で、一発で "メガシャキ" になっちゃう。
しばらく聴いていると、横からWynton Kelly のピアノがぐいぐい出てくる。トランペットとピアノがこんなにも个性を主张し合いながらも、お互いを高め合う様は、他の追従を许さない。思わず「ありがとう」と言ってしまう。もちろん、Sam Jones のベース、Roy Brooks の ドラムスも、しっかり全体の曲调を整えながら、ソロ・パートが来ればしっかり自己主张している。これぞジャズってもんだよね。
それにしても、寂しいことに Blue Mitchell のリーダー・アルバムが我が家にはこれ一枚しかない ・・・ 。ブログで取り上げるからには多少とも他のアルバムも聴いておかねばと、さっそく M师匠に頼んで何枚か贷してもらう。
”Boss Horn" や "The Thing To Do"といった BLUENOTE 盘も素晴らしいが、个人的には初期の RIVERSIDE のものが気に入った。
个人的な好みではあるが、豪华な2管、3管编成よりも、少しでも彼のトランペットがフロントから聴こえるもの、端的に言えばとワンホーンこそがお似合いなんじゃないかと思う。"Blue's Moods" の一年前にリリースされた "Blue Soul"（右写真）などは、ワン・ホーン・カルテットの演奏が随所にちりばめてあって、そういう意味では、"Blue's Moods" との繋がりで楽しめる。この盘の #2. The Way You Look Tonight、#3. Park Avenue Petite などは特にお勧め。
Blue's Moods, Riverside RLP9336, 1960
Richard "BLUE" Mitchell (tp)
Wynton Kelly (pf)
Sam Jones (
Roy Brooks (ds)
艺人 Blue Mitchell (布鲁‧米契尔)
布鲁米契尔／BLUE MITCHELL [所有作品]
发行公司： RIVERSIDE [发行商品]
发行类型： 流行 . CD . 英文 .
Styles Hard Bop Jazz Instrument Trumpet Jazz
Recording DateAugust 24, 1960 & August 25, 1960
AllMusic Review by Scott Yanow
Of trumpeter Blue Mitchell's seven Riverside recordings, only this set -- along with three numbers on Blue Soul -- feature Mitchell as the only horn. Joined by pianist Wynton Kelly, bassist Sam Jones, and drummer Roy Brooks, the trumpeter is typically distinctive, swinging, and inventive within the hard bop genre. He performs four standards, plus Ronnell Bright's "Sweet Pumpkin," the obscure "Avars," and a pair of originals in fine fashion.
Audio CD (September 26, 1994)
Number of Discs: 1
Label: Original Jazz Classics
Average Customer Review: 4.4 out of 5 stars
Blue Mitchell – Blue’s Moods
Blue Mitchell – Blue’s Moods
[Riverside Records OJCCD-138-2]
Richard Allen plays the Blues
Following in the footsteps of fellow trumpeters, Fats Navarro, and Clifford Brown, Richard Allen Mitchell, most commonly known as “Blue,” made his mark as one of the young up-and-coming trumpet players as part of the Horace Silver Quintet, and particularly after it disbanded. Compared to trumpet greats, Miles Davis and Dizzy Gillespie, his tone would be considered on the lighter side of dynamic yet strong enough to allow him to lead his own band. Blue’s voice on the trumpet was reminiscent of the legendary Clifford Brown, who crafted his sound after Navarro. His lines were richly melodic, ala Brown’s, without Brown’s technical expertise or genius. To his credit, he was able to produce a warm an inviting sound that was sweet and relaxed in its delivery. His smooth presentation (his greatest attribute) was part of the reason why he initially didn’t receive the credit he deserved. The other part was that his contemporaries’ style was felt to be much more aggressive.
Mitchell’s performances reached a new level after he signed with Riverside records as one of their front men. On one of his best-known recordings, Blue Soul, (the album that directly preceded Blue’s Moods), Mitchell established himself as an exceptional trumpet player, albeit in a three-horn ensemble. The frontline on that recording included Curtis Fuller on trombone and Jimmy Heath on tenor sax. Mitchell was definitely in good company but these performances were a prelude of some good things to come.
Fresh on the heels of the success of Blue Soul, he carried over his excellent performances to Blue’s Moods, in a more intimate quartet setting. On Blue’s Moods, Mitchell recorded a number of songs that I’m sure you will enjoy. The title of the CD would have you to believe that this is all about the blues but it happens to be a captivating rendition of some classics like “I’ll Close My Eyes”, “When I Fall In Love” “Scrapple From The Apple”, and my personal favorite, “I Wish I Knew”. It was an opportunity for Blue to demonstrate that he could solo within in a wide range of moods and tempos.
Mitchell had an excellent team of musicians to sit in with him on this session. Wynton Kelly on piano, Sam Jones on bass, and his bandmate from their earlier days with Horace Silver, Roy Brooks on drums. All three made up a strong supporting cast but Wynton had the unique ability to make just about everybody that he played with sound better. He was so admired by the legendary Ellis Marsalis that he named his second son after him.
The first selection and again, my favorite, “I Wish I Knew,” seemed tailor-made for him. Mitchell demonstrated from the very beginning, that this first selection would set the tone for the rest of the CD. Describing his performances is actually like creating an oxymoron somewhat akin to “silent thunder” or the “velvet hammer.” His sound had a commanding presence but wasn’t forceful. His performance was a statement that this was going to be a signature session and it was just an appetizer for some of the smorgasbord of music to come.
Track four, “Kinda Vague,” an original composition, is a nice mellow selection that features Wynton’s textured playing. He co-wrote this song with Mitchell so it didn’t come as a surprise that both men should share equally in the spotlights. Sam Jones set the tone for this selection with a slow, unobtrusive walking bass line. Mitchell’s contribution to this selection was comforting and peaceful. His solo performance was so moving that it was obvious that he was playing with a high level of confidence.
The other original piece on this CD, “Sir John,” is somewhat up-tempo but simple in its presentation. Here, Blue plays with excellent precision. He alternates between smooth, long movements and an occasional mild flare for the dramatic, but just when you think he might begin to ruin the mood, he succinctly brings you back with diplomatic charm. It is a fascinating piece of work that even the lesser knights should find enjoyable.
On this finely crafted CD you will hear a variety of material. The selections include some familiar classics, a beautiful piece by the infamous Charlie Parker, and of course some original compositions. Blue’s performances were stellar enough that he was secure in his ability to perform without the help of other horn players on this recording. His partnering with Wynton Kelly made a truly remarkable performance even better.
Blue’s Moods certainly qualifies as one of my favorites because it is an excellent recording and is the ideal CD to help accentuate an atmosphere of peace and tranquility. Listening to the material on this CD is a wonderful way to help you wind down while the lights are low.
So the next time you’re looking for a jazz CD that will help you relax after a long hard day of work I really believe that a copy of Blue’s Moods is just the ticket. Blue Mitchell did a wonderful job of providing a sound that was silky smooth. His ability to produce a CD that allowed him to be expressive should appeal to your tastes in traditional “straight ahead” jazz. But, keep in mind that just because the word “Blue’s” is in the title, doesn’t mean that it mostly favors the blues. It’s just an excellent collection of Richard Allen Mitchell’s musical moods. Highly recommended!
If you would like to contact Craig, you can e-mail him at Craigy_g2@yahoo.com
Richard Allen "Blue" Mitchell (March 13, 1930 – May 21, 1979) was an American jazz, rhythm and blues, soul, rock, and funk trumpeter, known for many albums recorded as leader and sideman for Riverside, Blue Note and then Mainstream Records.
1. I'll Close My Eyes
3. Scrapple From The Apple
4. Kinda Vague
5. Sir John
6. When I Fall In Love
7. Sweet Pumpkin
8. I Wish I Knew