{"id":10110,"date":"2014-01-30T11:10:45","date_gmt":"2014-01-30T10:10:45","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=10110"},"modified":"2016-11-13T17:16:47","modified_gmt":"2016-11-13T16:16:47","slug":"frank-wess-magic-201-ipo-recordings-2014-en-la-casa-del-mundo-lxviii","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/frank-wess-magic-201-ipo-recordings-2014-en-la-casa-del-mundo-lxviii\/","title":{"rendered":"Frank Wess: Magic 201 (IPO Recordings, 2014) [En \u00abLa Casa del Mundo\u00bb (LXVIII)]"},"content":{"rendered":"<p style=\"text-align: justify;\"><em><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-10111\" alt=\"frankwess_magic201_dm\" src=\"http:\/\/www.tomajazz.com\/web\/wp-content\/uploads\/2014\/01\/frankwess_magic201_dm-200x200.jpg\" width=\"200\" height=\"200\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/01\/frankwess_magic201_dm-200x200.jpg 200w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/01\/frankwess_magic201_dm-150x150.jpg 150w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/01\/frankwess_magic201_dm-55x55.jpg 55w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/01\/frankwess_magic201_dm.jpg 500w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/>Magic 201*<\/em>, grabaci\u00f3n p\u00f3stuma de Frank Wess, podr\u00eda llegar a verse como una estrategia comercial. Un lanzamiento a la sombra de su fallecimiento el pasado mes de octubre de 2013, o quiz\u00e1s como la continuaci\u00f3n del magn\u00edfico <em><a title=\"Frank Wess: Magic 101 (IPO Recordings, 2013) [AKA Veteranos en la brecha LVII] [En &quot;La Casa del Mundo&quot; (LVII)]\" href=\"http:\/\/www.tomajazz.com\/web\/?p=8384\" target=\"_blank\">Magic 101<\/a><\/em>. Sin embargo, hay al menos diez razones que contradicen este planteamiento. El primero, es que en esta grabaci\u00f3n Frank Wess toca la flauta, adem\u00e1s del saxo tenor. El segundo motivo es que las fechas de grabaci\u00f3n, aunque cercanas son diferentes. <em>Magic 101<\/em>\u00a0est\u00e1 grabado en junio de 2011, mientras que <em>Magic 201<\/em> es de septiembre. Repiten Kenny Barron (piano) y Winard Harper (bater\u00eda). El contrabajista en esta ocasi\u00f3n es Rufus Reid (en vez de Kenny Davis), y el cuarteto crece hasta quinteto con la incorporaci\u00f3n del guitarrista Russell Malone. Las otras ocho razones van en bloque. Son los ocho temas que incluye la grabaci\u00f3n. El repertorio, nuevamente aparece repartido entre baladas y medios tiempos, temas con un <em>swing<\/em> contagioso, y blues. Wess en este caso aporta dos temas, mientras que el resto son en su mayor\u00eda unos temas muy conocidos. El resultado vuelve a ser sumamente satisfactorio, un magn\u00edfico epitafio discogr\u00e1fico para la carrera de este veterano.<\/p>\n<p style=\"text-align: right;\">\u00a9 Pachi Tapiz, 2014<\/p>\n<p style=\"text-align: left;\"><em>* Magic 201<\/em> se publicar\u00e1 el 12 de febrero de 2014.<\/p>\n<p style=\"text-align: justify;\">Frank Wess: <em>Magic 201<\/em><\/p>\n<p style=\"text-align: justify;\">Frank Wess (saxo tenor y flauta), Kenny Barron (piano), Russell Malone (guitarra), Rufus Reid (contrabajo), Winard Harper (bater\u00eda)<\/p>\n<p style=\"text-align: justify;\">\u00abIt Could Happen To You\u00bb (Burke, van Heusen), \u00abA Cottage For Sale\u00bb (Conley, Robinson), \u00abAfter Paris\u00bb (Sir Roland Hanna), \u00abThe Summer Knows\u00bb (Bergman, Legrand), \u00abEmbraceable You\u00bb (George &amp; Ira Gershwin), \u00abBlues For Ruby\u00bb (Frank Wess), \u00abIf You Can&#8217;t Call, Don&#8217;t Come\u00bb (Frank Wess), \u00abIf It&#8217;s The Last Thing I Do\u00bb (Chaplin &amp; Cahn)<\/p>\n<p style=\"text-align: justify;\">Grabado el 26 y 27 de septiembre de 2011 en Avatar Studios, New York City. Publicado en 2014 por IPO Recordings.<\/p>\n<p style=\"text-align: justify;\">Escuchar \u00abIt Could Happen To You\u00bb en <em>La Casa del Mundo<\/em>:<\/p>\n<p style=\"text-align: justify;\"><object id=\"player2775670\" width=\"240\" height=\"133\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http:\/\/download.macromedia.com\/pub\/shockwave\/cabs\/flash\/swflash.cab#version=6,0,40,0\"><param name=\"AllowScriptAccess\" value=\"always\" \/><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"wmode\" value=\"transparent\" \/><param name=\"src\" value=\"http:\/\/www.ivoox.com\/playerivoox_ee_2775670_1.html\" \/><param name=\"allowfullscreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><\/object><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Magic 201*, grabaci\u00f3n p\u00f3stuma de Frank Wess, podr\u00eda llegar a verse como una estrategia comercial. Un lanzamiento a la sombra de su fallecimiento el pasado mes de octubre de 2013, o quiz\u00e1s como la continuaci\u00f3n del magn\u00edfico Magic 101. Sin embargo, hay al menos diez razones que contradicen este planteamiento.<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/frank-wess-magic-201-ipo-recordings-2014-en-la-casa-del-mundo-lxviii\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":10112,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17847,4313,5,1038,4758],"tags":[12651,4797,7507,12696,7458,13,12415,15295,7508,6100,31,8238,8237,16099,77,16100,7510],"class_list":["entry","author-pachi","post-10110","post","type-post","status-publish","format-standard","has-post-thumbnail","category-pachi-tapiz","category-bun","category-grabaciones","category-contenidos","category-blogs","tag-cd","tag-en-la-casa-del-mundo","tag-frank-wess","tag-grabaciones","tag-ipo-recordings","tag-jazz","tag-jazz-en-espana","tag-jazz-en-espanol","tag-kenny-barron","tag-la-casa-del-mundo","tag-pachi-tapiz","tag-rufus-reid","tag-russell-malone","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz","tag-winard-harper"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/01\/frankwess_magic201_dm1.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":8384,"url":"https:\/\/tomajazz.com\/web\/frank-wess-magic-101-ipo-recordings-2013-aka-veteranos-en-la-brecha-lvii-en-la-casa-del-mundo-lvii\/","url_meta":{"origin":10110,"position":0},"title":"Frank Wess: Magic 101 (IPO Recordings, 2013) [AKA Veteranos en la brecha LVII] [En \u00abLa Casa del Mundo\u00bb (LVII)]","author":"Tomajazz","date":"10 octubre, 2013","format":false,"excerpt":"En 2011, con casi 90 inviernos a sus espaldas, el saxofonista y flautista Frank Wess (1922) grab\u00f3 Magic 101, acompa\u00f1ado por tres m\u00fasicos pertenecientes a dos generaciones distintas: el veterano Kenny Barron (piano, 1943) y los \"j\u00f3venes\" Kenny Davis (contrabajo, 1961) y Winard Harper (bater\u00eda, 1962). Los cuatro m\u00fasicos afrontan\u2026","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"Frank Wess Magic 101","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2013\/10\/Frank-Wess-Magic-101.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":59944,"url":"https:\/\/tomajazz.com\/web\/jazzx5-centennial-384-frank-wess-all-too-soon-magic-101-ipo-recordings-2013-minipodcast-de-jazz-por-pachi-tapiz-jazzx5-centennial-001\/","url_meta":{"origin":10110,"position":1},"title":"JazzX5 Centennial #384: Frank Wess. \u00abAll Too Soon\u00bb [Magic 101 (IPO Recordings, 2013)] [Minipodcast de jazz] Por Pachi Tapiz [JazzX5 Centennial 001]","author":"Tomajazz","date":"4 enero, 2022","format":false,"excerpt":"En 2022 se cumple el centenario del nacimiento de Frank Wess. En JazzX5 el tema \"All Too Soon\" que se publicaba en Magic 101 (IPO Recordings, 2013). JazzX5 es un podcast de Pachi Tapiz.","rel":"","context":"En \u00abJazzX5\u00bb","block_context":{"text":"JazzX5","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/sonidos\/podcast\/jazzx5\/"},"img":{"alt_text":"JazzX5 Centennial #384: Frank Wess. \"All Too Soon\" [Magic 101 (IPO Recordings, 2013)] [Minipodcast de jazz] Por Pachi Tapiz [JazzX5 Centennial 001]","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/01\/JazzX5_384.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/01\/JazzX5_384.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/01\/JazzX5_384.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2022\/01\/JazzX5_384.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":9119,"url":"https:\/\/tomajazz.com\/web\/frank-wess-in-memorian\/","url_meta":{"origin":10110,"position":2},"title":"Frank Wess: In Memoriam","author":"Tomajazz","date":"7 noviembre, 2013","format":false,"excerpt":"\u00a0 His nickname: you know, all the guys of his generation, Jimmy Heath and them, they call him 'Magic...' and when he plays that's what it's like: there's nothing wasted; all the notes mean someting, and he has that thing that I really think a lof of the younger players\u2026","rel":"","context":"En \u00abA Fondo\u00bb","block_context":{"text":"A Fondo","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/afondo\/"},"img":{"alt_text":"Frank Wess","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2013\/11\/Frank-Wess.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":31696,"url":"https:\/\/tomajazz.com\/web\/hdo-295-una-hora-con-frank-wess-podcast\/","url_meta":{"origin":10110,"position":3},"title":"HDO 295. Una hora con\u2026 Frank Wess [Podcast]","author":"Tomajazz","date":"29 julio, 2017","format":false,"excerpt":"Frank Wess\u00a0(1922 - 2013) es un flautista y saxofonista bien conocido por su pertenencia durante m\u00e1s de una d\u00e9cada a la orquesta de\u00a0Count Basie, con una larga carrera como\u00a0sideman\u00a0y acompa\u00f1ante de otros artistas. En\u00a0HDO 295 dedicamos una nueva entrega de\u00a0Una hora con...\u00a0a sus grabaciones de mediados de los a\u00f1os 50\u00a0Jazz\u2026","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"HDO 295. Una hora con\u2026 Frank Wess [Podcast]","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/07\/Frank-Wess_Steamin_Prestige_1963.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":99022,"url":"https:\/\/tomajazz.com\/web\/vvaa-jazz-dispensary-night-lights-2025\/","url_meta":{"origin":10110,"position":4},"title":"Various Artists: Jazz Dispensary Night Lights (Craft Recordings; 2025) Por Pachi Tapiz [Grabaci\u00f3n de jazz]","author":"Tomajazz","date":"19 octubre, 2025","format":false,"excerpt":"Jazz Dispensary Night Lights (Craft Recordings; 2025) es un recopilatorio del sello Moodsville publicado con motivo del Records Store Day. Pachi Tapiz repasa la grabaci\u00f3n. Con Frank Wess, Coleman Hawkins, Kenny Burrell y otros...","rel":"","context":"En \u00abGrabaciones...\u00bb","block_context":{"text":"Grabaciones...","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/textos\/grabaciones\/"},"img":{"alt_text":"Various Artists: Jazz Dispensary Night Lights (Craft Recordings; 2025) Por Pachi Tapiz [Grabaci\u00f3n de jazz] - Tomajazz - Jazz Dispensary \u2013 Night Lights (Craft Recordings; 2025) es un recopilatorio del sello Moodsville publicado con motivo del Records Store Day. Pachi Tapiz repasa la grabaci\u00f3n. Con Frank Wess, Coleman Hawkins, Kenny Burrell y otros...","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/10\/vvaa-Jazz-Dispensary-Night-Lights-Tomajazz-2025.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/10\/vvaa-Jazz-Dispensary-Night-Lights-Tomajazz-2025.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/10\/vvaa-Jazz-Dispensary-Night-Lights-Tomajazz-2025.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/10\/vvaa-Jazz-Dispensary-Night-Lights-Tomajazz-2025.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":28441,"url":"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-un-tema-april-in-paris-1932-6\/","url_meta":{"origin":10110,"position":5},"title":"365 razones para amar el jazz: un tema. \u00abApril in Paris\u00bb (1932) [6]","author":"Tomajazz","date":"6 enero, 2017","format":false,"excerpt":"Un tema. \"April in Paris\" (1932) \u00a0M\u00fasica: Vernon Duke. Letra: E.Y. Harburg Seleccionado por Luis Escalante Ozalla Count Basie Orchestra. April in Paris (1956) Count Basie, Reunald Jones, Thad Jones, Joe Newman, Wendell Culley, Benny Powell, Henry Coker, Matthew Gee, Marshal Royal, Bill Graham, Frank Wess, Frank Foster, Charlie Fowlkes,\u2026","rel":"","context":"En \u00ab*_Luis Escalante Ozalla\u00bb","block_context":{"text":"*_Luis Escalante Ozalla","link":"https:\/\/tomajazz.com\/web\/category\/luis-escalante-ozalla\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/01\/Count-Basie-and-his-orchestra_April-In-Paris_Verve_1956.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/01\/Count-Basie-and-his-orchestra_April-In-Paris_Verve_1956.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/01\/Count-Basie-and-his-orchestra_April-In-Paris_Verve_1956.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/01\/Count-Basie-and-his-orchestra_April-In-Paris_Verve_1956.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/10110","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=10110"}],"version-history":[{"count":3,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/10110\/revisions"}],"predecessor-version":[{"id":10130,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/10110\/revisions\/10130"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media\/10112"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=10110"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=10110"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=10110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}