{"id":10117,"date":"2014-01-30T11:20:12","date_gmt":"2014-01-30T10:20:12","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=10117"},"modified":"2016-11-13T23:37:12","modified_gmt":"2016-11-13T22:37:12","slug":"jack-nimitz-and-friends-yesterday-and-today-fresh-sound","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/jack-nimitz-and-friends-yesterday-and-today-fresh-sound\/","title":{"rendered":"Jack Nimitz and friends… Yesterday and Today<\/i> (Fresh Sound)"},"content":{"rendered":"

\"JackEl sello Fresh Sound lleva m\u00e1s de un cuarto de siglo se\u00f1al\u00e1ndonos joyas del pasado del jazz que en muchos casos quedar\u00edan sepultadas en el olvido. Aqu\u00ed Jordi Pujol va un paso m\u00e1s all\u00e1 y nos trae un elep\u00e9 del sello ABC-Paramount producido por Creed Taylor que nunca lleg\u00f3 a publicarse, a nombre del bar\u00edtono Jack Nimitz, combinado con otra sesi\u00f3n del mismo l\u00edder, realizada cincuenta (50) a\u00f1os m\u00e1s tarde.<\/p>\n

Del in\u00e9dito hay que destacar su bueno sonido \u2013\u00a1extraordinario el contrabajo!\u2013, de cuya fuente no se dan detalles, aunque es probable que la proporcionase el propio Nimitz, que figura como productor del ced\u00e9. En sus extensas anotaciones el brit\u00e1nico Alun Morgan explica por qu\u00e9 qued\u00f3 in\u00e9dita esta grabaci\u00f3n, que viene a ser un quinteto de bar\u00edtono y tromb\u00f3n m\u00e1s r\u00edtmica acompa\u00f1ado por un quinteto de dos violines y tres chelos, con arreglos de Bob Zieff (que a algunos les sonar\u00e1 por sus composiciones para Chet Baker y Dick Twardzik).<\/p>\n

Nimitz es, sobre todo por su sonido, un seguidor de Gerry Mulligan, mientras que Bill Harris solea como acostumbraba, aqu\u00ed m\u00e1s l\u00edrico que socarr\u00f3n, y sorprende en los acompa\u00f1amientos (no era un buen lector de partituras). Con respecto a la r\u00edtmica, los cinco primeros temas parecen proceder de la misma sesi\u00f3n, la tercera, en la que, a estos o\u00eddos, el guitarrista es Kenny Burrell y el bajista, Oscar Pettiford.<\/p>\n

En cuanto a las cuerdas, no son un mero tel\u00f3n de fondo, sino que Zieff logra que interact\u00faen con los vientos. En lo que parece haber sido la primera sesi\u00f3n los arreglos son a\u00fan m\u00e1s jugosos en \u201cSomebody Loves Me\u201d y \u201cLean on Me\u201d \u2013parece que funcionan mejor los chelos que los violines\u2013 y hay un par de solos breves de viol\u00edn que probablemente sean de Harry Lookofsky.<\/p>\n

La segunda parte, con Nimitz al frente cincuenta a\u00f1os despu\u00e9s, est\u00e1 dedicada a un quinteto de dos bar\u00edtonos, m\u00e1s r\u00edtmica cl\u00e1sica. Al escuchar el disco seguido se produce cierto impacto por la l\u00f3gica\u00a0 diferencia de sonido, que va a mejor, salvo en el contrabajo, instrumento al que la amplificaci\u00f3n no le sienta bien para el que suscribe.<\/p>\n

A sus 77 a\u00f1os, y a escasos meses de su fallecimiento, Nimitz suena en plena forma, de potencia \u2013hay que mover la columna de aire de un bar\u00edtono\u2013 y de ideas. El repertorio lo conforman standards \u2013o derivados con t\u00edtulos poco disimulados como \u201cMore Friends\u201d y \u201cAll You Are\u201d\u2013 L\u00f3gicamente los arreglos en esta parte son m\u00e1s sencillos, aunque resultan particularmente atractivos cuando los dos saxos permanecen en la parte m\u00e1s baja de su tesitura o, como en \u201cMore Friends\u201d y \u201cIt Is You or No One\u201d, comparten un pasaje de improvisaci\u00f3n simult\u00e1nea sin acompa\u00f1amiento.<\/p>\n

Recomendado, tanto por la demostraci\u00f3n de \u201cexperimentaci\u00f3n tranquila\u201d de la parte m\u00e1s a\u00f1eja, como por la m\u00e1s reciente doble raci\u00f3n de bar\u00edtono.<\/p>\n

\u00a9\u00a0Fernando Ortiz de Urbina<\/a>, 2014<\/p>\n

Disco disponible en Spotify: http:\/\/open.spotify.com\/album\/7M1M74VATiOOeOMzGNr7w2<\/a><\/p>\n

Jack Nimitz and friends… Yesterday and Today<\/em><\/p>\n

Composiciones:<\/p>\n

\u00abLong Ago and Far Away\u00bb (Gershwin\/Kern), \u00abA Handful of Stars\u00bb (Lawrence\/Shapiro), \u00abYou and the Night and the Music\u00bb (Dietz\/Schwartz), \u00abSoftly, As In a Morning Sunrise\u00bb (Hammerstein II\/Romberg), \u00abThe Love Nest\u00bb (Harbach\/Hirsch), \u00abAutumn Nocturne\u00bb (Gannon\/Myrow), \u00abSomebody Loves Me\u00bb (MacDonald\/De Sylva\/Gerhswin), \u00abLean on Me\u00bb (Waldman\/Greene), \u00abShine\u00bb (Mack\/Brown\/Dabney);<\/p>\n

\u00abBernie’s Tune\u00bb (Bernie Miller), \u00abWaltz This!\u00bb (Barone), \u00abMore Friends\u00bb (Nimitz), \u00abGroovin’ High\u00bb (Gillespie), \u00abAll You Are\u00bb (Nimitz), \u00abWell, You Needn’t\u00bb (Monk), \u00abPolka Dots and Moonbeams\u00bb (Burke\/Van Heusen), \u00abIt’s You or No One\u00bb (Chan\/Styne).<\/p>\n

M\u00fasicos:<\/p>\n

1-9: Jack Nimitz (saxo bar\u00edtono), Bill Harris (tromb\u00f3n), Kenny Burrell, Chuck Wayne o Jimmy Raney (guitarra), Oscar Pettiford o Russ Saunders (contrabajo), Don Lamond o Ted Somner (bater\u00eda), Gene Orloff, Harry Lookofsky o Dick Whetmore (violines), Seymour Barab, George Koutzen, George Ricci, Alan Schulman, Lucien Schmidt o Harvey Shapiro (chelos).<\/p>\n

10-17: Jack Nimitz (saxo bar\u00edtono-canal dcho.), Adam Schroeder (saxo bar\u00edtono-canal izdo.), John Campbell (piano), Dave Carpenter (contrabajo), Joe La Barbera (bater\u00eda).<\/p>\n

Grabado el\u00a01-9: marzo de 1957.*\u00a010-17: 14 de enero de 2007.\u00a0Fresh Sound Records.\u00a0FSR 5047 CD<\/p>\n

* Seg\u00fan la discograf\u00eda del sello ABC-Paramount de Michel Ruppli (Names & Numbers, 2007) las fechas de las sesiones son 28 de enero, 16 de abril y 10 de mayo de 1957.<\/p>\n","protected":false},"excerpt":{"rendered":"

El sello Fresh Sound lleva m\u00e1s de un cuarto de siglo se\u00f1al\u00e1ndonos joyas del pasado del jazz que en muchos casos quedar\u00edan sepultadas en el olvido. Aqu\u00ed Jordi Pujol va un paso m\u00e1s all\u00e1 y nos trae un elep\u00e9 del sello ABC-Paramount producido por Creed Taylor que nunca lleg\u00f3 aContin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":10118,"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":[17863,5,1038],"tags":[1321,925,8257,8254,8241,12651,8242,8259,8250,8246,465,8239,8248,8252,8253,12696,8249,8256,8240,13,12415,15295,8243,8260,8258,7037,8255,8244,8245,8251,8247,16099,77,16100],"class_list":["entry","author-pachi","post-10117","post","type-post","status-publish","format-standard","has-post-thumbnail","category-fernando-ortiz-de-urbina","category-grabaciones","category-contenidos","tag-1321","tag-925","tag-adam-schroeder","tag-alan-schulman","tag-bill-harris","tag-cd","tag-chuck-wayne","tag-dave-carpenter","tag-dick-whetmore","tag-don-lamons","tag-fernando-ortiz-de-urbina","tag-fesh-sound","tag-gene-orloff","tag-george-koutzen","tag-george-ricci","tag-grabaciones","tag-harry-lookofsky","tag-harvey-shapiro","tag-jack-nimitz","tag-jazz","tag-jazz-en-espana","tag-jazz-en-espanol","tag-jimmy-raney","tag-joe-labarbera","tag-john-campbell","tag-kenny-burrell","tag-lucien-schmidt","tag-oscar-pettiford","tag-russ-saunders","tag-seymour-barab","tag-ted-sommer","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/01\/Jack-Nimitz-and-friends_yesterday-and-today.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":10152,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-cd-in-a-cello-mood-oscar-pettiford\/","url_meta":{"origin":10117,"position":0},"title":"Tomajazz recomienda… un CD: In A Cello Mood (Oscar Pettiford)","author":"Tomajazz","date":"3 febrero, 2014","format":false,"excerpt":"Adem\u00e1s de ser un gran contrabajista, Oscar Pettiford fue uno de los pioneros en la utilizaci\u00f3n del violonchelo como instrumento solista en el jazz, un papel muy diferente al de su participaci\u00f3n como integrante en las secciones de cuerda. 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Interpretado por Stan Kenton Orchestra: Standards in Silhouette (1959) Stan Kenton, Pete Chivily, Jimmy Campbell, Tommy Lopez, Bud Brisbois, Clyde Reasinger, Bill Chase, Rolf Ericson, Roger Middleton, Dalton Smith, Archie LeCoque, Kent Larsen, Don Sebesky, Jim Amlotte, Bobby Knight, Charlie\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\/03\/Stan-Kenton_Standards-In-Silhouette.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":102179,"url":"https:\/\/tomajazz.com\/web\/lena-bloch-marina-2025\/","url_meta":{"origin":10117,"position":4},"title":"Lena Bloch: Marina (Fresh Sound Records; 2025) Por Pachi Tapiz [Grabaci\u00f3n de jazz]","author":"Tomajazz","date":"25 noviembre, 2025","format":false,"excerpt":"Marina (Fresh Sound Records; 2025) es la nueva grabaci\u00f3n de la saxofonista Lena Bloch. 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