{"id":1933,"date":"2010-12-24T09:00:35","date_gmt":"2010-12-24T07:00:35","guid":{"rendered":"http:\/\/torec.tomajazz.com\/?p=953"},"modified":"2019-04-21T20:24:43","modified_gmt":"2019-04-21T18:24:43","slug":"tomajazz-recomienda-un-disco-pretty-wild-and-with-strings-attached-wild-bill-davison-1956-y-1957","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-disco-pretty-wild-and-with-strings-attached-wild-bill-davison-1956-y-1957\/","title":{"rendered":"Tomajazz recomienda\u2026 un disco: \u00abPretty Wild\u00bb and \u00abWith Strings Attached\u00bb (Wild Bill Davison, 1956 y 1957)"},"content":{"rendered":"<p style=\"text-align: justify;\">Por <strong>Adolphus van Tenzing<\/strong>.<\/p>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-43013 size-medium\" src=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2010\/12\/Wilid-Bill-Davidson_pretty-wild-200x200.jpg\" alt=\"\" width=\"200\" height=\"200\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2010\/12\/Wilid-Bill-Davidson_pretty-wild-200x200.jpg 200w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2010\/12\/Wilid-Bill-Davidson_pretty-wild-150x150.jpg 150w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2010\/12\/Wilid-Bill-Davidson_pretty-wild-55x55.jpg 55w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2010\/12\/Wilid-Bill-Davidson_pretty-wild-50x50.jpg 50w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2010\/12\/Wilid-Bill-Davidson_pretty-wild.jpg 500w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/>En 1956, George Avakian grab\u00f3 a Wild Bill Davison acompa\u00f1ado de una orquesta de cuerda y la experiencia se repetir\u00eda al a\u00f1o siguiente con Irving Townsend como productor, tambi\u00e9n para Columbia Records.<\/p>\n<p style=\"text-align: justify;\">Este CD editado por Arbors, el sello americano de Rachel y Mat Domber, re\u00fane ambos trabajos. En <em>Pretty Wild<\/em>, con arreglos de Marty Manning, el contraste entre la corneta de Davison y la orquesta de cuerda (Percy Faith and his Strings) es impactante. A pesar de abandonar su tradicional repertorio <em>dixieland <\/em>por uno de baladas y <em>standards <\/em>y mostrar su lado m\u00e1s \u201csentimental\u201d, Davison sigue haciendo rugir, llorar y aullar a su instrumento, bajo el suave manto del et\u00e9reo sonido de las cuerdas. En <em>With Strings Attached<\/em>, Davison cede parte del protagonismo al resto de los solistas de la orquesta dirigida por Deane Kincaide, sobre todo al trombonista Cutty Cutshall y al clarinetista Bob Wilber.<\/p>\n<p style=\"text-align: justify;\">Tras el \u00e9xito comercial de las sesiones <em>Bird With Strings<\/em> de Charlie Parker, muchos m\u00fasicos de jazz se lanzaron a la aventura de grabar con una orquesta de cuerdas con resultados, en general, decepcionantes. Davison, que fue duramente criticado por el lado radical del trad jazz por estos discos, mantiene el tipo.<\/p>\n<p style=\"text-align: right;\">\u00a9\u00a0<strong>Adolphus van Tenzing<\/strong>, 2010<\/p>\n<p style=\"text-align: justify;\">Disponible en \u00ab<em>Pretty Wild\u00bb and \u00abWith Strings Attached\u00bb<\/em> (Arbors ARCD 19175)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Por Adolphus van Tenzing. En 1956, George Avakian grab\u00f3 a Wild Bill Davison acompa\u00f1ado de una orquesta de cuerda y la experiencia se repetir\u00eda al a\u00f1o siguiente con Irving Townsend como productor, tambi\u00e9n para Columbia Records. Este CD editado por Arbors, el sello americano de Rachel y Mat Domber, re\u00fane<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-disco-pretty-wild-and-with-strings-attached-wild-bill-davison-1956-y-1957\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1001004,"featured_media":43013,"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":[17860,1278,5,15517,1038,1273],"tags":[1320,1321,5366,1409,8703,1430,1588,1614,1628,1902,1966,1691,2089,2294,2352,22880],"class_list":["entry","author-adolphus-van-tenzing","post-1933","post","type-post","status-publish","format-standard","has-post-thumbnail","category-adolphus-van-tenzing","category-disco","category-grabaciones","category-textos","category-contenidos","category-tomajazz-recomienda","tag-1320","tag-1321","tag-adolphus-van-tenzing","tag-arbors","tag-arbors-arcd","tag-avakian-george","tag-columbia-records","tag-cutshall-cutty","tag-davison-wild-bill","tag-kincaide-deane","tag-manning-marty","tag-faith-percy","tag-percy-faith-and-his-strings","tag-townsend-irving","tag-wilber-bob","tag-wild-bill-davidson"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2010\/12\/Wilid-Bill-Davidson_pretty-wild.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":99,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-disco-lady-of-the-evening-wild-bill-davison-1980\/","url_meta":{"origin":1933,"position":0},"title":"Tomajazz recomienda\u2026 un disco: Lady Of The Evening (Wild Bill Davison, 1980)","author":"Adolphus van Tenzing","date":"29 junio, 2009","format":false,"excerpt":"Por\u00a0Adolphus van Tenzing. Esta grabaci\u00f3n, editada originalmente por el sello Fat Cat (CR-120) y dedicado a su esposa Annette, nos presenta a Wild Bill Davison en plena forma a sus 74 a\u00f1os y es, probablemente, su disco m\u00e1s completo y redondo en mucho tiempo. Acompa\u00f1ado por una secci\u00f3n r\u00edtmica de\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2009\/06\/Wild-Bill-Davison_lady-of-the-evening.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1931,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-tema-pinky-sarah-vaughan-1951\/","url_meta":{"origin":1933,"position":1},"title":"Tomajazz recomienda\u2026 un tema: \u201cPinky\u201d (Sarah Vaughan, 1951)","author":"Adolphus van Tenzing","date":"17 diciembre, 2010","format":false,"excerpt":"El 19 de septiembre de 1951, Sarah Vaughan grababa cuatro temas para Columbia, acompa\u00f1ada por una orquesta dirigida por Percy Faith. En esta \u00e9poca, Columbia trataba de publicitarla como una cantante \u201cseria\u201d, lo que se traduc\u00eda en numerosas ocasiones en pomposos arreglos y p\u00e9simo material y, por tanto, en un\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"The Chronological Sarah Vaughan 1951 1952","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2010\/12\/The-Chronological-Sarah-Vaughan-1951-1952-200x200.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2002,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-tema-cherokee-por-joe-wilder\/","url_meta":{"origin":1933,"position":2},"title":"Tomajazz recomienda&#8230; un tema: \u00abCherokee\u00bb (Joe Wilder, 1956)","author":"Adolphus van Tenzing","date":"6 junio, 2011","format":false,"excerpt":"Desde que Charlie Parker lo reconvirtiera en \"Koko\", el \"Cherokee\" de Ray Noble se convirti\u00f3 en caballo de batalla del jazz de los a\u00f1os cuarenta y cincuenta, el tema que hab\u00eda que tocar a toda potencia y velocidad, sus y a ellos, y tonto el \u00faltimo. El recurso m\u00e1s evidente\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2011\/06\/Joe-Wilder-Cherokee.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1967,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-musico-antti-sarpila\/","url_meta":{"origin":1933,"position":3},"title":"Tomajazz recomienda\u2026 un m\u00fasico: Antti Sarpila","author":"Adolphus van Tenzing","date":"23 marzo, 2011","format":false,"excerpt":"El clarinetista y saxofonista tenor y soprano Antti Sarpila es la prueba viviente de que a\u00fan en los lugares m\u00e1s g\u00e9lidos del planeta puede hacerse buen hot jazz. Nacido en Helsinki en 1964, Sarpila estudi\u00f3 con Bob Wilber -quien a su vez hab\u00eda estudiado con el maestro Sidney Bechet-, continuando\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"Swing Is Here. Allan Vach\u00e9 & Antti Sarpila","src":"https:\/\/i0.wp.com\/torec.tomajazz.com\/wp-content\/uploads\/2011\/02\/AllanVachAnttiSarpilla-SwingIsHere.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1956,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-tema-all-the-cats-join-in-buck-clayton-1956\/","url_meta":{"origin":1933,"position":4},"title":"Tomajazz Recomienda&#8230; un tema: \u00abAll The Cats Join In\u00bb (Buck Clayton, 1956)","author":"Adolphus van Tenzing","date":"23 febrero, 2011","format":false,"excerpt":"Los estudios de Columbia. Es el d\u00eda 5 de marzo de 1956, lunes. Los clubs est\u00e1n cerrados por descanso semanal. Seguramente es de noche. Once m\u00fasicos se lanzan sobre \"All The Cats Join In\", un tema antiguo, pensado para ser interpretado por Benny Goodman en la banda sonora de Make\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2021\/08\/Buck-Clayton_Jam-Sessions-From-The-Vault.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2021\/08\/Buck-Clayton_Jam-Sessions-From-The-Vault.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2021\/08\/Buck-Clayton_Jam-Sessions-From-The-Vault.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2021\/08\/Buck-Clayton_Jam-Sessions-From-The-Vault.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":9877,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-cd-cookin-complete-1956-1957-sessions-paul-gonsalves\/","url_meta":{"origin":1933,"position":5},"title":"Tomajazz recomienda&#8230; un CD: Cookin&#8217; (Paul Gonsalves)","author":"Adolphus van Tenzing","date":"13 enero, 2014","format":false,"excerpt":"El protagonista del festival de jazz de Newport del a\u00f1o 1956, fue indiscutiblemente Paul Gonsalves, el saxofonista de la orquesta de Duke Ellington. Su incendiario solo en \"Diminuendo and Crescendo In Blue\" es uno de esos momentos \u00fanicos al que a cualquier aficionado (y no s\u00f3lo al jazz) le hubiera\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"585px-Cookin'_(Paul_Gonsalves_album)","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2014\/01\/585px-Cookin_Paul_Gonsalves_album-200x205.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1933","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\/1001004"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=1933"}],"version-history":[{"count":3,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1933\/revisions"}],"predecessor-version":[{"id":43015,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1933\/revisions\/43015"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media\/43013"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=1933"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=1933"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=1933"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}