{"id":1954,"date":"2011-02-16T09:00:51","date_gmt":"2011-02-16T07:00:51","guid":{"rendered":"http:\/\/torec.tomajazz.com\/?p=1115"},"modified":"2016-11-13T20:11:18","modified_gmt":"2016-11-13T19:11:18","slug":"tomajazz-recomienda-un-cd-disorder-at-the-border-the-music-of-coleman-hawkins-bennie-wallace-2004","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-cd-disorder-at-the-border-the-music-of-coleman-hawkins-bennie-wallace-2004\/","title":{"rendered":"Tomajazz recomienda\u2026 un CD: Disorder At The Border. The Music Of Coleman Hawkins (Bennie Wallace, 2004)"},"content":{"rendered":"<figure id=\"attachment_1116\" aria-describedby=\"caption-attachment-1116\" style=\"width: 150px\" class=\"wp-caption alignright\"><a href=\"http:\/\/torec.tomajazz.com\/wp-content\/uploads\/2011\/01\/wallace.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-1116\" title=\"Disorder At The Border. The Music Of Coleman Hawkins. Bennie Wallace, 2004\" src=\"http:\/\/torec.tomajazz.com\/wp-content\/uploads\/2011\/01\/wallace.jpeg\" alt=\"Disorder At The Border. The Music Of Coleman Hawkins. Bennie Wallace, 2004\" width=\"150\" height=\"150\" \/><\/a><figcaption id=\"caption-attachment-1116\" class=\"wp-caption-text\">Disorder At The Border. The Music Of Coleman Hawkins. Bennie Wallace, 2004<\/figcaption><\/figure>\n<p style=\"text-align: justify;\">Bennie Wallace, a diferencia de la mayor parte de los saxofonistas tenores de su generaci\u00f3n, surgida a principios de los a\u00f1os 70, busc\u00f3 sus ra\u00edces m\u00e1s all\u00e1 de Coltrane, buceando en los tenores de la era del <em>swing<\/em>.<\/p>\n<p style=\"text-align: justify;\">Este disco, grabado en directo en el Festival de Jazz de Berl\u00edn en noviembre de 2004, conmemora el centenario del nacimiento del gran Coleman Hawkins. A la hora de preparar los temas, Wallace cont\u00f3 con la ayuda de la hija de Hawkins, Colette, encargada de administrar y perpetuar el legado de su padre.<\/p>\n<p style=\"text-align: justify;\">En formaci\u00f3n de noneto y con Terell Stafford (trompeta), Ray Anderson (tromb\u00f3n) y Jesse Davis (saxo alto) como acompa\u00f1antes m\u00e1s destacados, Wallace desarrolla extensas versiones de temas asociados al maestro: desde <em>standards <\/em>como \u201cBody And Soul\u201d o \u201cHoneysuckle Rose\u201d (a partir del arreglo de Benny Carter) hasta temas firmados por Hawkins como \u201cDisorder At The Border\u201d o \u201cBean And The Boys\u201d, pasando por un \u201cLa Rosita\u201d que recuerda a la versi\u00f3n que hicieran Hawkins y Webster para Norman Granz o un tema <em>gospel <\/em>como \u201cJoshua Fit The Battle Of Jericho\u201d.<\/p>\n<p style=\"text-align: justify;\">Combinando con acierto el clasicismo de su tenor con influencias m\u00e1s modernas (su fraseo y la aridez de su timbre nos recuerdan en ocasiones a Sonny Rollins), Wallace logra una mezcla que, parad\u00f3jicamente, suena fresca y original.<\/p>\n<p style=\"text-align: justify;\">Disponible en <em>Disorder At The Border. The Music Of Coleman Hawkins<\/em> (Enja ENJ-9506 2)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bennie Wallace, a diferencia de la mayor parte de los saxofonistas tenores de su generaci\u00f3n, surgida a principios de los a\u00f1os 70, busc\u00f3 sus ra\u00edces m\u00e1s all\u00e1 de Coltrane, buceando en los tenores de la era del swing. Este disco, grabado en directo en el Festival de Jazz de Berl\u00edn<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-cd-disorder-at-the-border-the-music-of-coleman-hawkins-bennie-wallace-2004\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1001004,"featured_media":0,"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":[17860,1278,1273],"tags":[1401,8169,1626,1678,2236,16099,77,16100,2327],"class_list":["entry","author-adolphus-van-tenzing","post-1954","post","type-post","status-publish","format-standard","category-adolphus-van-tenzing","category-disco","category-tomajazz-recomienda","tag-anderson-ray","tag-coleman-hawkins","tag-davis-jesse","tag-enja","tag-stafford-terell","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz","tag-wallace-bennie"],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":39883,"url":"https:\/\/tomajazz.com\/web\/dinah-washington-y-iii-dizzy-gillespie-i-la-odisea-de-la-musica-afroamericana-169-podcast\/","url_meta":{"origin":1954,"position":0},"title":"Dinah Washington (y III) &#8211; Dizzy Gillespie (I). La Odisea de la M\u00fasica Afroamericana (169) [Podcast]","author":"Tomajazz","date":"19 noviembre, 2018","format":false,"excerpt":"Por Luis Escalante Ozalla. La Odisea de la M\u00fasica Afroamericana es un programa de radio dirigido, presentado y producido por Luis Escalante Ozalla, autor de los libros Nueva Orleans (1717-1917): Sexo, Raza y Jass y Y se hace m\u00fasica al andar con swing. 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La Odisea de la M\u00fasica Afroamericana (072) [Podcast]","author":"Tomajazz","date":"14 noviembre, 2016","format":false,"excerpt":"La Odisea de la M\u00fasica Afroamericana es un programa de radio dirigido, presentado y producido por Luis Escalante Ozalla, autor del libro Y se hace m\u00fasica al andar con swing. Si la importancia de un m\u00fasico se midiese\u00a0por los m\u00fasicos con los que toc\u00f3, se llegar\u00eda a la conclusi\u00f3n de\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\/2016\/11\/Coleman_Hawkins_Gottlieb_03991.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2016\/11\/Coleman_Hawkins_Gottlieb_03991.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2016\/11\/Coleman_Hawkins_Gottlieb_03991.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2016\/11\/Coleman_Hawkins_Gottlieb_03991.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":31193,"url":"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-un-disco-y-un-concierto-de-gigantes-hawkins-eldridge-hodges-alive-at-the-village-gate-181\/","url_meta":{"origin":1954,"position":2},"title":"365 razones para amar el jazz: un disco y un concierto de gigantes. Hawkins! Eldridge! Hodges! Alive! At The Village Gate! [181]","author":"Tomajazz","date":"30 junio, 2017","format":false,"excerpt":"Un disco y un concierto de gigantes. Coleman Hawkins, Roy Eldridge, Johnny Hodges: Hawkins! Eldridge! Hodges! Alive! At The Village Gate! (Verve, 1962) Seleccionado por\u00a0Kuto","rel":"","context":"En \u00ab*_Don Kuto\u00bb","block_context":{"text":"*_Don Kuto","link":"https:\/\/tomajazz.com\/web\/category\/don-kuto\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/06\/Coleman-Hawkins-Roy-Eldridge-Johnny-Hodges_Hawkins-Eldridge-Hodges-Alive-At-The-Village-Gate_Verve_1962.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":35657,"url":"https:\/\/tomajazz.com\/web\/razones-para-el-jazz-un-disco-swingville-coleman-hawkins-with-the-red-garland-trio-1959-397\/","url_meta":{"origin":1954,"position":3},"title":"Razones para el jazz: un disco. 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Swingville (Coleman Hawkins with the Red Garland Trio, 1959) Seleccionado por\u00a0Arturo Mora Rioja","rel":"","context":"En \u00ab*_Arturo Mora Rioja\u00bb","block_context":{"text":"*_Arturo Mora Rioja","link":"https:\/\/tomajazz.com\/web\/category\/arturo-mora-rioja\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2018\/03\/Coleman-Hawkins-with-the-Red-Garland-Trio_Swingville.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1855,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-disco-blues-for-rampart-street-ida-cox-1961\/","url_meta":{"origin":1954,"position":4},"title":"Tomajazz recomienda\u2026 un disco: \u201cBlues For Rampart Street\u201d (Ida Cox, 1961)","author":"Adolphus van Tenzing","date":"16 septiembre, 2009","format":false,"excerpt":"Durante los a\u00f1os veinte, Ida Cox fue una de las grandes damas del blues y el vaudeville, grabando profusamente para el sello Paramount entre 1923 y 1928. Tras un per\u00edodo de oscuridad, fue redescubierta gracias al concierto From Spirituals To Swing organizado por John Hammond en 1939 pero, tras una\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":"Ida Cox With The Coleman Hawkins Quintet \u2013 Blues For Rampart Street (Riverside\/Original Jazz Classics)","src":"https:\/\/i0.wp.com\/torec.tomajazz.com\/wp-content\/uploads\/2009\/09\/2009-09-14-idacox-bluesforrampartstreet.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2058,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-solo-un-tema-picasso-coleman-hawkins-1948\/","url_meta":{"origin":1954,"position":5},"title":"Tomajazz recomienda&#8230; un solo \/ un tema: \u00abPicasso\u00bb (Coleman Hawkins, 1948)","author":"Adolphus van Tenzing","date":"14 mayo, 2012","format":false,"excerpt":"All\u00e1 por el final de la d\u00e9cada de los a\u00f1os cuarenta hubo un saxofonista al que se le ocurri\u00f3 una idea revolucionaria: grabar un tema consistente en un solo, interpretado en solitario, sin la intervenci\u00f3n de acompa\u00f1ante alguno. Este saxofonista era ni m\u00e1s ni menos que el enorme Coleman Hawkins\u00a0y\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":"coleman-hawkins","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2012\/05\/coleman-hawkins.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1954","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=1954"}],"version-history":[{"count":1,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1954\/revisions"}],"predecessor-version":[{"id":3828,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/1954\/revisions\/3828"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=1954"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=1954"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=1954"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}