| | Tania Maria In Copenhagen CD - Import Tania Maria Discography of CDs
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Recording information: Jazzhus Montmartre, Copenhagen, Denmark (11/01/1978-09/07/1979); Sweet Silence Studio, Copenhagen, Denmark (11/01/1978-09/07/1979).
Photographers: Jan Persson; Gorm Valentin.
Personnel: Tania Maria (vocals, piano).
Liner Note Author: Niels Christensen.
Tania Maria In Copenhagen Music Tania Maria In Copenhagen Songs | 1. | Bim Bom |
| 2. | Baiao Improvisado |
| 3. | Casinha Perquenina |
| 4. | Rapaz de Dem |
| 5. | Quero Nao |
| 6. | Refrao Popular |
| 7. | Chorinho Do Marquinho |
| | Tania Maria In Copenhagen Songs DISC 2: |
| 1. | Mr. & Mrs. |
| 2. | Catoamante |
| 3. | Pingas Da Vida |
| 4. | Seu Dia Vai Chegar |
| 5. | O Que E Amar |
| 6. | Carona |
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Photographer: Santiago Garfunkel.
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Recorded between 1960 and 1967. Includes liner notes by Steve Kolanjian.
Digitally remastered by Eliot Goshman (1995, Taragon Studios, Deer Park, New York).
Beginning ...
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| | James Carter Gold Sounds CD (2005)
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Given the glut of "String Quartet Tribute to So and So," "Electronic Tribute to Some Crappy Band," and "Pickin' on Whomever" "tributes," it's somewhat surprising that no one has tackled Pavement in a tribute album -- not until now, at any rate. And even more surprising is that it's not one of those aforementioned knockoffs; it's a heavyweight jazz session with James Carter, Cyrus Chestnut, and Reginald Veal, three of jazz's finest players on their respective instruments (rounded out by the talented Ali Jackson on drums). You may be asking, "what the hell are a bunch of jazzbos doing playing Pavement tunes?" The short answer, "making a great album." Remember, underneath their slacker image and loose, lo-fi aesthetic, Pavement's best tunes were memorable and melodic with interesting (though sometimes ramshackle) arrangements. Carter and Company play to those strengths as a unit, and Gold Sounds is an overwhelming success, not just as a tribute but as a jazz album. Chestnut's sparkling Fender Rhodes shines throughout, and Veal really shows his versatility on both electric and acoustic bass. James Carter is hands down one of the greatest reedmen alive: he can play it tender or can summon squalls on his instruments that rival electric guitars. As a group, the entire band is locked into each other and the tunes (just listen to the tradeoffs between tenor, Rhodes, and drums as Veal holds the groove on "Stereo"), which generally don't depart drastically from ...
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Although Artie Traum has long been a folk-rock artist first and foremost, the word "jazz" frequently comes up in connection with the veteran singer/songwriter and acoustic guitarist. Traum has often brought a major jazz influence to his work, and he is quite capable of functioning in an instrumental setting (the Traum CD Acoustic Jazz Guitar is a collection of instrumental performances spanning 1992-2004). But Thief of Time is strictly a vocal album; it is also one of Traum's most rewarding and consistent efforts. Traum has, on occasion, recorded albums that were inconsistent and uneven, but this 2007 release is memorable from start to finish -- and Traum (who wrote or co-wrote most of the material) excels on tracks that have a strong post-bop jazz influence (such as "Midnight Blue," "Back in the Sugarcane," and the infectious opener, "Bonnie Jean") as well as tracks that don't (for example, "Halifax," "Last Tree in the Bronx," and the haunting "Insult a Man"). A few of the songs find Traum playing some electric guitar (including "Bonnie Jean" and "Cuckoo Bird," another selection with a definite jazz influence), but Traum plays a lot more acoustic guitar on this 48-minute CD -- which is appropriate because even though he clearly knows his way around the electric guitar, he is really an acoustic-oriented artist at heart. Traum's ability to perform instrumentals on other albums does not erase the fact that he is very much a part of the storytelling troubadour tradition; acoustic-oriented settings have a long history of serving troubadours well, and an acoustic-oriented approach certainly serves Traum well on the captivating Thief of Time. ~ Alex Henderson
Back in the '60s -- when a young Artie Traum was building his résumé on the New York City folk scene -- baby boomers had a saying: never trust anyone over 30. But from a musical standpoint, one of the problems with that assertion (apart from the fact that it was just plain ageist) is the fact that some musicians get better and better as they grow older. Traum is a perfect example. The Bronx-born singer/songwriter was in his late fifties when he recorded South of Lafayette in 2002, and he is very much on top of his game throughout this excellent album -- which is best described as folk-rock with frequent jazz overtones. Not all of the songs on this 45-minute CD are jazz-influenced, but many of them are -- and Traum's appreciation of jazz is a major asset on memorable offerings like "The Ballad of Frankie O," "The Map," the cynical "In Paris," and the haunting title track. Musically, "Memorial Day 1959" isn't as jazz-influenced as the abovementioned songs, but lyrically, it employs a lot of jazz imagery. Looking back on life in New York City in 1959 (the year Traum turned 16), Traum fondly recalls a time when John Coltrane and Symphony Sid were cultural icons in his home town. "Memorial Day 1959" is a good example ...
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