Monty Alexander • Echoes of Jilly's

 Jamaican-born pianist Monty Alexander is a sophisticated, prolific performer with an urbane, swinging style informed by the bop tradition, as well as the reggae and Caribbean folk he grew up with. Born in Kingston, Jamaica in 1944, Alexander first started playing piano around age four and took classical lessons from age six. By his teens, however, he had discovered jazz and was already performing in nightclubs. Although his early career found him covering pop and rock hits of the day, it was his love of jazz-oriented artists like Oscar Peterson, Duke Ellington, Frank Sinatra, and Nat King Cole that brought him the most inspiration.

In 1961, he moved with his family to Miami, Florida to better pursue his musical ambitions. It was there that Alexander met restaurateur and Frank Sinatra associate Jilly Rizzo, who eventually hired him as the house pianist at his New York nightclub, Jilly's. For the next several years, Alexander lived in New York and worked at Jilly's, where had the opportunity to befriend and perform with a bevy of stars including Sinatra, Ray Brown, Milt Jackson, and others. Buoyed by this success, in 1964 he traveled to Los Angeles, where he recorded several well-received albums for the Pacific Jazz label, including Alexander the Great and Spunky. A handful of additional efforts followed, including 1967's Zing! on RCA and 1969's This Is Monty Alexander on Verve. In 1969 he also appeared on vibraphonist Milt Jackson's That's the Way It Is.

In the 1970s, Alexander built a long-lasting relationship with Germany's MPS (Musik Produktion Schwarzwald) label and released a steady stream of albums, including 1971's Here Comes the Sun, 1974's Perception!, and 1977's Cobilimbo with longtime friend and collaborator Ernest Ranglin. These albums found Alexander pushing his sound in new directions and often combining jazz with elements of the Caribbean musical traditions of his youth. During this period he formed working relationships with bassist John Clayton and drummer Jeff Hamilton. As a trio, they debuted to much acclaim on 1976's Live! Montreux Alexander, and would continue to work together in various configurations over the next several decades. The pianist also continued to record with Milt Jackson, and made appearances on albums by Quincy Jones, Dizzy Gillespie, Phyllis Hyman, and others.

The '80s were also a fruitful period for Alexander, who continued to combine his love of straight-ahead jazz and Caribbean music with the release of such albums as 1983's The Duke Ellington Songbook, 1985's The River, and 1986's Li'l Darlin'. He also reunited with Clayton and Hamilton on 1983's Reunion in Europe and paired with bassist Ray Brown for several dates, including 1985's Full Steam Ahead and 1987's The Red Hot Ray Brown Trio. More albums followed, including 1994's Live at Maybeck and 1995's reggae-inflected Yard Movement. He rounded out the decade with 1997's Frank Sinatra-inspired Echoes of Jilly's and 1999's Stir It Up: The Music of Bob Marley.

In 2000, Alexander's artistic achievements were recognized by the Jamaican government with his designation as a worldwide music ambassador and as Commander in the Order of Distinction for outstanding services to Jamaica. That same year, he collaborated with reggae giants Sly Dunbar and Robbie Shakespeare on Monty Meets Sly & Robbie, followed in 2001 by Caribbean Duet with pianist Michel Sardaby. He then paired again with Ray Brown and guitarist Herb Ellis for 2002's Triple Scoop and 2003's Straight Ahead. Two tribute sessions followed with 2008's The Good Life: Monty Alexander Plays the Songs of Tony Bennett and 2009's Calypso Blues: The Songs of Nat King Cole. Alexander then highlighted his fusion of reggae, ska, R&B, and jazz on 2011's Harlem-Kingston Express and 2014's Harlem-Kingston Express, Vol. 2: River Rolls On, both recorded at Dizzy's Club Coca-Cola at Lincoln Center.

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 El pianista de origen jamaiquino Monty Alexander es un intérprete sofisticado y prolífico con un estilo urbano y de swing que se inspira en la tradición del bop, así como en el reggae y el folclore caribeño con el que creció. Nacido en Kingston (Jamaica) en 1944, Alexander empezó a tocar el piano alrededor de los cuatro años de edad y tomó lecciones de música clásica a partir de los seis años. Sin embargo, en la adolescencia descubrió el jazz y ya actuaba en clubes nocturnos. Aunque al principio de su carrera se encontraba cubriendo los éxitos del pop y el rock de la época, fue su amor por los artistas orientados al jazz como Oscar Peterson, Duke Ellington, Frank Sinatra y Nat King Cole lo que le proporcionó la mayor inspiración.

En 1961, se mudó con su familia a Miami, Florida, para perseguir mejor sus ambiciones musicales. Fue allí donde Alexander conoció a la restauradora y socia de Frank Sinatra, Jilly Rizzo, quien finalmente lo contrató como pianista en su club nocturno de Nueva York, Jilly's. Durante los siguientes años, Alexander vivió en Nueva York y trabajó en Jilly's, donde tuvo la oportunidad de hacer amistad y actuar con un grupo de estrellas como Sinatra, Ray Brown, Milt Jackson y otros. Animado por este éxito, en 1964 viajó a Los Ángeles, donde grabó varios álbumes bien recibidos para el sello Pacific Jazz, entre ellos Alexander the Great y Spunky. Siguieron un puñado de esfuerzos adicionales, incluyendo Zing! de 1967 en RCA y This Is Monty Alexander de 1969 en Verve. En 1969 también apareció en el vibráfono "That's the Way It Is" del vibrafonista Milt Jackson.

En el decenio de 1970, Alexander estableció una relación duradera con el sello alemán MPS (Musik Produktion Schwarzwald) y publicó un flujo constante de álbumes, entre ellos Here Comes the Sun de 1971, Perception! de 1974 y Cobilimbo de 1977 con su amigo y colaborador de toda la vida Ernest Ranglin. Estos álbumes encontraron a Alexander empujando su sonido en nuevas direcciones y a menudo combinando el jazz con elementos de las tradiciones musicales caribeñas de su juventud. Durante este periodo estableció relaciones de trabajo con el bajista John Clayton y el baterista Jeff Hamilton. Como trío, debutaron con gran éxito en el Live! de 1976. Montreux Alexander, y seguirían trabajando juntos en varias configuraciones durante las siguientes décadas. El pianista también continuó grabando con Milt Jackson, y apareció en álbumes de Quincy Jones, Dizzy Gillespie, Phyllis Hyman y otros.

Los años 80 también fueron un período fructífero para Alexander, que siguió combinando su amor por el jazz directo y la música caribeña con el lanzamiento de álbumes como The Duke Ellington Songbook de 1983, The River de 1985 y Li'l Darlin' de 1986. También se reunió con Clayton y Hamilton en 1983 en Reunion in Europe y se emparejó con el bajista Ray Brown en varias fechas, entre ellas Full Steam Ahead de 1985 y The Red Hot Ray Brown Trio de 1987. Siguieron más álbumes, entre ellos Live at Maybeck de 1994 y Yard Movement de 1995, con influencias de reggae. Completó la década con Echoes of Jilly de 1997, inspirado por Frank Sinatra, y Stir It Up de 1999: La música de Bob Marley.

En 2000, los logros artísticos de Alexander fueron reconocidos por el Gobierno de Jamaica con su designación como embajador mundial de la música y como Comandante de la Orden de Distinción por sus destacados servicios a Jamaica. Ese mismo año, colaboró con los gigantes del reggae Sly Dunbar y Robbie Shakespeare en el programa Monty Meets Sly & Robbie, seguido en 2001 por Caribbean Duet con el pianista Michel Sardaby. Luego volvió a formar pareja con Ray Brown y el guitarrista Herb Ellis para la Triple Scoop de 2002 y Straight Ahead de 2003. A continuación, se celebraron dos sesiones de homenaje con The Good Life de 2008: Monty Alexander interpreta las canciones de Tony Bennett y Calypso Blues de 2009: Las canciones de Nat King Cole. A continuación, Alexander destacó su fusión de reggae, ska, R&B y jazz en el Harlem-Kingston Express de 2011 y en el Harlem-Kingston Express de 2014, Vol. 2: River Rolls On, ambos grabados en el Dizzy's Club Coca-Cola del Lincoln Center.

Benny Golson • That's Funky

Review by Michael G. Nastos

As an originator of the initial soul-funk movement of the '60s when he was with Art Blakey's Jazz Messengers, Golson is eminently qualified to funkify jazz and R&B-flavored instrumental music. Nat Adderley plays cornet alongside Golson's tenor in this, one of his last recordings before he passed away. Always fresh and deep in the groove is pianist Monty Alexander, and acoustic bassist Ray Drummond plays fat notes with ultimate conviction. Also contributing here is genius drummer Marvin "Smitty" Smith, who lays out rhythms that Bernard Purdie would be envious of. All of the tunes are well-known, save Golson's original "Mississippi Windows," dedicated to the saxophonist's days with R&B icon Bullmoose Jackson. Golson also re-casts his classic "Blues March" in a New Orleans style, while the steady tick-tock to shuffle stride of "Moanin'" is not all that different from the original. The ultra-funky "Work Song" is much more so than the original, while "Sidewinder" is the single tune on the date that is most faithful to the original and not rhythmically altered. There are two versions of "Mack the Knife": one is a half-speed funk with ol' Mackie coming back with a twist; the second is the sole solid swinger of the session, as Golson and Adderley swap licks half-and-half on the melody line, then join together and slightly modify the line. Though they're not swinging, for the most part, in conventional 2/4 or 4/4 jazz beats, in a sense they are swinging in their own inimitable, danceable, street-derived, backbeat-driven way á la Silver, Stanley Turrentine, and Grant Green, among others. Those inventors of this boogaloo-influenced subgenre should be happy with Golson's results.

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Reseña de Michael G. Nastos

Como creador del movimiento inicial de soul-funk de los 60 cuando estaba con los Mensajeros del Jazz de Art Blakey, Golson está eminentemente cualificado para funkificar el jazz y la música instrumental con sabor a R&B. Nat Adderley toca la corneta junto al tenor de Golson en esta, una de sus últimas grabaciones antes de morir. El pianista Monty Alexander es siempre fresco y profundo en la onda, y el bajista acústico Ray Drummond toca notas gordas con la máxima convicción. También contribuye aquí el genial baterista Marvin "Smitty" Smith, que establece ritmos que Bernard Purdie envidiaría. Todos los temas son bien conocidos, excepto el original de Golson "Mississippi Windows", dedicado a los días del saxofonista con el icono del R&B Bullmoose Jackson. Golson también reedita su clásico "Blues March" al estilo de Nueva Orleans, mientras que el constante tic-tac para arrastrar los pies de "Moanin'" no es tan diferente del original. La ultra-funky "Work Song" lo es mucho más que la original, mientras que "Sidewinder" es la melodía única de la fecha que es más fiel a la original y no se altera rítmicamente. Hay dos versiones de "Mack the Knife": una es un funk de media velocidad con el viejo Mackie volviendo con un giro; la segunda es el único swinger sólido de la sesión, ya que Golson y Adderley intercambian lametazos mitad y mitad en la línea de la melodía, luego se unen y modifican ligeramente la línea. Aunque no se balancean, en su mayoría, en ritmos de jazz convencionales de 2/4 o 4/4, en cierto sentido se balancean de su propia manera inimitable, bailable, derivada de la calle, impulsada por el backbeat a la Silver, Stanley Turrentine y Grant Green, entre otros. Los inventores de este subgénero influenciado por el boogaloo deberían estar contentos con los resultados de Golson.

www.bennygolson.com ...

Monty Alexander • Alexander the Great

In 1961, he moved with his family to Miami, Florida to better pursue his musical ambitions. It was there that Alexander met restaurateur and Frank Sinatra associate Jilly Rizzo, who eventually hired him as the house pianist at his New York nightclub, Jilly's. For the next several years, Alexander lived in New York and worked at Jilly's, where had the opportunity to befriend and perform with a bevy of stars including Sinatra, Ray Brown, Milt Jackson, and others. Buoyed by this success, in 1964 he traveled to Los Angeles, where he recorded several well-received albums for the Pacific Jazz label, including Alexander the Great and Spunky. A handful of additional efforts followed, including 1967's Zing! on RCA and 1969's This Is Monty Alexander on Verve. In 1969 he also appeared on vibraphonist Milt Jackson's That's the Way It Is.

In the 1970s, Alexander built a long-lasting relationship with Germany's MPS (Musik Produktion Schwarzwald) label and released a steady stream of albums, including 1971's Here Comes the Sun, 1974's Perception!, and 1977's Cobilimbo with longtime friend and collaborator Ernest Ranglin. These albums found Alexander pushing his sound in new directions and often combining jazz with elements of the Caribbean musical traditions of his youth. During this period he formed working relationships with bassist John Clayton and drummer Jeff Hamilton. As a trio, they debuted to much acclaim on 1976's Live! Montreux Alexander, and would continue to work together in various configurations over the next several decades. The pianist also continued to record with Milt Jackson, and made appearances on albums by Quincy Jones, Dizzy Gillespie, Phyllis Hyman, and others.

The '80s were also a fruitful period for Alexander, who continued to combine his love of straight-ahead jazz and Caribbean music with the release of such albums as 1983's The Duke Ellington Songbook, 1985's The River, and 1986's Li'l Darlin'. He also reunited with Clayton and Hamilton on 1983's Reunion in Europe and paired with bassist Ray Brown for several dates, including 1985's Full Steam Ahead and 1987's The Red Hot Ray Brown Trio. More albums followed, including 1994's Live at Maybeck and 1995's reggae-inflected Yard Movement. He rounded out the decade with 1997's Frank Sinatra-inspired Echoes of Jilly's and 1999's Stir It Up: The Music of Bob Marley.

In 2000, Alexander's artistic achievements were recognized by the Jamaican government with his designation as a worldwide music ambassador and as Commander in the Order of Distinction for outstanding services to Jamaica. That same year, he collaborated with reggae giants Sly Dunbar and Robbie Shakespeare on Monty Meets Sly & Robbie, followed in 2001 by Caribbean Duet with pianist Michel Sardaby. He then paired again with Ray Brown and guitarist Herb Ellis for 2002's Triple Scoop and 2003's Straight Ahead. Two tribute sessions followed with 2008's The Good Life: Monty Alexander Plays the Songs of Tony Bennett and 2009's Calypso Blues: The Songs of Nat King Cole. Alexander then highlighted his fusion of reggae, ska, R&B, and jazz on 2011's Harlem-Kingston Express and 2014's Harlem-Kingston Express, Vol. 2: River Rolls On, both recorded at Dizzy's Club Coca-Cola at Lincoln Center.
https://www.allmusic.com/artist/monty-alexander-mn0000589256/biography

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Biografía del artista por Matt Collar
El pianista jamaiquino Monty Alexander es un intérprete sofisticado y prolífico, con un estilo urbano y swinging inspirado en la tradición del bop, así como en el reggae y el folclore caribeño con el que creció. Nacido en Kingston, Jamaica, en 1944, Alexander comenzó a tocar el piano alrededor de los cuatro años y tomó clases de piano clásico a partir de los seis años. En su adolescencia, sin embargo, había descubierto el jazz y ya estaba actuando en clubes nocturnos. Aunque al principio de su carrera lo encontró cubriendo éxitos del pop y el rock de la época, fue su amor por artistas orientados al jazz como Oscar Peterson, Duke Ellington, Frank Sinatra y Nat King Cole lo que le trajo la mayor inspiración.

En 1961, se mudó con su familia a Miami, Florida, para perseguir mejor sus ambiciones musicales. Fue allí donde Alexander conoció al restaurador y socio de Frank Sinatra, Jilly Rizzo, quien finalmente lo contrató como pianista en su club nocturno de Nueva York, Jilly's. Durante los años siguientes, Alexander vivió en Nueva York y trabajó en Jilly's, donde tuvo la oportunidad de hacerse amigo de un grupo de estrellas como Sinatra, Ray Brown, Milt Jackson y otros. Animado por este éxito, en 1964 viajó a Los Ángeles, donde grabó varios discos muy bien recibidos para el sello Pacific Jazz, entre ellos Alexander the Great y Spunky. Siguieron un puñado de esfuerzos adicionales, incluyendo Zing! de 1967 en RCA y This Is Monty Alexander de 1969 en Verve. En 1969 también apareció en la película del vibrafonista Milt Jackson "That's the Way It Is".

En los años 70, Alexander estableció una relación duradera con el sello alemán MPS (Musik Produktion Schwarzwald) y editó un flujo constante de álbumes, incluyendo Here Comes the Sun de 1971, Perception! de 1974 y Cobilimbo de 1977 con su amigo y colaborador Ernest Ranglin. Estos álbumes encontraron a Alexander empujando su sonido en nuevas direcciones y a menudo combinando el jazz con elementos de las tradiciones musicales caribeñas de su juventud. Durante este período formó relaciones de trabajo con el bajista John Clayton y el baterista Jeff Hamilton. Como trío, debutaron con gran éxito en Live! Montreux Alexander, y continuarán trabajando juntos en diversas configuraciones durante las próximas décadas. El pianista también continuó grabando con Milt Jackson, e hizo apariciones en álbumes de Quincy Jones, Dizzy Gillespie, Phyllis Hyman, y otros.

Los años 80 también fueron un período fructífero para Alexander, que continuó combinando su amor por el jazz y la música caribeña con la publicación de álbumes como The Duke Ellington Songbook (1983), The River (1985) y Li'l Darlin' (1986). También se reunió con Clayton y Hamilton en la Reunión en Europa de 1983 y se asoció con el bajista Ray Brown en varias fechas, incluyendo Full Steam Ahead de 1985 y The Red Hot Ray Brown Trio de 1987. Siguieron más álbumes, incluyendo Live at Maybeck de 1994 y Yard Movement de 1995, con un aire de reggae. Completó la década con los Ecos de Jilly de 1997 inspirados en Frank Sinatra y Stir It Up de 1999: La música de Bob Marley.

En el año 2000, los logros artísticos de Alexander fueron reconocidos por el gobierno jamaicano con su designación como embajador mundial de la música y como Comandante en la Orden de Distinción por sus destacados servicios a Jamaica. Ese mismo año, colaboró con los gigantes del reggae Sly Dunbar y Robbie Shakespeare en Monty Meets Sly & Robbie, seguido en 2001 por Caribbean Duet con el pianista Michel Sardaby. Luego se emparejó de nuevo con Ray Brown y el guitarrista Herb Ellis para la Triple Scoop de 2002 y la Straight Ahead de 2003. Dos sesiones de homenaje siguieron con The Good Life de 2008: Monty Alexander toca las canciones de Tony Bennett y Calypso Blues 2009: Las canciones de Nat King Cole. Alexander luego destacó su fusión de reggae, ska, R&B y jazz en el Harlem-Kingston Express de 2011 y en el Harlem-Kingston Express de 2014, Vol. 2: River Rolls On, ambos grabados en el Dizzy's Club Coca-Cola del Lincoln Center.
https://www.allmusic.com/artist/monty-alexander-mn0000589256/biography 

www.montyalexander.com ...

Milt Jackson & The Monty Alexander Trio • Soul Fusion

Pianist Monty Alexander had first appeared on a Milt Jackson record in 1969. Soul Fusion songs Eight years later the great vibraphonist used Alexander's trio (which included bassist John Clayton and drummer Jeff Hamilton, future big-band co-leaders) for this spirited Pablo session that was subsequently reissued on CD through Original Jazz Classics. Soul Fusion album for sale Much of the material is obscure (including Jackson's three originals), with Stevie Wonder's "Isn't She Lovely" being the only standard. Soul Fusion CD music The music, however, is as straight-ahead as one would expect from these fine musicians, and can easily be recommended to their fans. ~ Scott Yanow

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El pianista Monty Alexander había aparecido por primera vez en un disco de Milt Jackson en 1969. Ocho años después, el gran vibrafonista utilizó el trío de Alexander (que incluía al bajista John Clayton y al baterista Jeff Hamilton, futuros co-líderes de la gran banda) para esta animada sesión de Pablo que posteriormente fue reeditada en CD a través de Original Jazz Classics. Álbum de Soul Fusion a la venta Gran parte del material es oscuro (incluyendo los tres originales de Jackson), con "Isn't She Lovely" de Stevie Wonder como único estándar. Soul Fusion CD de música La música, sin embargo, es tan directa como uno esperaría de estos excelentes músicos, y puede ser fácilmente recomendada a sus fans. ~ Scott Yanow

Monty Alexander ‎• Fridaynight

 

Jamaican-born pianist Monty Alexander is a sophisticated, prolific performer with an urbane, swinging style informed by the bop tradition, as well as the reggae and Caribbean folk he grew up with. Born in Kingston, Jamaica in 1944, Alexander first started playing piano around age four and took classical lessons from age six. By his teens, however, he had discovered jazz and was already performing in nightclubs. Although his early career found him covering pop and rock hits of the day, it was his love of jazz-oriented artists like Oscar Peterson, Duke Ellington, Frank Sinatra, and Nat King Cole that brought him the most inspiration.

In 1961, he moved with his family to Miami, Florida to better pursue his musical ambitions. It was there that Alexander met restaurateur and Frank Sinatra associate Jilly Rizzo, who eventually hired him as the house pianist at his New York nightclub, Jilly's. For the next several years, Alexander lived in New York and worked at Jilly's, where had the opportunity to befriend and perform with a bevy of stars including Sinatra, Ray Brown, Milt Jackson, and others. Buoyed by this success, in 1964 he traveled to Los Angeles, where he recorded several well-received albums for the Pacific Jazz label, including Alexander the Great and Spunky. A handful of additional efforts followed, including 1967's Zing! on RCA and 1969's This Is Monty Alexander on Verve. In 1969 he also appeared on vibraphonist Milt Jackson's That's the Way It Is.

In the 1970s, Alexander built a long-lasting relationship with Germany's MPS (Musik Produktion Schwarzwald) label and released a steady stream of albums, including 1971's Here Comes the Sun, 1974's Perception!, and 1977's Cobilimbo with longtime friend and collaborator Ernest Ranglin. These albums found Alexander pushing his sound in new directions and often combining jazz with elements of the Caribbean musical traditions of his youth. During this period he formed working relationships with bassist John Clayton and drummer Jeff Hamilton. As a trio, they debuted to much acclaim on 1976's Live! Montreux Alexander, and would continue to work together in various configurations over the next several decades. The pianist also continued to record with Milt Jackson, and made appearances on albums by Quincy Jones, Dizzy Gillespie, Phyllis Hyman, and others.

The '80s were also a fruitful period for Alexander, who continued to combine his love of straight-ahead jazz and Caribbean music with the release of such albums as 1983's The Duke Ellington Songbook, 1985's The River, and 1986's Li'l Darlin'. He also reunited with Clayton and Hamilton on 1983's Reunion in Europe and paired with bassist Ray Brown for several dates, including 1985's Full Steam Ahead and 1987's The Red Hot Ray Brown Trio. More albums followed, including 1994's Live at Maybeck and 1995's reggae-inflected Yard Movement. He rounded out the decade with 1997's Frank Sinatra-inspired Echoes of Jilly's and 1999's Stir It Up: The Music of Bob Marley.

In 2000, Alexander's artistic achievements were recognized by the Jamaican government with his designation as a worldwide music ambassador and as Commander in the Order of Distinction for outstanding services to Jamaica. That same year, he collaborated with reggae giants Sly Dunbar and Robbie Shakespeare on Monty Meets Sly & Robbie, followed in 2001 by Caribbean Duet with pianist Michel Sardaby. He then paired again with Ray Brown and guitarist Herb Ellis for 2002's Triple Scoop and 2003's Straight Ahead. Two tribute sessions followed with 2008's The Good Life: Monty Alexander Plays the Songs of Tony Bennett and 2009's Calypso Blues: The Songs of Nat King Cole. Alexander then highlighted his fusion of reggae, ska, R&B, and jazz on 2011's Harlem-Kingston Express and 2014's Harlem-Kingston Express, Vol. 2: River Rolls On, both recorded at Dizzy's Club Coca-Cola at Lincoln Center.

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 El pianista de origen jamaiquino Monty Alexander es un intérprete sofisticado y prolífico con un estilo urbano y de swing que se inspira en la tradición del bop, así como en el reggae y el folclore caribeño con el que creció. Nacido en Kingston (Jamaica) en 1944, Alexander empezó a tocar el piano alrededor de los cuatro años de edad y tomó lecciones de música clásica a partir de los seis años. Sin embargo, en la adolescencia descubrió el jazz y ya actuaba en clubes nocturnos. Aunque al principio de su carrera se encontraba cubriendo los éxitos del pop y el rock de la época, fue su amor por los artistas orientados al jazz como Oscar Peterson, Duke Ellington, Frank Sinatra y Nat King Cole lo que le proporcionó la mayor inspiración.

En 1961, se mudó con su familia a Miami, Florida, para perseguir mejor sus ambiciones musicales. Fue allí donde Alexander conoció a la restauradora y socia de Frank Sinatra, Jilly Rizzo, quien finalmente lo contrató como pianista en su club nocturno de Nueva York, Jilly's. Durante los siguientes años, Alexander vivió en Nueva York y trabajó en Jilly's, donde tuvo la oportunidad de hacer amistad y actuar con un grupo de estrellas como Sinatra, Ray Brown, Milt Jackson y otros. Animado por este éxito, en 1964 viajó a Los Ángeles, donde grabó varios álbumes bien recibidos para el sello Pacific Jazz, entre ellos Alexander the Great y Spunky. Siguieron un puñado de esfuerzos adicionales, incluyendo Zing! de 1967 en RCA y This Is Monty Alexander de 1969 en Verve. En 1969 también apareció en el vibráfono "That's the Way It Is" del vibrafonista Milt Jackson.

En el decenio de 1970, Alexander estableció una relación duradera con el sello alemán MPS (Musik Produktion Schwarzwald) y publicó un flujo constante de álbumes, entre ellos Here Comes the Sun de 1971, Perception! de 1974 y Cobilimbo de 1977 con su amigo y colaborador de toda la vida Ernest Ranglin. Estos álbumes encontraron a Alexander empujando su sonido en nuevas direcciones y a menudo combinando el jazz con elementos de las tradiciones musicales caribeñas de su juventud. Durante este periodo estableció relaciones de trabajo con el bajista John Clayton y el baterista Jeff Hamilton. Como trío, debutaron con gran éxito en el Live! de 1976. Montreux Alexander, y seguirían trabajando juntos en varias configuraciones durante las siguientes décadas. El pianista también continuó grabando con Milt Jackson, y apareció en álbumes de Quincy Jones, Dizzy Gillespie, Phyllis Hyman y otros.

Los años 80 también fueron un período fructífero para Alexander, que siguió combinando su amor por el jazz directo y la música caribeña con el lanzamiento de álbumes como The Duke Ellington Songbook de 1983, The River de 1985 y Li'l Darlin' de 1986. También se reunió con Clayton y Hamilton en 1983 en Reunion in Europe y se emparejó con el bajista Ray Brown en varias fechas, entre ellas Full Steam Ahead de 1985 y The Red Hot Ray Brown Trio de 1987. Siguieron más álbumes, entre ellos Live at Maybeck de 1994 y Yard Movement de 1995, con influencias de reggae. Completó la década con Echoes of Jilly de 1997, inspirado por Frank Sinatra, y Stir It Up de 1999: La música de Bob Marley.

En 2000, los logros artísticos de Alexander fueron reconocidos por el Gobierno de Jamaica con su designación como embajador mundial de la música y como Comandante de la Orden de Distinción por sus destacados servicios a Jamaica. Ese mismo año, colaboró con los gigantes del reggae Sly Dunbar y Robbie Shakespeare en el programa Monty Meets Sly & Robbie, seguido en 2001 por Caribbean Duet con el pianista Michel Sardaby. Luego volvió a formar pareja con Ray Brown y el guitarrista Herb Ellis para la Triple Scoop de 2002 y Straight Ahead de 2003. A continuación, se celebraron dos sesiones de homenaje con The Good Life de 2008: Monty Alexander interpreta las canciones de Tony Bennett y Calypso Blues de 2009: Las canciones de Nat King Cole. A continuación, Alexander destacó su fusión de reggae, ska, R&B y jazz en el Harlem-Kingston Express de 2011 y en el Harlem-Kingston Express de 2014, Vol. 2: River Rolls On, ambos grabados en el Dizzy's Club Coca-Cola del Lincoln Center.

 

 

www.montyalexander.com ...

 

 

Monty Alexander • Impressions in Blue

 

Review by Matt Collar

From jazz-influenced classical pieces to world music rhythms and American popular song, pianist Monty Alexander seems to cover all his musical interests on Impressions in Blue. Backed by the talented rhythm section of bassist Hassan J.J. Wiggins Shakur and drummer Mark Taylor, Alexander tackles such epic compositions as Gershwin's "Rhapsody in Blue" and Rodrigo's "En Aranjuez Con Tu Amor." He also takes on Ellington's "Creole Love Call" and Mercer's "I'm an Old Cowhand" with much success. It is his original tunes, however, that hold the most revelation, with "Eleuthra," a breezy, Latin-style number influenced by the Bahamas, bringing to mind the iconic '60s sound of Michel Legrand.

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Reseña escrita por Matt Collar

Desde piezas clásicas influenciadas por el jazz hasta ritmos de música del mundo y canciones populares estadounidenses, el pianista Monty Alexander parece cubrir todos sus intereses musicales en Impressions in Blue. Respaldado por la talentosa sección rítmica del bajista Hassan J.J. Wiggins Shakur y el baterista Mark Taylor, Alexander aborda composiciones épicas como "Rhapsody in Blue" de Gershwin y "En Aranjuez Con Tu Amor" de Rodrigo. También se enfrenta al "Llamado de Amor Criollo" de Ellington y al "Soy un Viejo Vaquero" de Mercer con mucho éxito. Son sus temas originales, sin embargo, los más reveladores, con "Eleuthra", un número alegre, de estilo latino, influenciado por las Bahamas, que evoca el sonido icónico de los años 60 de Michel Legrand.

www.montyalexander.com ...

Monty Alexander • Spunky

First album he made in America after leaving Jamaica where he was playing in the house band at Studio One.


 Artist Biography by Matt Collar
Jamaican-born pianist Monty Alexander is a sophisticated, prolific performer with an urbane, swinging style informed by the bop tradition, as well as the reggae and Caribbean folk he grew up with. Born in Kingston, Jamaica in 1944, Alexander first started playing piano around age four and took classical lessons from age six. By his teens, however, he had discovered jazz and was already performing in nightclubs. Although his early career found him covering pop and rock hits of the day, it was his love of jazz-oriented artists like Oscar Peterson, Duke Ellington, Frank Sinatra, and Nat King Cole that brought him the most inspiration.

In 1961, he moved with his family to Miami, Florida to better pursue his musical ambitions. It was there that Alexander met restaurateur and Frank Sinatra associate Jilly Rizzo, who eventually hired him as the house pianist at his New York nightclub, Jilly's. For the next several years, Alexander lived in New York and worked at Jilly's, where had the opportunity to befriend and perform with a bevy of stars including Sinatra, Ray Brown, Milt Jackson, and others. Buoyed by this success, in 1964 he traveled to Los Angeles, where he recorded several well-received albums for the Pacific Jazz label, including Alexander the Great and Spunky. A handful of additional efforts followed, including 1967's Zing! on RCA and 1969's This Is Monty Alexander on Verve. In 1969 he also appeared on vibraphonist Milt Jackson's That's the Way It Is.

In the 1970s, Alexander built a long-lasting relationship with Germany's MPS (Musik Produktion Schwarzwald) label and released a steady stream of albums, including 1971's Here Comes the Sun, 1974's Perception!, and 1977's Cobilimbo with longtime friend and collaborator Ernest Ranglin. These albums found Alexander pushing his sound in new directions and often combining jazz with elements of the Caribbean musical traditions of his youth. During this period he formed working relationships with bassist John Clayton and drummer Jeff Hamilton. As a trio, they debuted to much acclaim on 1976's Live! Montreux Alexander, and would continue to work together in various configurations over the next several decades. The pianist also continued to record with Milt Jackson, and made appearances on albums by Quincy Jones, Dizzy Gillespie, Phyllis Hyman, and others.

The '80s were also a fruitful period for Alexander, who continued to combine his love of straight-ahead jazz and Caribbean music with the release of such albums as 1983's The Duke Ellington Songbook, 1985's The River, and 1986's Li'l Darlin'. He also reunited with Clayton and Hamilton on 1983's Reunion in Europe and paired with bassist Ray Brown for several dates, including 1985's Full Steam Ahead and 1987's The Red Hot Ray Brown Trio. More albums followed, including 1994's Live at Maybeck and 1995's reggae-inflected Yard Movement. He rounded out the decade with 1997's Frank Sinatra-inspired Echoes of Jilly's and 1999's Stir It Up: The Music of Bob Marley.

In 2000, Alexander's artistic achievements were recognized by the Jamaican government with his designation as a worldwide music ambassador and as Commander in the Order of Distinction for outstanding services to Jamaica. That same year, he collaborated with reggae giants Sly Dunbar and Robbie Shakespeare on Monty Meets Sly & Robbie, followed in 2001 by Caribbean Duet with pianist Michel Sardaby. He then paired again with Ray Brown and guitarist Herb Ellis for 2002's Triple Scoop and 2003's Straight Ahead. Two tribute sessions followed with 2008's The Good Life: Monty Alexander Plays the Songs of Tony Bennett and 2009's Calypso Blues: The Songs of Nat King Cole. Alexander then highlighted his fusion of reggae, ska, R&B, and jazz on 2011's Harlem-Kingston Express and 2014's Harlem-Kingston Express, Vol. 2: River Rolls On, both recorded at Dizzy's Club Coca-Cola at Lincoln Center.
https://www.allmusic.com/artist/monty-alexander-mn0000589256/biography

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Primer álbum que hizo en América después de dejar Jamaica donde tocaba en la banda de la casa de Studio One.


 Biografía del artista por Matt Collar
El pianista jamaiquino Monty Alexander es un intérprete sofisticado y prolífico, con un estilo urbano y swinging inspirado en la tradición del bop, así como en el reggae y el folclore caribeño con el que creció. Nacido en Kingston, Jamaica, en 1944, Alexander comenzó a tocar el piano alrededor de los cuatro años y tomó clases de piano clásico a partir de los seis años. En su adolescencia, sin embargo, había descubierto el jazz y ya estaba actuando en clubes nocturnos. Aunque al principio de su carrera lo encontró cubriendo éxitos del pop y el rock de la época, fue su amor por artistas orientados al jazz como Oscar Peterson, Duke Ellington, Frank Sinatra y Nat King Cole lo que le trajo la mayor inspiración.

En 1961, se mudó con su familia a Miami, Florida, para perseguir mejor sus ambiciones musicales. Fue allí donde Alexander conoció al restaurador y socio de Frank Sinatra, Jilly Rizzo, quien finalmente lo contrató como pianista en su club nocturno de Nueva York, Jilly's. Durante los años siguientes, Alexander vivió en Nueva York y trabajó en Jilly's, donde tuvo la oportunidad de hacerse amigo de un grupo de estrellas como Sinatra, Ray Brown, Milt Jackson y otros. Animado por este éxito, en 1964 viajó a Los Ángeles, donde grabó varios discos muy bien recibidos para el sello Pacific Jazz, entre ellos Alexander the Great y Spunky. Siguieron un puñado de esfuerzos adicionales, incluyendo Zing! de 1967 en RCA y This Is Monty Alexander de 1969 en Verve. En 1969 también apareció en la película del vibrafonista Milt Jackson "That's the Way It Is".

En los años 70, Alexander estableció una relación duradera con el sello alemán MPS (Musik Produktion Schwarzwald) y editó un flujo constante de álbumes, incluyendo Here Comes the Sun de 1971, Perception! de 1974 y Cobilimbo de 1977 con su amigo y colaborador Ernest Ranglin. Estos álbumes encontraron a Alexander empujando su sonido en nuevas direcciones y a menudo combinando el jazz con elementos de las tradiciones musicales caribeñas de su juventud. Durante este período formó relaciones de trabajo con el bajista John Clayton y el baterista Jeff Hamilton. Como trío, debutaron con gran éxito en Live! Montreux Alexander, y continuarán trabajando juntos en diversas configuraciones durante las próximas décadas. El pianista también continuó grabando con Milt Jackson, e hizo apariciones en álbumes de Quincy Jones, Dizzy Gillespie, Phyllis Hyman, y otros.

Los años 80 también fueron un período fructífero para Alexander, que continuó combinando su amor por el jazz y la música caribeña con la publicación de álbumes como The Duke Ellington Songbook (1983), The River (1985) y Li'l Darlin' (1986). También se reunió con Clayton y Hamilton en la Reunión en Europa de 1983 y se asoció con el bajista Ray Brown en varias fechas, incluyendo Full Steam Ahead de 1985 y The Red Hot Ray Brown Trio de 1987. Siguieron más álbumes, incluyendo Live at Maybeck de 1994 y Yard Movement de 1995, con un aire de reggae. Completó la década con los Ecos de Jilly de 1997 inspirados en Frank Sinatra y Stir It Up de 1999: La música de Bob Marley.

En el año 2000, los logros artísticos de Alexander fueron reconocidos por el gobierno jamaicano con su designación como embajador mundial de la música y como Comandante en la Orden de Distinción por sus destacados servicios a Jamaica. Ese mismo año, colaboró con los gigantes del reggae Sly Dunbar y Robbie Shakespeare en Monty Meets Sly & Robbie, seguido en 2001 por Caribbean Duet con el pianista Michel Sardaby. Luego se emparejó de nuevo con Ray Brown y el guitarrista Herb Ellis para la Triple Scoop de 2002 y la Straight Ahead de 2003. Dos sesiones de homenaje siguieron con The Good Life de 2008: Monty Alexander toca las canciones de Tony Bennett y Calypso Blues 2009: Las canciones de Nat King Cole. Alexander luego destacó su fusión de reggae, ska, R&B y jazz en el Harlem-Kingston Express de 2011 y en el Harlem-Kingston Express de 2014, Vol. 2: River Rolls On, ambos grabados en el Dizzy's Club Coca-Cola del Lincoln Center.
https://www.allmusic.com/artist/monty-alexander-mn0000589256/biography

www.montyalexander.com ...

Monty Alexander-Ray Brown-Herb Ellis • Trio

 

“It would be an over-simplification to characterize the group you are about to hear (or are perhaps now hearing) simply as the old Oscar Peterson Trio with Monty Alexander replacing the leader,” writes Leonard Feather in his liner notes to this album, after acknowledging that both bassist Ray Brown and guitarist Herb Ellis used to be part of the Peterson group. He’s right, of course, but it also would be incorrect to say there isn’t at least a feel of that earlier drum-less ensemble in this one. The chief difference, of course, is that the Jamaica-born Alexander is not Peterson; although less of his rhythmic flair is on display here than on other dates, he has his own personality, and it is far showier than Peterson‘s. A second major difference is that Peterson was the leader of his trio and, as Feather also points out, “this is essentially a three-way partnership” in which each member gets to contribute more or less equally. The selections are a mixture of standards, most of them typical jazz springboards (though the 1940s pop hit “To Each His Own” seems to be new to the medium) with a Brown original and showcase, “Blues for Junior,” and another original, “Captain Bill,” that contains associations with Count Basie. Whether playing fast or slow, the three musicians interact well together, the younger Alexander holding his own with his veteran partners.

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"Sería una simplificación excesiva caracterizar al grupo que está a punto de escuchar (o quizás está escuchando ahora) simplemente como el antiguo Oscar Peterson Trio con Monty Alexander sustituyendo al líder", escribe Leonard Feather en las notas de este álbum, después de reconocer que tanto el bajista Ray Brown como el guitarrista Herb Ellis formaban parte del grupo de Peterson. Tiene razón, por supuesto, pero también sería incorrecto decir que no hay al menos una sensación de aquel anterior conjunto sin batería en éste. La principal diferencia, por supuesto, es que el jamaicano Alexander no es Peterson; aunque aquí se muestra menos de su estilo rítmico que en otras fechas, tiene su propia personalidad, y es mucho más llamativa que la de Peterson. Una segunda diferencia importante es que Peterson era el líder de su trío y, como Feather también señala, "esto es esencialmente una asociación a tres bandas" en la que cada miembro contribuye más o menos por igual. Las selecciones son una mezcla de estándares, la mayoría de ellos típicos trampolines de jazz (aunque el éxito pop de los años 40 "To Each His Own" parece nuevo en el medio) con un original de Brown y escaparate, "Blues for Junior", y otro original, "Captain Bill", que contiene asociaciones con Count Basie. Tanto si tocan rápido como despacio, los tres músicos interactúan bien juntos, el joven Alexander aguantando el tipo con sus veteranos compañeros.

www.montyalexander.com ...

VA • Verve Jazz Club Collectionː Swinging Jazz Piano

 

Monty Alexander-Ray Brown-Herb Ellis • Triple Scoop, With Special Guest John Frigo

 

 

www.montyalexander.com ...

Monty Alexander-Ray Brown-Herb Ellis • Triple Scoop [With Special Guest John Frigo]

 

VA • Exotic Jazz

 

VA • From Jamaica With Jazz

 

 

www.ververecords.com ...

Monty Alexander • Sunday Night

 

 

 

www.montyalexander.com ...

 

Monty Alexander • Just in Time

  

Complete bio ...

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Monty Alexander • We've Only Just Begun

 

Review by Ken Dryden

Monty Alexander's career was beginning to take off at the time of this 1971 club date at the Monticello in Rochester, NY. Accompanied by Dave Brubeck's former bassist, Eugene Wright, and veteran drummer Bobby Durham, who was recording extensively with Oscar Peterson, the young pianist kicks off the set with an ambitious, quote-filled rendition of a great standard "It Could Happen to You." The inclusion of several familiar popular tunes of the period, namely Michel Legrand's haunting "Summer of '42 Theme," Henry Mancini's bittersweet "Love Story Theme," and even "We've Only Just Begun" (a mega-hit for the Carpenters which actually began life as background music for a bank commercial), doesn't detract from the album in the least, due to Alexander's imaginative approaches to each of the tunes. The one original of the date is Alexander's funky "Monticello." This well-recorded date has been out of print since BASF quit manufacturing records in the U.S. in the mid-'70s, so it may be somewhat difficult to acquire.

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Revisión por Ken Dryden

La carrera de Monty Alexander estaba comenzando a despegar en el momento de esta cita del club de 1971 en el Monticello en Rochester, Nueva York. Acompañado por el ex bajista de Dave Brubeck, Eugene Wright, y el veterano baterista Bobby Durham, quien estaba grabando extensamente con Oscar Peterson, el joven pianista inicia el set con una versión ambiciosa y llena de comillas de un gran estándar "It Could Happen to You". " La inclusión de varias melodías populares familiares de la época, como el inquietante "Verano del '42" de Michel Legrand, el agridulce "Love Story Theme" de Henry Mancini e incluso "Solo hemos empezado" (un mega éxito para los Carpinteros). que en realidad comenzó la vida como música de fondo para un comercial del banco), no resta valor al álbum en lo más mínimo, debido a los enfoques imaginativos de Alexander para cada una de las canciones. El original de la fecha es el funky "Monticello" de Alexander. Esta fecha bien registrada ha estado agotada desde que BASF abandonó los registros de fabricación en los EE. UU. A mediados de los años 70, por lo que puede ser algo difícil de adquirir.

  

Complete bio ...

www.montyalexander.com ...

Monty Alexander • In Tokyo

Review by Scott Yanow

A straightforward outing with his trio (which also includes bassist Andy Simpkins and drummer Frank Gant), this excellent studio set features pianist Monty Alexander displaying his bop chops and creativity in a straightahead setting. Highlights include "Broadway," Oscar Pettiford's "Tricotism" and "Never Let Me Go."

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Traducción Automática:

Revisión por Scott Yanow

Una excelente presentación con su trío (que también incluye al bajista Andy Simpkins y al baterista Frank Gant), este excelente set de estudio presenta al pianista Monty Alexander mostrando sus habilidades y creatividad en un ambiente de cabeza recta. Los aspectos más destacados incluyen "Broadway", "Tricotismo" de Oscar Pettiford y "Nunca me dejes ir".

www.montyalexander.com ...

Monty Alexander • Perception!

 Artist Biography by Matt Collar
Jamaican-born pianist Monty Alexander is a sophisticated, prolific performer with an urbane, swinging style informed by the bop tradition, as well as the reggae and Caribbean folk he grew up with. Born in Kingston, Jamaica in 1944, Alexander first started playing piano around age four and took classical lessons from age six. By his teens, however, he had discovered jazz and was already performing in nightclubs. Although his early career found him covering pop and rock hits of the day, it was his love of jazz-oriented artists like Oscar Peterson, Duke Ellington, Frank Sinatra, and Nat King Cole that brought him the most inspiration.
In 1961, he moved with his family to Miami, Florida to better pursue his musical ambitions. It was there that Alexander met restaurateur and Frank Sinatra associate Jilly Rizzo, who eventually hired him as the house pianist at his New York nightclub, Jilly's. For the next several years, Alexander lived in New York and worked at Jilly's, where had the opportunity to befriend and perform with a bevy of stars including Sinatra, Ray Brown, Milt Jackson, and others. Buoyed by this success, in 1964 he traveled to Los Angeles, where he recorded several well-received albums for the Pacific Jazz label, including Alexander the Great and Spunky. A handful of additional efforts followed, including 1967's Zing! on RCA and 1969's This Is Monty Alexander on Verve. In 1969 he also appeared on vibraphonist Milt Jackson's That's the Way It Is.
In the 1970s, Alexander built a long-lasting relationship with Germany's MPS (Musik Produktion Schwarzwald) label and released a steady stream of albums, including 1971's Here Comes the Sun, 1974's Perception!, and 1977's Cobilimbo with longtime friend and collaborator Ernest Ranglin. These albums found Alexander pushing his sound in new directions and often combining jazz with elements of the Caribbean musical traditions of his youth. During this period he formed working relationships with bassist John Clayton and drummer Jeff Hamilton. As a trio, they debuted to much acclaim on 1976's Live! Montreux Alexander, and would continue to work together in various configurations over the next several decades. The pianist also continued to record with Milt Jackson, and made appearances on albums by Quincy Jones, Dizzy Gillespie, Phyllis Hyman, and others.
The '80s were also a fruitful period for Alexander, who continued to combine his love of straight-ahead jazz and Caribbean music with the release of such albums as 1983's The Duke Ellington Songbook, 1985's The River, and 1986's Li'l Darlin'. He also reunited with Clayton and Hamilton on 1983's Reunion in Europe and paired with bassist Ray Brown for several dates, including 1985's Full Steam Ahead and 1987's The Red Hot Ray Brown Trio. More albums followed, including 1994's Live at Maybeck and 1995's reggae-inflected Yard Movement. He rounded out the decade with 1997's Frank Sinatra-inspired Echoes of Jilly's and 1999's Stir It Up: The Music of Bob Marley.
In 2000, Alexander's artistic achievements were recognized by the Jamaican government with his designation as a worldwide music ambassador and as Commander in the Order of Distinction for outstanding services to Jamaica. That same year, he collaborated with reggae giants Sly Dunbar and Robbie Shakespeare on Monty Meets Sly & Robbie, followed in 2001 by Caribbean Duet with pianist Michel Sardaby. He then paired again with Ray Brown and guitarist Herb Ellis for 2002's Triple Scoop and 2003's Straight Ahead. Two tribute sessions followed with 2008's The Good Life: Monty Alexander Plays the Songs of Tony Bennett and 2009's Calypso Blues: The Songs of Nat King Cole. Alexander then highlighted his fusion of reggae, ska, R&B, and jazz on 2011's Harlem-Kingston Express and 2014's Harlem-Kingston Express, Vol. 2: River Rolls On, both recorded at Dizzy's Club Coca-Cola at Lincoln Center.

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TraducciónAutomática:

Biografia do artista por Matt Collar
Monty Alexander, pianista nascido na Jamaica, é um músico sofisticado e prolífico, com um estilo urbano e balançante, informado pela tradição do bop, bem como pelo reggae e folk caribenha com quem cresceu. Nascido em Kingston, Jamaica, em 1944, Alexander começou a tocar piano por volta dos quatro anos de idade e teve aulas clássicas a partir dos seis anos. Por sua adolescência, no entanto, ele descobriu o jazz e já estava se apresentando em boates. Embora seu início de carreira o tenha coberto de sucessos pop e rock do dia, foi seu amor por artistas orientados ao jazz como Oscar Peterson, Duke Ellington, Frank Sinatra e Nat King Cole que lhe trouxeram a maior inspiração.
Em 1961, ele se mudou com sua família para Miami, na Flórida, para melhor seguir suas ambições musicais. Foi lá que Alexander conheceu o restaurateur e Frank Sinatra associou Jilly Rizzo, que eventualmente o contratou como o pianista da casa em sua boate de Nova York, Jilly's. Nos anos seguintes, Alexander viveu em Nova York e trabalhou na Jilly's, onde teve a oportunidade de fazer amizade e se apresentar com um grupo de estrelas, incluindo Sinatra, Ray Brown, Milt Jackson e outros. Impulsionado por este sucesso, em 1964 viajou para Los Angeles, onde gravou vários álbuns bem recebidos pela editora Pacific Jazz, incluindo Alexander the Great e Spunky. Um punhado de esforços adicionais se seguiu, incluindo o Zing de 1967! na RCA e 1969 é This Monty Alexander on Verve. Em 1969 ele também apareceu no vibrafonista de Milt Jackson, That's the Way It Is.
Nos anos 1970, Alexander construiu um relacionamento duradouro com o selo MPS (Musik Produktion Schwarzwald) e lançou um fluxo constante de álbuns, incluindo Here Comes the Sun, de 1971, Perception !, de 1974, e Cobilimbo, de 1977, com Ernest Ranglin, amigo e colaborador de longa data. Estes álbuns encontraram Alexander empurrando seu som em novas direções e muitas vezes combinando jazz com elementos das tradições musicais caribenhas de sua juventude. Durante este período, ele formou relações de trabalho com o baixista John Clayton e o baterista Jeff Hamilton. Como um trio, eles debutaram com muito sucesso no Live de 1976! Montreux Alexander, e continuaria a trabalhar juntos em várias configurações ao longo das próximas décadas. O pianista também continuou gravando com Milt Jackson e fez aparições em álbuns de Quincy Jones, Dizzy Gillespie, Phyllis Hyman e outros.
Os anos 80 também foram um período frutífero para Alexander, que continuou a combinar seu amor pelo jazz e pela música caribenha com o lançamento de álbuns como The Duke Ellington Songbook, de 1983, The River, de 1985 e Li'l Darlin, de 1986. Ele também se reuniu com Clayton e Hamilton em Reunion in Europe em 1983 e emparelhado com o baixista Ray Brown em várias datas, incluindo Full Steam Ahead em 1985 e The Red Hot Ray Brown Trio em 1987. Seguiram-se mais álbuns, incluindo Live at Maybeck, de 1994, e o Yard Movement, de 1995, reggae-inflected. Ele completou a década com Echoes of Jilly's, de 1997, inspirado em Frank Sinatra, e Stir It Up: A Música de Bob Marley, de 1999.
Em 2000, as realizações artísticas de Alexander foram reconhecidas pelo governo jamaicano com sua designação como embaixador da música em todo o mundo e como comandante da Ordem de Distinção por excelentes serviços prestados à Jamaica. Nesse mesmo ano, ele colaborou com os gigantes do reggae Sly Dunbar e Robbie Shakespeare em Monty Meets Sly & Robbie, seguido em 2001 pelo dueto do Caribe com o pianista Michel Sardaby. Ele então se juntou novamente com Ray Brown e o guitarrista Herb Ellis para Triple Scoop de 2002 e Straight Ahead de 2003. Duas sessões de tributo seguiram com The Good Life de 2008: Monty Alexander toca as músicas de Tony Bennett e 2009 Calypso Blues: As Canções de Nat King Cole. Alexander então destacou sua fusão de reggae, ska, R & B e jazz no Harlem-Kingston Express de 2011 e Harlem-Kingston Express, Vol. 2: River Rolls On, ambos gravados no Dizzy's Club Coca-Cola no Lincoln Center.

www.montyalexander.com ...

Monty Alexander • Solo

 

  

Complete bio ...

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Monty Alexander & Ernest Ranglin • Untitled

 

Colaborador / Contribuitor:  Michel