viernes, 28 de julio de 2017

Larry Young Trio • Testifying



Jimmy Smith • Any Number Can Win



Originally released on Verve (8552). Includes liner notes by Al Clarke. Digitally remastered using 22-bit technology by Suha Gur (Polygram Studios). With a fat, dynamics-busting horns and woodwinds section utterly transforming the standard sound of Jimmy Smith's trio, ANY NUMBER CAN WIN may bear more of a resemblance to Henry Mancini than to the rootsy grooves one has come to expect from Smith. Which is not to say that the disc doesn't swing; quite the opposite. Smith's Hammond organ sound is oozy enough to liquefy bones, and his powerful, syncopation-addicted right hand intensifies the effect. Guest musicians turn in fine performances, including guitarist Kenny Burrell and the 20 or so members that make up the larger ensemble. The mood of ANY NUMBER CAN WIN alternates from the finger-popping big band interlude of "You Came A Long Way From St. Louis," to slinky boogie-inducers like "The Ape Woman" and the title track (theme song from an MGM movie), ballads like "Georgia On My Mind" and cool electric blues like "The Sermon" and the cover of Ray Charles "What'd I Say?" While perhaps a bit too uber-groovy for jazz purists, those who are looking for instrumental a-go-gos in true swinging 60's style won't be disappointed in this release. One of Verve's most popular discs, recently re-issued on Verve By Request. This is part of Verve's By Request series. Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey in July 1963. Personnel: Jimmy Smith (organ); Vincent Bell, Kenny Burrell, Billy Mure (guitar); Phil Woods (woodwinds, saxophone, alto saxophone); Seldon Powell, Budd Johnson (woodwinds, saxophone, tenor saxophone); Jerome Richardson (woodwinds, alto saxophone, tenor saxophone, baritone saxophone); Marvin Halladay (woodwinds, baritone saxophone); Marvin Holladay (saxophone); Bob Bushnell (trumpet, electric bass); James Sedlar, Joe Newman , Snooky Young, Jimmy Maxwell, Charlie Shavers (trumpet); Jimmy Cleveland, Kai Winding, Melba Liston, Paul Faulise (trombone); Bob Bushness (keyboards); Bob Richardson, Mel Lewis, Ed Shaughnessy, Bobby Donaldson, Herb Lovelle (drums); George Devens, Art Marotti, Doug Allan, Doug Allen (percussion). Liner Note Author: Al Clarke. Recording information: New York, NY (07/10/1963-07/29/1963); Van Gelder Recording Studio, Englewood, CA (07/10/1963-07/29/1963). Photographers: Murray Laden; Lee Friedlander. Arrangers: Claus Ogerman; Billy Byers. Personnel: Jimmy Smith (organ); Claus Ogerman, Billy Byers (arranger, conductor); Jimmy Maxwell, Joe Newman, James Sedlar, Charlie Shavers, Snooky Young (trumpet); Jimmy Cleveland, Paul Faulise, Melba Liston, Kai Winding (trombone); Jerry Dodgion, Marvin Hallady, Budd Johnson, Jerome Richardson, Seldon Powell, Phil Woods (woodwinds); Kenny Burrell, Vince Gambella, Billy Mure (guitar); Art Davis, George Duvivier, Milt Hinton (bass); Bob Bushnell (electric bass); Bobby Donaldson, Mel Lewis, Ed Shaughnessey (drums); Doug Allen, George Devens, Art Marotti (percussion).


Paris Jazz Trio • Complete Recordings



Guy Lafitte - sax tenor
Georges Arvanitas - piano & organ Hammond
Christian Garros - drums
Benoit Quersin -bass (track 13-22)

Stereophonic Space Sound Unlimited • Jet Sound inc





Stereophonic Space Sound Unlimited are a Swiss instrumental band on the Dionysus Records label. They have released several albums. Their work has been used in American television shows such as The Chris Isaak Show, and they have created film soundtracks featuring their distinctive sound.




jueves, 27 de julio de 2017

Korla Pandit • Plays Music Of The Exotic East



 La música exótica (http://en.wikipedia.org/wiki/Exotica) se generó en los '50, refiriendose a aquella música no nativa de los Estados Unidos y por extensión de la música "occidental", comprendiendo sonidos orientales, polinesios, africanos, etc.. Si bien el término música exótica se oficializa alrededor de 1957, antes Korla Pandit ya estaba entre los pioneros. Pero quien es Korla Pandit?

Nota de doctormagenta.blogspot.com.ar
Korla Pandit fue pionero del género exótica de principios de los años 50. La fascinación de toda una generación de entre guerras con los ritmos y armonías de un Shangri-La pre-sicodélico e imaginario que tiene de africano, polinesio, inca y mesoamericano. La onda Tiki: El sincretismo musical (que precede a la globalización) habría de llegar a la moda, el diseño interior y gráfico y el cine. Si bien Korla introdujo el sonido del Hammond B-3 y el Theremin, luego vendrían los experimentos electroacústicos de Les Baxter, Martin Denny y el mexicano Esquivel. Acicalado con turbante blanco y gema en el bonete, Korla (de mirada hipnótica) era dueño de un estilo entre noir y ciencia-ficción que enloquecería a las amas de casa de aquella época macartista (las que no imaginaban que el extravagante Pandit no era de origen hindú, sino un mulato de Mississippi).
Para fines de los 50 la estrella de Korla se apagaba con lo que David Hickey ha llamado “la novedad asexual del fenómeno Liberace”. Durante los 60 se podía oír el show de Pandit en los pequeños tugurios de la ciudad de Los Ángeles. Luego desapareció por completo hasta que Tim Burton le dio su último rol estelar en el filme Ed Wood. (Se rumora que fiel a sus raíces, Korla murió en su casa en Santa Rosa, California, vistiendo su atuendo blanco de siempre).
http://doctormagenta.blogspot.com.ar/2009/05/el-club-de-los-olvidados-korla-pandit.html
http://en.wikipedia.org/wiki/Korla_Pandit
http://www.korlapandit.com




Automatic translation:
Exotic music (http://en.wikipedia.org/wiki/Exotica) was generated in the 50's, referring to that music not native to the United States and by extension of "western" music, comprising Eastern, Polynesian sounds , African, etc. Although the term exotic music was officialized around 1957, before Korla Pandit was already among the pioneers. But who is Korla Pandit?

Note from doctormagenta.blogspot.com.ar
Korla Pandit pioneered the exotic genre of the early 1950s. The fascination of a whole generation between wars with the rhythms and harmonies of a pre-symbiotic and imaginary Shangri-La that has African, Polynesian, Inca and Mesoamerican. The Tiki wave: Musical syncretism (which precedes globalization) would come to fashion, interior and graphic design and film. While Korla introduced the sound of Hammond B-3 and Theremin, then came the electroacoustic experiments of Les Baxter, Martin Denny and Mexican Esquivel. Dressed in a white turban and a gem on the bonnet, Korla (hypnotic gaze) owned a style between noir and science fiction that would drive the housewives of that McCarthy age (those who did not imagine that the extravagant Pandit was not Indian origin, but a Mississippi mulatto).
By the late 1950s Korla's star was dying out with what David Hickey called "the asexual novelty of the Liberace phenomenon." During the 60's you could hear the Pandit show in the small slums of the city of Los Angeles. Then it disappeared completely until Tim Burton gave him his last star role in the movie Ed Wood. (Rumored to be true to his roots, Korla died at his home in Santa Rosa, California, wearing his usual white outfit).
Http://doctormagenta.blogspot.com.ar/2009/05/el-club-de-los-los-korla-pandit.html
Http://en.wikipedia.org/wiki/Korla_Pandit
Http://www.korlapandit.com






Chris Flory • Word On The Street



Especially inspired by guitarist Bill Jennings and organist Wild Bill Davis, Flory swings relentlessly, often serving up a generous blues helping. On this recording he opts for the organ trio format, relying on the talents of B-3 pilot Mike LeDonne and drummer Mark Taylor.
The tunes themselves, generally not associated with the organ trio, constitute one of the more obvious aspects that set this album apart. "Comes Love" gets a Latin make over and finds Flory swinging hard over clave rhythm rim shots and a lush organ cushion. He particularly burns on Basie's "Taps Miller," a brisk rhythm changes workout that also features LeDonne's fancy footwork on the B-3's pedals and Taylor's tight, succinct fills. But Flory can also play it soft and sensitive, as he demonstrates on "I'm A Fool To Love You," where he renders the melody with lyrical single notes and octaves before taking the tempo up a notch for the solos. A grooving, refreshing blend of tradition, subtle creativity, and fiery fretwork.
http://jazztimes.com/articles/9437-word-on-the-street-chris-flory


The Ventures • The Ventures Collection



The Ventures es una banda de surf rock y rock instrumental estadounidense formada en 1958, en Washington por Don Wilson y Bob Bogle, conocida por sus clásicos como "Walk Don't Run" o ‘’Wipe Out”, el tema de 007, James Bond, incluyendo las series de Hawaii 5-0 y Swat. Ingresaron al Salón de la Fama del Rock en 2008 y han vendido cerca de 100 millones de discos a nivel mundial

////////////////////////////////////

The Ventures are an American instrumental rock band formed in 1958 in Tacoma, Washington. Founded by Don Wilson and Bob Bogle, the group in its various incarnations has had an enduring impact on the development of music worldwide. With over 100 million records sold,[1] the group is the best-selling instrumental band of all time. In 2008, the Ventures were inducted into the Rock and Roll Hall of Fame.




Kevin Coelho • Turn It Up



At only eighteen years old, Hammond B3 specialist Kevin Coelho has already released two albums. His first Funkengruven in 2012 and his brand new disc Turn It Up.

On Turn It Up Coelho is helped out by Derek DiCenzo (guitar) and Reggie Jackson (drums). The trio add their jazzy soul inflected touches to famous standards like "When Johnny Comes Marching Home" and "Georgia On My Mind" and even tackle some pop rock classics like the Beatles' "Come Together". Although it may not have the same energy as the original, maybe it's the lack of vocals, there is some excellent B3 work here and they really give this one a jazz rave up. The opening track "Root Down" is another good one featuring bubbling Hammond fills and a funky rhythmic groove. Prince's "Soft And Wet" is given that extra soul with some scintillating Hammond and lead guitar while the Coelho penned "Zig Zag" is an upbeat R&B rocker featuring Jackson's excellent work on the skins. Not sure how necessary the bonus tracks are but this is still a fine jazz/R&B album.

Kevin Coelho plays the Hammond well beyond his years. He is already an excellent improviser and arranger and will only get better over time. There is no telling how bright his star will shine.


The Three Sounds • Blue Genes



The Three Sounds were one of the most popular artists on Blue Note Records during the late '50s and '60s, thanks to their nimble, swinging, blues-inflected mainstream jazz. Since their records sounded interchangeable and their warm, friendly jazz was instantly accessible, many critics dismissed the group at the time as lounge-jazz, but in the '90s, critical consensus agreed that the group's leader, pianist Gene Harris, was an accomplished, unique stylist whose very ease of playing disguised his technical skill. Similarly, his colleagues, bassist Andrew Simpkins and drummer Bill Dowdy, were a deft, capable rhythm section that kept the group in an appealing, bluesy groove. That groove was so appealing that The Three Sounds maintained a large fan following into the late '60s. During the group's prime period -- from their 1958 debut for Blue Note to the departure of Dowdy in 1967 -- The Three Sounds cut an enormous number of records. Many records hit the shelves, while others stayed in the vaults, to be issued at a later date. Through it all, the trio's sound remained essentially the same, with no real dip in quality until the group began to splinter in the late '60s.


Lawrence Welk • Apples & Bananas



https://en.wikipedia.org/wiki/Lawrence_Welk


Pat Martino • Impressions



Review by Matt Collar
Impressions collects tracks from four of guitarist Pat Martino's best Muse albums from the '70s, including 1974's Consciousness, 1975's Footprints, 1976's We'll Be Together Again, and 1977's Exit. From Martino's most well-known and perhaps most creative period, these albums found the technically deft musician tackling everything from American popular song to jazz standards and his own superb original compositions. Completists will most likely want to seek out the original albums, but as an introduction to Martino's work, Impressions is as good a place to start as any.


Black Market Audio • Autorama