viernes, 31 de octubre de 2014

Krzysztof Sadowski • Krzysztof Sadowski And His Hammond Organ



This is the first album on the legendary Polish Jazz series, which is dedicated to the Hammond organ, the godfather of the electronic keyboards and probably the most significant new instrument, which dominated Jazz and Progressive Rock in the late 1960s and early 1970s (although available since the 1930s). Keyboardist Krzysztof Sadowski belongs to the first post WWII generation of Polish Jazz musicians, debuting in the 1950s and active on the local scene for many years. He combined his love of Jazz and Rock, playing with the leading ensembles of both genres with equal dedication and success. This album presents his Hammond organ performances in two different environments: Side A of the original LP captures him accompanied just by drummer Andrzej Dabrowski and the duo moves through a Rocky set, which includes a Beatles medley. Side B finds him accompanied by the Polish Radio Jazz Studio Orchestra, led by saxophonist / composer Jan "Ptaszyn" Wroblewski and featuring top Polish Jazz players, among them saxophonist Janusz Muniak, bassist Bronislaw Suchanek, drummer Janusz Stefanski and many others. This set is much closer to Jazz and features a beautiful version of Krzysztof Komeda's ballad from "Rosemary's Baby".


Robert Walter • Cure All


http://www.youtube.com/watch?v=zAM_aqzJngc

If your concept of "Jazz Rock" is something like Mahavishnu or Chick Corea, this album will open your ears! This is jazz-rock with as much Doctor John and Booker T as John Coltrane. The trio swings, growls, slides and crawls like a hip alligator. On the last track, "T", Walter switches to a traditional Jazz trio and shows "Real Jazz Pianist" credentials, but most of the album (like the rollicking version of "Rivers of Babylon") has a playfulness that one doesn't hear in Jazz as much as one should. Amazon's pairing of this album with "Dance like there's no tomorrow" is perfect. Sometimes I listen to Jazz to concentrate, or to feed my love of abstract beauty. I listen to this for sheer pleasure: It just makes me feel good!

Robert Walter has no problem getting into funky, down-home soul-jazz when he wants to, but the organist/keyboardist/pianist also has his intellectual side. He obviously appreciates the soul-jazz that B-3 icons like Jimmy Smith, Richard "Groove" Holmes, Johnny "Hammond" Smith, and Jack McDuff offered in the '60s, but he has also shown his appreciation of Medeski, Martin & Wood as well as the post-bop and fusion that Larry Young explored after he moved beyond soul-jazz. And both sides of Walter's artistry serve him well on Cure All. If Walter (who forms a trio with bassist James Singleton and drummer Johnny Vidacovich) set out to offer a healthy balance of intellect and funkiness, he achieves that goal on enjoyable tracks such as "Maple Plank," "Snakes and Spiders," "Measure Up," and "Coupe." Most of the material is more cerebral than a typical soul-jazz performance would be, but at the same time, Cure All is less cerebral than Medeski, Martin & Wood's albums. Whether he is on organ, acoustic piano, or electric keyboards, Walter usually avoids becoming either too simple or too abstract. Not that there is anything wrong with either simplicity or abstraction; the straightforward, groove-loving bluesiness of Big John Patton and Gene Harris is every bit as valid a part of jazz as the most challenging pieces that John Medeski has had to offer. But Walter obviously wanted to avoid going too far in either direction, and that outlook yields consistently worthwhile results on Cure All.


Bill Heid • Air Mobile



Bill Heid (nacido el 11 de agosto 1948) es músico de jazz americano y hard bop  pianista y organista, nacido en Pittsburgh, Pennsylvania, Estados Unidos, probablemente mejor conocido por su trabajo con músicos como Koko Taylor, Henry Johnson y Fenton Robinson, entre otros.

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Review by Michael G. Nastos
Bill Heid is well known as a great jazz organist on recordings, but for the majority of his numerous club dates, he plays the acoustic piano. So for his staunchest fans the issue of Air Mobile might be a surprise in that he plays the 88's exclusively. What remains a constant is that he has written all of the material on the date, and keeps the quality of the music very high by employing such first-rate accompanists as bassist Dwayne Dolphin, the great veteran kit drummer Roger Humphries, and hand drummer George Jones. Brother George Heid is the engineer, making the session sound as sweet and clean as possible. Perhaps Bill Heid does not play as nasty and dirty as he might on the B-3 organ, but his immense talent is no less diminished or evident. In fact, you might hear more of his influences, including the block chords and fleet lines à la McCoy Tyner, the rivaled virtuosity of Oscar Peterson, and the subtle harmonic dynamics of Red Garland or Bill Evans. For sheer hard bop, the title cut and "Moorefield Mojo" offer clutchless speed in sixth gear and ability to split on a moment's notice, while the loping slightly Latinized "Blues in the Airport" and "Boomph!" reflect the smart, classic Peterson touch. "Spring Tones" and "Blue Ice Cubes" reveal the elegance Heid is able to generate in hushed tones, while these compositions parallel those of Wayne Shorter or Herbie Hancock. Deeper into the Tyner/Hancock harmonic mold is the waltz "Saying Goodbye," while "You Don't Even Know" is a lithe jog reminiscent of another of Heid's fellow Pittsburghians, Ahmad Jamal. Never far from the blues, Heid sings, and quite well, on "Same Old Blues" with the adage "the more things change, the more things stay the same," while "Wondering Blues" reflects the self-doubt of whether she is or isn't. Dolphin is a major player as demonstrated during his solo on "Moorefield Mojo" or the intro to "Same Old Blues," while Humphries is the steady and masterful rhythm pilot he always has been. Those who prefer Heid's organ nuttiness and wild virtuosic excursions on that dual duty instrument should also be pleased with this worthwhile addition to his thankfully growing discography.



miércoles, 29 de octubre de 2014

Valentin Serov • Dmitri V. Sarabianov




Valentín Aleksándrovich Serov, en ruso: Валенти́н Алекса́ндрович Серо́в (19 de enero de 1865 - 5 de diciembre de 1911) fue un pintor ruso y uno de los mejores retratistas de su época.
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Valentin Serov was a Russian painter and one of the premier portrait artists of his era.



Valentin Serov • Dmitri V. Sarabianov
pdf / 200 págs. / 102MB / Idioma: Inglés

Shirley Scott • Drag 'Em Out


Review:
And Drag 'Em Out she does – on this, one of Shirley's best albums for Prestige! The set really cooks on side one – which is an extended album-side jam called "Drag Em Out", played by Shirley on organ, with Roy Brooks on drums and Major Holley on bass. This sort of long open track is quite different than Shirley's other recordings, and she really rises to meet the challenge. Side two is more standard stuff – 3 tunes, with titles that include "The Song Is Ended", "Out Of It", and "The Second Time Around".

The Tyree Glenn Quintet • Let's Have a Ball


Extraordinario trombonista.

Biography
Tyree Glenn, who had the unusual double of trombone and vibes, was an important asset at various times to both Duke Ellington and Louis Armstrong. Glenn started out working in territory bands in Virginia, then moved to the West Coast, playing with groups headed by Charlie Echols (1936) and Eddie Barefield. After playing with Ethel Waters and Benny Carter, he became a longtime member of the Cab Calloway Orchestra (1939-1946). Glenn visited Europe with Don Redman's big band (1946). During his association with Ellington (1947-1951), he was an effective wah-wah trombonist in the Tricky Sam Nanton tradition and Ellington's only vibraphonist, being well-featured on the "Liberian Suite." During the 1950s, Glenn worked in the studios, led his quartet at the Embers, and freelanced in swing and Dixieland settings. Other than some European dates in 1947, Glenn's only extensive opportunity to record was for Roulette (1957-1958 and 1961-1962). During 1965-1968, he toured the world with Louis Armstrong's All-Stars. After leaving Armstrong, Tyree Glenn led his own group during his last few years.

Love for Sale



Alexander Blume • Boogie Woogie Piano




Black Ladies • Taschen



Uwe Ommer, a sought-after commercial photographer based in New York and Paris, has made a name for himself with his own uncommissioned works, as this book eloquently attests. For the aesthete Uwe Ommer, the bodies of black women represent the epitome of beauty. His photographs are exactly what they show, no more and no less than a homage to female beauty. And of course that homage is paid in the perfect setting, the stunning landscape of Africa.


Branko Kralj • 3 EP



Branko Kralj is a croatian harmonica player, I have not found details of it. However, I invite you to listen to jazz that was played in the former Yugoslavia.

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Branko Kralj es un armonicista croata del que no he encontrado más datos del mismo. A pesar de ello los invito a escuchar el jazz que se tocaba en la antigua Yugoslavia.



martes, 28 de octubre de 2014

Johnny 'Hammond' Smith • Breakout




Roby Lakatos • Gypsy violin virtuoso



Roby Lakatos es un violinista Romaní (etnia gitana) de Hungría. Es famoso por su mezcla de música clásica con la música gitana y húngara y temas de jazz.

Roby Lakatos no sólo es un virtuoso abrasador, sino un músico de una versatilidad estilística extraordinaria. Se refieren a él como violinista gitano o "el violinista del diablo", un virtuoso de la clásica, un improvisador de jazz, compositor y arreglista, y una vuelta del siglo 19, y él es en realidad todas estas cosas a la vez. Él es el tipo de músico universal, rara vez se encuentra en nuestro tiempo un intérprete cuya fuerza como se deriva de sus actividades como improvisador y compositor. Ha actuado en las grandes salas y festivales de Europa, Asia y América.

Nacido en 1965 en la legendaria familia de violinistas gitanos descendientes de Janos Bihari, "rey de los violinistas gitanos”, Roby Lakatos fue introducido a la música muy jovencito y a la edad de nueve años hizo su debut público como primer violín en una banda de Romani. Su musicalidad evolucionó no sólo dentro de su propia familia, sino también en el Conservatorio Béla Bartók de Budapest, donde ganó el primer premio de violín clásico en el año 1984. En marzo de 2004, Lakatos, apareció con gran éxito con la Orquesta Sinfónica de Londres en la orquesta de "genio del violín” del festival junto con Maxim Vengerov.

Roby Lakatos ha lanzado cuatro álbumes hasta la fecha para Avanticlassic: Proyecto de Prokofiev, con Polina Leschenko, Poltera cristiana y Martha Argerich, Danza del fuego, el Karma Klezmer con la Orquesta de Cámara Franz Liszt, la cantante yiddish Myriam Fuks y el acordeonista Aldo Granato y, Roby Lakatos con músicos amigos con Stéphane Grappelli, Vadim Repin, Randy Brecker, Lakatos Tony, Marc Fosset y el Cuarteto de Vieuxtemps.


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Roby Lakatos is a Romani (Gypsy) violinist from Hungary. He is renowned for his mix of classical music with Hungarian Romani music and jazz themes.

Romani violinist Roby Lakatos is not only a scorching virtuoso, but a musician of extraordinary stylistic versatility.[citation needed] Equally comfortable performing classical music as he is playing jazz and his own Hungarian folk idiom, Lakatos is the rare musician who defies definition. He is referred to as a gypsy violinist or ‘devil’s fiddler’, a classical virtuoso, a jazz improviser, a composer and arranger, and a 19th-century throwback, and he is actually all of these things at once. He is the kind of universal musician so rarely encountered in our time—a player whose strength as an interpreter derives from his activities as an improviser and composer. He has performed in the great halls and festivals of Europe, Asia and America.

Born in 1965 into the legendary family of Romani violinists descended from János Bihari, ‘King of Gypsy Violinists’, Roby Lakatos was introduced to music as a child and at the age of nine he made his public debut as first violin in a Romani band. His musicianship evolved not only within his own family but also at the Béla Bartók Conservatory of Budapest, where he won the first prize for classical violin in 1984. Between 1986 and 1996, he and his ensemble delighted audiences at the restaurant ‘Les Atéliers de la Grande Ille’ in Brussels, their musical home throughout this period. He has collaborated with Vadim Repin and Stéphane Grappelli, and his playing was greatly admired by Sir Yehudi Menuhin, who always made a point of visiting the place to hear Lakatos. In March 2004, Lakatos appeared to great acclaim with the London Symphony Orchestra in the orchestra’s ‘Genius of the Violin’ festival alongside Maxim Vengerov.

When Roby Lakatos mixes so-called ‘classical music’ with the magic of Hungarian-gypsy vitality, it is not disrespectful toward the classical tradition, but it reflects the deep tradition rooted in the cultural heritage of the Romani people and offers new, refreshing pleasures to the listener and music lover. And just as Liszt, Brahms and others used Hungarian overtones in their compositions, so now the public profits from the reuniting of these classics with their Romani roots. This enlivens all those men and women in whose veins still pulses at least a little bit of the blood of the wandering spirit.

Roby Lakatos has released five albums for avanticlassic to date: Prokofiev project with Polina Leschenko, Christian Poltéra and Martha Argerich; Fire Dance; Klezmer Karma with the Franz Liszt Chamber Orchestra, Yiddish singer Myriam Fuks and accordionist Aldo Granato and; Roby Lakatos with Musical Friends with Stéphane Grappelli, Vadim Repin, Randy Brecker, Tony Lakatos - his brother and established jazz musician in his own right, Marc Fosset and the Vieuxtemps Quartet. La Passion live at Sydney Opera House.



Lou Bennett • Now Hear My Meaning


"Lou Bennett began as a bop pianist, then switched to organ and became a solid player in the late '50s. With Jimmy Smith's virtuostic approach as inspiration, Bennett left piano behind in 1956, and toured the East and Midwest with his organ trio from 1957 through 1959. Bennett left America for Paris in 1960. He recorded there, played at the city's Blue Note club with Jimmy Gourley and fellow expatriate Kenny Clarke, who became one of his regulars alongside Rene Thomas. Bennett made only one return visit to America, appearing at the 1964 Newport Jazz Festival. He led his own group during the '80s." -All Music Guide

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Lou Bennett fue el nombre artístico de Jean-Louis Benoît (n. Filadelfia, Estados Unidos, 18 de mayo de 1926 - Le Chesnay, Francia, 10 de febrero de 1997), músico organista de jazz norteamericano.
Lou Bennett tocó primero bebop al piano en algunos locales de Baltimore hasta 1956 y se decide por consagrarse al órgano tras escuchar la música de Jimmy Smith.
Gira por Estados Unidos con un trío de órgano entre 1957 y 1959, y se traslada a París en 1960 para iniciar su carrera europea, allí toca y graba en Blue Note con Jimmy Gourley y Kenny Clarke, así como con René Thomas, volverá solo en una ocasión a América, al Newport Jazz Festival de 1964.
Grabó además en los años 60 con Philip Catherine y Franco Manzecchi. En los años 80 tocó en su propio quinteto junto a Gerard Badini, entre otros, en ese período realizó giras por España, pasando por escenarios de Almería, Barcelona, La Coruña, Segovia y Madrid. En 1966 graba un disco junto a la cantante catalana Núria Feliu: Núria Feliu amb Lou Bennett i els seus amics y su disco Now hear my meaning editado en 1993 fue grabado en vivo en Barcelona.



The Surf Raiders • Raiders Of The Lost Surf



lunes, 27 de octubre de 2014

B3Madness • Honkology


This album was created as a direct result of experiencing breast cancer. From 'Funky side Effects to My Foolish Heart', there is a song on this album for everyone. Compositions written and arranged by Nicole Thorne during her breast cancer journey provide a variety of different styles, that allow the listener to experience the emotion at the time the song was written. Guest artists feature on this album and have played an important role in interpreting works which also add to the listeners choice of works. Andrew Bradsworth features on guitar, Budi Winarto on tenor, Graeme Steel on trumpet and Wes Mowson on trombone.

Female Jazz organists are a rarity in Australia. Nicole had always dreamt of playing Jazz Hammond. In late 2005 Nicole found a Hammond B3000 then shortly after forming her own Jazz Hammond trio,' B3Madness'. B3Madness later recorded their debut album 'It's Never Too Late'. Nicole's extensive use of pedal bass allowed her to comp fiercely and provides musical and dynamic flexibility. Nicole's experience as a pianist/organist combined, has given her the knowledge and skills which she has adapted to develop her own unique style of playing the Hammond. Supporting Nicole are two outstanding musicians, Nick Pearce on ten/alto sax and Mark Voogd on drums. The trio communicate effortlessly allowing creativity and spontaneity when improvising.!

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Traducción automatica:
Este álbum fue creado como resultado directo de sufrir cáncer de mama. Desde 'Efectos secundarios Funky a My Foolish Heart ", hay una canción en este disco para todo el mundo. Las composiciones escritas y arregladas por Nicole Thorne durante su experiencia con el cáncer de mama ofrecen una variedad de diferentes estilos, que permiten al oyente experimentar la emoción en el momento de la canción fue escrita. Los artistas invitados incluyen en este álbum y han jugado un papel importante en la interpretación de las obras que también se suman a la elección oyentes de las obras. Andrew Bradsworth cuenta en la guitarra, Budi Winarto en tenor, Graeme acero en la trompeta y Wes Mowson en el trombón. Organistas de jazz femeninas son una rareza en Australia. Nicole siempre había soñado con jugar Jazz Hammond. A finales de 2005 Nicole encontró un Hammond B3000 entonces poco después de formar su propio trío de jazz Hammond, 'B3Madness'. B3Madness más tarde grabó su álbum debut "Nunca es demasiado tarde '. Uso extensivo de Nicole de bajo pedal le permitió comp ferozmente y proporciona flexibilidad musical y dinámico. La experiencia de Nicole como pianista / organista combinado, le ha dado los conocimientos y habilidades que se ha adaptado a desarrollar su propio estilo único de tocar el Hammond. Apoyo a Nicole son dos destacados músicos, Nick Pearce en diez / saxo alto y Mark Voogd en la batería. El trío comunican sin esfuerzo lo que permite la creatividad y la espontaneidad cuando improvisando.!


viernes, 24 de octubre de 2014

Ronnie Foster • Sweet Revival



The James Taylor Quartet • Absolute - J.T.Q. Live



Buddy Collette And His Trio • Calm, Cool And Collette




Gabor Szabo • Highh Contrast



High Contrast is an album by Hungarian jazz guitarist Gábor Szabó. Produced by Tommy LiPuma and recorded by Bruce Botnick at Capitol Studios, Hollywood in December 1970 (tracks 1,4,7) & at The Record Plant, Hollywood in February 1971 (tracks 2,3,6) with a lot of contribution from songwriter and guitarist Bobby Womack, this album would feature the original version of Breezin' that George Benson would have a major hit with in 1976 (also produced by LiPuma). The composition "If You Don't Want My Love" would be used by Bobby Womack in the film and soundtrack to Across 110th Street.

Tom Conway • Hot Gypsy Nights


Tom Conway is the guitarist in the gypsy jazz group 'Gypsy Pacific' which is based in Maui, Hawaii and this is his first release under his own name. This record is a collection of some of Tom's favorite tunes in the gypsy jazz style and features compositions by Django Reinhardt, Titi Winterstein, Romane and others.


jueves, 23 de octubre de 2014

Booker T. & The MG's • Stax Profiles



Banda instrumental de música soul, muy popular entre los años 1960 y 1970.
Son comúnmente asociados con la compañía discográfica Stax Records y considerados parte del subgénero denominado Memphis soul. Fue uno de los primeros grupos de la música popular en estar conformados por diferentes razas. La banda es mejor conocida por su éxito musical de 1962, la pieza de rock instrumental «Green Onions».
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Booker T. & the M.G.'s is an instrumental R&B/funk band that was influential in shaping the sound of Southern soul and Memphis soul. Original members of the group were Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson, Jr. (drums). In the 1960s, as members of the house band of Stax Records, they played on hundreds of recordings by artists such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla and Rufus Thomas and Johnnie Taylor. They also released instrumental records under their own name, such as the 1962 hit single "Green Onions".





Frank Wess • North, South, East... Wess and No Count




Johnny Frigo & His Quintet • I Love John Frigo...He Swings



Review by Steve Leggett
Johnny Frigo spent most of his professional life as a jazz bassist, but in the mid-'80s he picked up his first instrument, the violin, and started what amounted to a second jazz career on that instrument. Frigo biographies frequently refer to an obscure album release from the 1950s that prefigured this change, and this is it, a session Frigo recorded in 1957 at Universal Recording Studios in Chicago for Mercury Records. Joined by guitarist Herb Ellis (Frigo and Ellis had previously worked together in the Soft Winds Trio with pianist Lou Carter), Norm Jeffries on drums, Dick Marx on piano, Cy Touff on trumpet, and the great Ray Brown on bass, Frigo delivers a wonderful swing/bop mixture that stands seamlessly with his 1980s releases. At times he uses the violin like a horn, punching in and blocking out solid runs, and at other times, like on the beautiful "Blue Orchids," he uses the instrument to approximate a tenor vocalist, stretching the melody into marvelous shapes. Frigo even does a call-and-response duet with himself on the self-penned "Big Me -- Little Me," answering the violin lines with his own bass runs. I Love John Frigo...He Swings somehow got lost in the shuffle when it was released, and Frigo went back to bass playing for 30 years before getting a late second chance at recording this kind of small-group sides on violin once more. The original master tapes of this session apparently suffered some degradation, and the recordings red-line occasionally in the digital transfer, but it's nothing too serious. Mercury/Verve should be commended for bringing this delightful album back to life.






Tiny Grimes • Big Time Guitar


Lloyd "Tiny" Grimes (July 7, 1916 – March 4, 1989)[1] was an American jazz and R&B guitarist. He was a member of the Art Tatum Trio from 1943 to 1944, was a backing musician on recording sessions, and later led his own bands, including a recording session with Charlie Parker. He is notable for playing the tenor guitar, a four-stringed electric instrument.
Bio ...



The Sin-Tones • Surf-O-Ghetti




The Kraig Greff Group • Hammond' Eggs


Take four accomplished career musicians dedicated to creating and performing great music, who love playing together. Add the inspirational Hammond B3. The result is the Kraig Greff Group, performing a dynamic mix of contemporary jazz, blues and R&B influenced by Gospel and Brazilian grooves. Kraig Greff is an accomplished keyboardist who has toured with the likes of Barry White and Dianna Ross and performed as a guest artist with the Baltimore Symphony. His music is emotional and awe-inspiring, with a twist of wacky humor. Doug Rich is a grooving, melodic bass player who graduated from Berklee and has performed with the likes of Lionel Hamption, Vanessa Bell Armstrong, and Ray Felder. Kraig and Doug worked together extensively in Cincinnati in the 80's and couldn't forget the experience. In 2008, Kraig and Doug decided to record another album together. Doug recruited Stanley Swann, one of Boston' most sought-after drummers who honed his skills touring globally with the Air Force Band. Kraig brought in Kenny Jones, one of his favorite guitar players ever. The Kraig Greff Group was born.

http://www.youtube.com/watch?v=NXKSTx1IOBQ

Ross Carnegie His Hammond Organ & Band • Cool Dad Win Lose Or Draw [single]




A Cool Dad 3:00
B Win Lose Or Draw 3:04


13 MB / 320 Kbps


Portrais By Ingres • The Metropolitan Museum Of Art New York [pdf inglés]


Jean-Auguste-Dominique Ingres
Jean-Auguste-Dominique Ingres, más conocido como Dominique Ingres, (Montauban, 29 de agosto de 1780 – París; 14 de enero de 1867), fue un pintor francés.
Ingres no es, en sentido estricto, neoclásico ni académico, sino un ferviente defensor del dibujo. Resulta a la vez clásico, romántico y realista. Ingres constituye un claro exponente del romanticismo en cuanto a los temas, el trazo abstracto y las tintas planas de intenso colorido. Algunas de sus obras se enmarcan en el llamado «Estilo trovador», inspirándose en el ideal estético griego y gótico, además de en las miniaturas de los libros de horas de Fouquet. Igualmente, es ejemplo de orientalismo, pues muchos de sus cuadros, especialmente desnudos femeninos, están dominados por un sentido irreal del exotismo propio del siglo XVIII. Bio completa en wiki

También es interesante Bio en Artehistoria.


Formato: pdf / 610 págs. / 47MB / Idioma: Inglés




martes, 21 de octubre de 2014

Cecil Brooks III & Gene Ludwig • Double Exposure


The liner notes for Double Exposure recount that the disc was recorded in a few spare hours that drummer Cecil Brooks III and organist Gene Ludwig found themselves with while they were recording another album. That feeling of spontaneity and casual inspiration is very present on this rare organ and drum duo effort.

Ludwig is a veteran who has been performing since the early '60s. His style is very much in the same vein as the other more well-known soul-jazz players of the era. He achieves a rich, stately and swinging feel, all at the same time. His work at the end of "Serenade in Blue reveals the majesty of Hammond B-3 in full flight with a long, sustained burst of sound. Elsewhere, on Stevie Wonder's "Black Beauty, Ludwig takes an opposite route, showing off some fast finger work.

Brooks' playing throughout is steady and unobtrusive. He seems to sense that the best path to take when backing up an organ player is to keep things simple and make sure the proceedings don't get too abstract or loose. On his own composition, "Double Exposure, Brooks opens with some tensely rhythmic pounding that morphs into a slinking groove. He also gets to strut his stuff with some skittering breaks on Neal Hefti's "Cute.

VA • Comin' Home Baby covers


"Comin' Home Baby" is a song originally written as an instrumental by Ben Tucker and first recorded by the Dave Bailey Quintet in 1961. It was then recorded by Herbie Mann, and lyrics were written by Bob Dorough. The vocal version became a US Top 40 hit for American jazz singer Mel Tormé in 1962, and the song has since been covered numerous times.

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"Comin 'Home Baby" es una canción escrita originalmente como un instrumental de Ben Tucker y la primera registrada por el de Dave Bailey Quintet en 1961 fue luego registrada por Herbie Mann, y las letras fueron escritas por Bob Dorough. La versión vocal se convirtió en un Top 40 de Estados Unidos en la versión de Mel Tormé en 1962, siendo desde entonces versionada incontables veces tanto instrumental como cantada.




Jason Henson • Jason Henson Plays Wes And Benson


Jason Henson and his band perform the music of Wes Montgomery and George Benson.

Richard ''Groove'' Holmes • Super Soul



Super Soul was a little funkier than much soul-jazz that had passed before 1967, and its horn parts sometimes slanted more toward pop and soundtrack territory. That was particularly evident on one of the strongest cuts, the opening "Why Don't You Do Right?," where the rhythm (particularly with the aid of a conga drum) goes into grooves that are at least as much soul as jazz, and the horns have a TV adventure theme-like flavor. The album's a little on the innocuous side, even for a genre (Prestige 1960s soul-jazz) that can be pretty homogeneous. It's easygoing background party music, though Holmes summons an interesting light, prickly, almost vibes-like organ sound at times, as on the solo for the cover of Marvin Gaye's "Ain't That Peculiar." The players move toward a more big-band approach for "(Back Home Again In) Indiana," and more of a bump-and-grind mood for their interpretation of "Tennessee Waltz," Holmes contributing just one original, "Super Soul" itself. ~ Richie Unterberger


Pat Bianchi • 3osity


Preeminent Organist, Pat Bianchi, is arguably one of the most versatile B3 player's on the jazz scene today. He actively plays and tours in contexts spanning from traditional organ trios, to progressive ensembles to fusion groups. Currently, Bianchi is an active member of the Pat Martino Trio, the Tim Warfield Quartet, Chuck Loeb’s Plain and Simple Band (Guitarist with Fourplay) and frequently plays with Lou Donaldson. Regarding this Pat says, “Working with such a variety of bands has been such an education for me. I’ve learned to switch gears on a nightly basis and have worked hard to develop the right sound and feel for every situation that I play. Connecting with and supporting the leader, while maintaining my sound, is the most important thing to me.”
Bianchi is a dominant force on the Hammond Organ and his current trio includes Byron Landham (drums) and Mark Whitfield (guitar). “This band is incredible. I was very fortunate to have them on my first recording East Coast Roots, and quickly learned that once I step on the bandstand with them, I’m in for an amazing musical experience. It’s always rhythmically explosive and full of harmonic twists and turns. We never know where a tune will go yet it is always swingin. Bianchi also features other great musicians in his trio including Tim Warfield, Carmen Intorre Jr. and Craig Ebner.
Complete Bio ...


Retroliners • Surf Avenue




Timothée Le Net Quartet • Timothée Le Net Quartet




lunes, 20 de octubre de 2014

The Mel-Tones • Surf! Spy! Space!



The MelTones are a surf rock instrumental band, originally formed in Montreal, Canada.
The MelTones have recorded three albums and one compilation CD on LoveCat Music. Their songs can be heard in the animated TV series SpongeBob SquarePants.[1] They originally recorded as "Los Mel-Tones" and later changed the name to The MelTones.


Freddie Roach • The Soul Book - Mocha Motion!



Review by Steve Huey
As Freddie Roach's Blue Note career progressed, his work increasingly celebrated contemporary black culture, and accordingly developed a greater interest in funky, jukebox-ready grooves, a stylistic departure from his initial melodic finesse. Roach took both interests with him to Prestige, as demonstrated on The Soul Book/Mocha Motion, a U.K.-only two-fer compiling his first two albums for the label. Roach definitely brings the hard funk on parts of The Soul Book, but there's a laid-back, even meditative quality to others, which is surprising since his liner notes seem to suggest a concept album about the urban grit of Harlem. That isn't a problem, though; The Soul Book is a fine effort that, even if it doesn't hang together quite as well as his Blue Note dates, does find Roach exploring an impressively wide range of sounds. Mocha Motion is a more consistently funky affair than its eclectic predecessor, and that's both a good and bad thing. Good, because the album works up a solid groove that's maintained from start to finish; bad, because more of the material leans toward the generic. There's an underlying Latin tinge to many of the tracks thanks to conga player Ralph Dorsey, but the dominant feel is unquestionably soul-jazz. Roach partially redeems the less memorable tracks with his fleet-fingered solo work, but it's not quite enough to prevent Mocha Motion from becoming one of his weaker releases. Still, heard in this context as part of a two-fer, it's certainly passable, and the overall package will be worth tracking down for the bigger fans of Roach's brand of soul-jazz.

Lionel Hampton • Stop! I Don't Need No Sympathy

Eran tiempos difíciles y Lionel tuvo que adaptarse a los tiempos que corrían, lo que derivó en un álbum en onda disco, mas Easy Listening que Swing.
Sólo para curiosos.


sábado, 18 de octubre de 2014

Mother Earth • The People Tree




Mother Earth were an acid jazz outfit based in London, formed by long time Acid Jazz associate Bunny and basically comprising Matt Deighton on guitar and vocals, Bryn Barklam on Hammond organ, Chris White on drums and Neil Corcoran on bass. Shauna Green was the lead singer on the first album. Prior to their debut live performance where they played alongside another debutant band Jamiroquai, they started out as a studio project in 1991[1] with Paul Weller (on "Almost Grown"), James Taylor of the James Taylor Quartet and Simon Bartholomew from the Brand New Heavies as contributors.


Frank Foster • Fearless [repost]


Repost con link correcto / Repost with correct link

Review by Scott Yanow
Shortly after leaving Count Basie's Orchestra, tenor saxophonist Frank Foster led this quintet set for Prestige, which in 1997 was reissued on CD in the Original Jazz Classics series. Foster shows off the influence of John Coltrane (as opposed to his earlier cool-toned style) and matches well with the occasionally fiery trumpet of Virgil Jones, pianist Albert Dailey, bassist Bob Cunningham and drummer Alan Dawson. In addition to Fats Waller's "Jitterbug Waltz," Foster performs five originals, some of which (like "Raunchy Rita") fall into the area of funky hard bop. Spirited music.

Willie Bobo • Uno Dos Tres



William Correa (28 de febrero de 1934 – 15 de septiembre de 1983),1 conocido como Willie Bobo, fue un percusionista estadounidense de jazz.

William Correa creció en el Harlem Español, en Nueva York. Se hizo conocido en el ámbito del jazz latino, especialmente en el jazz afro-cubano, durante los años sesenta y setenta, tocando los timbales, su instrumento favorito. Conoció a Mongo Santamaría poco después de su llegada a Nueva York y estudió con él mientras hacía de traductor para él. Más tarde, con 19 años, se unió al grupo de Tito Puente con el que estuvo cuatro años.

El apodo de «Bobo» se lo puso la pianista de jazz Mary Lou Williams a comienzos de los años cincuenta.

Bukka White • Memphis Hot Shots


Booker T. Washington White, conocido en el blues como Bukka White (Aberdeen, Misisipi, 12 de noviembre de 1906 - Memphis, Tennessee, 26 de febrero de 1977) fue un pianista, guitarrista y cantante de blues.

Es uno de los primeros grandes creadores del Blues del Delta y, muy joven, coincidió con Charlie Patton, su principal influencia. Fichado por la discográfica Victor. grabó su primer disco en 1930, con un estilo de guitarra muy influido por la música hillbilly y el slack key hawaiano. La reputación que obtuvo le permitió vivir muy holgadamente de la música en lo sucesivo. En 1937 se traslada a Chicago para realizar varias sesiones de grabación, incluido su clásico "Shake'em on down", que fue un gran éxito comercial.

Condenado varios años por una pelea, Alan Lomax lo encontró en la penitenciaria de Parchman Farm y le grabó varios temas autobiográficos. Después, ya libre, regresó a Chicago, tocando con Washboard Sam, grabando en 1940 el que, para la mayoría de los autores, sería su obra maestra. Tras servir al ejército en Europa durante la Segunda Guerra Mundial, White se instaló en Memphis (1944) y abandonó la música en público, trabajando de chatarrero. Años más tarde, su obra se convierte en objeto de culto para las generaciones de la explosión folk, recuperada por Bob Dylan y Buffy Sainte Marie. En los años 1960, unos guitarristas jóvenes investigaron su paradero y consiguieron localizarlo, relanzando su carrera, ya en grandes escenarios, especialmente en el American Folk & Blues Festival, donde tocó con Son House, Sonny Terry, Brownie McGhee y Hound Dog Taylor, entre otros, grabando un buen número de nuevos discos.





Booker T. Washington "Bukka" White (November 12, 1909 – February 26, 1977) was an American Delta blues guitarist and singer. "Bukka" is a phonetic spelling of White's given name, first used by his second (1937) record label (Vocalion).

Born between Aberdeen and Houston, Mississippi, White was a first cousin of B.B. King's mother (White's mother and King's grandmother were sisters). White himself is remembered as a player of National steel guitars. He also played, but was less adept at, the piano.

White started his career playing the fiddle at square dances. He claims to have met Charlie Patton early on, although some doubt has been cast upon this; Regardless, Patton was a large influence on White. White typically played slide guitar, in an open tuning. He was one of the few, along with Skip James, to use a crossnote tuning in E minor, which he may have learned, as James did, from Henry Stuckey.

Metropolitan Jewelry • The Metropolitan Museum of Art [pdf/Inglés]




Roland Shaw & His Orchestra • Themes For Secret Agents





Matthew Kaminski • Swingin' On The New Hammond





Jump - Jump!


Cuando en Inglaterra grupos como Led Zeppelin o Deep Purple afianzaban el hard rock, del otro lado del atlántico esta efímera banda de un único álbum metía respeto. Mark Spiwak (bajo - voces), Don Gorman (batería - voces), Dennis Tracy (voz principal - guitarra), and Scott Thurston (voz principal - órgano), graban este disco en San Francisco alternando rock con temas más duros y un par de baladas. En sí la banda suena fresca y con mucha energía. No hubo segundo disco, cada miembro buscó su rumbo y sólo quedó este registro que los invito a disfrutar.