viernes, 30 de enero de 2015

Wes Montgomery • Tequila



On two of the songs included on Tequila, "Tequila" and "The Thumb," Wes Montgomery had an opportunity to jam a bit while backed just by bassist Ron Carter, drummer Grady Tate and the congas of Ray Barretto. The other six selections utilize a string section arranged by Claus Ogerman but, even with a throwaway version of "What the World Needs Now Is Love," there are memorable renditions of "Bumpin' on Sunset" and "Insensatez" that uplift this album quite a bit beyond the guitarist's later A&M recordings.


01 - Tequila
02 - Little Child (Daddy Dear)
03 - What The World Needs Now Is Love
04 - The Big Hurt
05 - Bumpin' On Sunset
06 - How Insensitive(Insensatez)
07 - The Thumb
08 - Midnight Mood
09 - Wives And Lovers
10 - Bumpin' On Sunset (CD bonus)
11 - The Big Hurt (CD bonus)
12 - Tequila (CD bonus)

Personnel
Wes Montgomery – guitar
Ron Carter – bass
Grady Tate – drums
Ray Barretto – conga
George Devens – vibraphone
Bernard Eichen – violin
Arnold Eidus – violin
Paul Gershman – violin
Emanuel Green – violin
Julius Held – violin
Gene Orloff – violin
Harry Lookofsky – violin
Joseph Malin – violin
Abe Kessler – cello
Charles McCracken – cello
George Ricci – cello
Harvey Shapiro – cello


Don Patterson • The Exciting New Organ Of Don Patterson



Track listing:
01. S'bout Time (10.10)
02. Up In Betty's Room (5.10)
03. Oleo (3.47)
04. When Johnny Comes Marching Home (10.54)
05. The Good Life (9.55)

Personnel:
Booker Ervin (tenor sax)
Don Patterson (organ)
Billy James (drums)


J Street Jumpers • Good For Stompin'



Passion for classic American music including Jump Blues, Swing era jazz and 1940’s Rhythm & Blues is what The J Street Jumpers are all about. Founded in 1993 by saxophonist Charlie Hubel, J Street has spent most of the last 15 years honing their chops in clubs, halls and ballrooms in the mid-Atlantic. The band has wowed crowds at numerous appearances at the Kennedy Center's Millennium Stage, music festivals, and concerts. Their horn driven sound, combined with the powerful vocals of Juanita Williams has made this band a favorite with listeners and dancers alike. From jazz and blues festivals to inaugural balls, dances and private events, the band brings a consistently energetic and fun atmosphere to wherever they perform.
 They've garnered the respect of the Washington music community as well, evidenced by Washington Area Music Association (WAMA) Wammie Awards wins for six years in a row: Best Big Band - Swing Duo/Group, Best Big Band - Swing Recording and Best Jazz.
http://www.jstreetjumpers.com/index.cfm


1. Good for Stompin
2. Destination Moon
3. I Don't Want to Set the World On...
4. Blue and Sentimental
5. I Want You, I Need You
6. Fire
7. You Let My Love Grow Cold
8. Dr. Jive Jives
9. Shuckin' and Jivin'
10. I Don't Hurt Anymore
11. Til My Baby Comes Back to Me
12. Boogie Woogie King
13. That's All


Milt Buckner • Please Mr. Organ Player



Milt Buckner, the "St. Louis Fireball," is generally credited with having popularized the Hammond organ during the early 1950s. First introduced in 1934, the instrument was immediately seized upon by Thomas "Fats" Waller, whose syncopated pipe organ records of 1926-1929 form the primal bedrock of the jazz organ tradition. Although the Hammond was also used periodically by Waller's friend Count Basie, Buckner rekindled interest in the organ some seven years after Waller's demise as his exuberant, boogie-based approach to the instrument added exciting new textures to the burgeoning R&B scene, inspiring a whole new generation of organists and ultimately endearing him to mainstream jazz audiences everywhere. Buckner, who also played vibraphone and valve trombone, enjoyed unprecedented success during the final phase of his career, which consisted of mostly European adventures that began in 1966 and ended abruptly with his death in 1977 at the age of 62.

Milton Brent Buckner was born in St. Louis on July 19, 1915. His little brother Ted, who should not be confused with their distant relative, Texas born trumpeter Teddy Buckner, was destined to become a saxophonist with the Jimmie Lunceford Orchestra (where he actually recorded with Teddy in 1939) and an R&B and Motown sessionman. Milt's parents, who encouraged him to learn to play piano, both died when he was nine years old. The two orphans were sent to Detroit where they were adopted by members of the Earl Walton Orchestra; Milt studied piano from age ten to thirteen with his uncle John Tobias (Walton's trombonist), and began writing arrangements for the band at the age of fifteen. While studying at the Detroit Institute of Arts he performed with Mose Burke & the Dixie Whangdoodles and the Harlem Aristocrats. After drummer and bandleader Don Cox hired him in 1932, Buckner began to develop a uniquely percussive technique employing parallel tonal patterns, later referred to as "block chords," a style now associated with Oscar Peterson and George Shearing. During the '30s Buckner also worked in groups led by Jimmy Raschelle, Lanky Bowman, and Howard Bunts. His first big break came in 1941 when he became Lionel Hampton's staff arranger and assistant director. His predilection for rocking rhythms and boogie-woogie fit nicely with Hamp's approach to entertainment. Buckner worked with Hampton during the years 1941-1948 and 1950-1952.

Buckner's earliest recordings survive as a set of piano solos etched into Presto transcription acetates cut on the last day of August 1941. His next appearance in a studio was as a member of a small group led by Lionel Hampton backing young Dinah Washington on her recording debut in December 1943; these feisty, blues based performances were made available to the public on Harry Lim's Keynote label. In 1945 Buckner made records with saxophonist Herbie Fields, Ellington crooner Herb Jeffries and R&B shouter Wynonie Harris, including Harris' smash hit, a cover of Lionel Hampton and Curley Hamner's highly successful "Hey! Ba-Ba-Re-Bop." In 1946 he made the first of a series of recordings with a group variously billed as the Beale Street Boys, the Beale Street Gang, and the Hot Shots. Over the next three years Buckner led a series of dates for the Savoy label. In 1949 he made records with a big band for MGM, sat in on an Eddie Condon Floorshow with drummer Buddy Rich and tap-dancer Baby Laurence on NBC TV, and conducted Teddy Stewart's Orchestra behind Dinah Washington on a date for Mercury records.

In 1950 Buckner recorded with the Three Flames for MGM, with singer Florence Wright for National, with Wynonie Harris for Vogue records, with Rufus Thomas ("Mr. Swing") for the Bullet label in Memphis, and with vocalist Mabel Scott and saxophonists Eddie "Cleanhead" Vinson, Buddy Tate and Wild Bill Moore for King. It was during the Moore session that Buckner first switched from piano to organ. He trundled it out again in Houston TX during the spring of 1952 while backing vocalist Sonny Parker with Gladys Hampton's Blue Boys for Peacock records. Milt recorded for the Scooter, Regent and Brunswick labels, and jammed with saxophonist Charlie Parker in 1953 at the bandbox in New York City. He sat piano for the Imperials (with Willie Dixon playing bass) on a Great Lakes session that took place in Detroit during the spring of 1954. Buckner also visited Philadelphia over the summer to record a few tunes with guitarist Big Ham Williams and drummer Sam Woodyard which were issued on 20th Century records, a subsidiary of the Gotham label.

Milt Buckner was a Capitol recording artist from April 1955 through July 1957, sharing the studio with saxophonists Earle Warren and Sam Taylor, guitarists Everett Barksdale and Skeeter Best, bassist Milt Hinton and drummers Osie Johnson and Shadow Wilson. He taped his first Argo LP in New York in December 1959 with guitarist Kenny Burrell and bassist Joe Benjamin. More Argo sessions came together in Chicago in 1960 and 1961, and he had dealings with the Bethlehem label in Cincinnati in 1962 and 1963. In March 1966 a performance with saxophonist Illinois Jacquet was taped live at Lennie's on the turnpike in West Peabody, MA and subsequently released on the Cadet label.

Like many U.S. jazz musicians who struggled at home and did better abroad, Milt Buckner clearly preferred the cultural and vocational climate in Europe. Over the 11 years that remained in his life, he only returned to North America for brief concert and club bookings — five times to the U.S. and twice to Canada. Beginning in 1966 with his first Parisian session in the company of Illinois Jacquet and trumpeter Roy Eldridge, Buckner's discography indicates a more stable working environment involving skilled musicians and appreciative audiences. Milt Buckner's final decade of professional activity is mostly measured in recordings issued on the Black & Blue label, with the exception of a few Prestige, Jazz Odyssey and Riff releases.

Buckner made music in Paris, Villingen, Boulogne, Cologne, Antwerpen, Lausanne, Biarritz, Barcelona, Toulouse, London, Herouville, Valauris, Besancon, Geneva, Salon, Yverdon, Nice, Scheveningen and Leiden. His session mates included multi-instrumentalist Clarence "Gatemouth" Brown, trumpeters Buck Clayton, Joe Newman, Johnny Letman and Bill Coleman; trombonist Gene "Mighty Flea" Connors; saxophonists Ben Webster, Candy Johnson, Eddie Chamblee, Hal Singer, Lucky Thompson, Big Nick Nicholas, Marcel Zanini, Guy Lafitte, Arnett Cobb, Buddy Tate, Eddie "Lockjaw" Davis and Illinois Jacquet; pianists André Persiany, Jean-Paul Amouroux and Jay McShann; guitarist Al Casey; bassists Milt Hinton, Major Holley and Roland Lobligeois as well as vocalists Jodie Drake, Little Mary Anglade and Big Joe Turner. Buckner's last studio session took place in Paris on July 4, 1977. Three weeks later, on Wednesday July 27, he collapsed and died after setting up his Hammond organ in preparation for a performance with Illinois Jacquet at the Jazz Showcase in Chicago.


Johnny Hodges & Wild Bill Davis • Blue Rabbit



One of altoist Johnny Hodges' many solo records in the 60's away from Duke Ellington's Orchestra, this out-of-print LP features him in two separate but similar settings. The great saxophonist is joined by either Wild Bill Davis or (on four of the nine songs) the obscure organist Ray Jackson, either Kenny Burrell or Mundell Lowe on guitar, Wendell Marshall, Jack Lesberg or Richard Davis on bass, and Bobby Donaldson or Osie Johnson on drums. The music is fairly typical for a Hodges date, with four Ellington standards, some blues and some basic originals. In a few spots, the organists really do a good job of filling in for the Ellington Orchestra. Tasty and swinging music. ~ Scott Yanow, AMG.


Ray Bryant • Hot Turkey



Review by Scott Yanow
This fine set is (Ray Bryant's last session before signing with the Pablo label) has three selections (two swing standards plus the pianist's "Hot Turkey") played in a trio with bassist Major Holley and drummer Panama Francis. However the main reason to search for this session is to hear Bryant uplift three familiar standards ("St. Louis Blues," "Take The 'A' Train" and "Sophisticated Lady") and a blues with his soulful and swinging solo piano interpretations. Virtually every Ray Bryant album is well worth picking up for his accessible and flexible style should appeal to fans of most jazz styles.


Personnel:
Ray Bryant - piano
Major Holley - bass
Panama Francis - drums


Melvin Rhyne • Mel's Spell



A groovy slice by one of the most challenging Hammond B3 players out of the last decades. Reinforced by a really tight swinging unit comprised of Peter Bernstein on Guitar, Kenny Washington on Drums and the magnificient Daniel Sadownick on Percussion seasoning the session.This record is what you was looking for all this time!.

Organist Melvin Rhyne's greatest fame is his participation on four Wes Montgomery Riverside sessions (including Montgomery's first and last album for the label). Fortunately, Rhyne survived long enough, after some lean years, to return to the major-league jazz scene and record some CDs of his own. Born in Indianapolis, Rhyne (a largely self-taught pianist) was an important part of the city's jazz scene. He played with the then-unknown Roland Kirk during 1955-1956, and soon switched to organ. He also had opportunities to back a series of blues (including T-Bone Walker and B.B. King) and R&B artists. Rhyne was part of Montgomery's group for most of 1959-1964. In 1969, he moved to Madison, WI, and four years later he relocated to Milwaukee, where he remained active if obscure for the next two decades. In 1990, he emerged, recording with Herb Ellis and Brian Lynch. Mel Rhyne went on to record two excellent sets for Criss Cross, including a quartet session that has Joshua Redman as his sideman, and has shown that he is an excellent soul-jazz and hard bop soloist in his own right. by Scott Yanow

Melvin Rhyne (b.October 12, 1936, Indianapolis, Indiana), is a jazz organist best known for his work with Wes Montgomery.
Originally a pianist, he began to play organ when playing with Roland Kirk in 1955. After collaborating with several blues artists, including T-Bone Walker, he joined Wes Montgomery's group in 1959 and remained there until 1964. He then played with guitarist Johnny Shacklett.
After a fallow period, he began recording again in 1990. ~ Wikipedia.



Jet Set Six • Livin' It Up




Tracklist
1 Every Single Day
2 Livin' It Up
3 Pertual Bachelor
4 Dame That Knotted My Rope
5 My Love
6 My Torrid Heart
7 If I Could Be Anyone
8 Try
9 Jack & Joe
10 Hotline
11 Ever Lovin' Reprise

Label: Mutiny Records ‎– 80020-2
Released: 1998 





Mike Mangan's Big Organ Trio • Unwound


Tracks:
1. On the Fritz
2. Go for Broke
3. Birkenstock Bandit
4. Smack Talkin'
5. Dragon's Triangle
6. Fly in the Ointment
7. Hip-Hug-Her
8. Jo Daddy
9. Manic Depression
10. Twilight
11. Wiggle Room


Duke Pearson • On Green Dolphin Street



Duke Pearson was an accomplished, lyrical, and logical — if rather cautious — pianist who played a big part in shaping the Blue Note label's hard bop direction in the 1960s as a producer. He will probably be best remembered for writing several attractive, catchy pieces, the most memorable being the moody "Cristo Redentor" for Donald Byrd, "Sweet Honey Bee" for himself and Lee Morgan, and "Jeannine," which has become a much-covered jazz standard. Pearson was introduced to brass instruments and the piano as a youth, and his abilities on the latter inspired his uncle, an Ellington admirer, to give him his nickname. Dental problems forced Pearson to abandon the brass family, so he worked as a pianist in Atlanta and elsewhere in Georgia and Florida before moving to New York in 1959. There, he joined Donald Byrd's band and the Art Farmer-Benny Golson Sextet, and served as Nancy Wilson's accompanist. In 1963, he arranged four numbers for jazz septet and eight-voice choir on Byrd's innovative A New Perspective album; one of the tunes was "Cristo Redentor," which became a jazz hit. From 1963 to 1970, Pearson was in charge of several recording sessions for Blue Note, while also recording most of his albums as a leader. He also led a big band from 1967 to 1970 and again in 1972, hiring players like Pepper Adams, Chick Corea, Lew Tabackin, Randy Brecker, and Garnett Brown. Pearson continued to accompany vocalists in the 1970s, such as Carmen McRae, but he spent a good deal of the latter half of the decade fighting the ravages of multiple sclerosis. ~Richard S. Ginell


Gaudi • Una Introduccion a su Arquitectura, pdf / español



pdf / Idioma: Español / 190 págs.











Sonny Stitt • Shangri-La




Tracklist
A1 My New Baby 7:15
A2 Misty 4:30
A3 Soul Food 7:50
B1 Shangri-La 4:40
B2 Mama Don't Allow 5:50
B3 The Eternal One 5:45

Credits
Organ – Don Patterson
Drums – Billy James
Tenor Saxophone – Sonny Stitt


jueves, 29 de enero de 2015

Simone Gubbiotti • The Hammond Trio



Simone Gubbiotti follows up his debut release on Dot Time Records with a new release titled “The Hammond Trio”. As you can guess the name says it all, a classic organ trio release featuring Joe Bagg on Hammond and Joe La Barbera on Drums. Recorded in 2008 this album has been re-mastered and released as a digital only release.

01. Mind the Gap (5:04)
02. Ana Rita (5:28)
03. Simone Blues (7:55)
04. It Could Happen to You (5:08)
05. J. And J (5:47)
06. Lidia (6:19)
07. Beautiful Love (6:50)
08. E.N (5:00)
09. We Will Meet Again (5:28)

Performers:
Simone Gubbiotti, Guitar | Joe La Barbera Drums | Joe Bagg, Hammond


Illinois Jacquet • Go Power!



Review by Scott Yanow
On five CDs of which this is the final one, Lone Hill Jazz has reissued all of the record dates led by Illinois Jacquet between 1956 and 1966. Twenty years after first recording "Flying Home," Jacquet was still very much in his playing prime in the '60s. This particular CD reissues 1966's Go Power!, a live trio outing with organist Milt Buckner and drummer Alan Dawson. Buckner's pre-Jimmy Smith style of organ sounds a bit archaic in spots (his basslines sometimes seem to be emulating a tuba) and he can go a bit over the top but he certainly swings hard. While Dawson drives the ensembles, Jacquet easily takes solo honors, mostly sticking to familiar material. "Illinois Jacquet Flies Again" is a very thinly disguised "Flying Home," and Jacquet takes a jivey vocal on "Watermelon Man" that contributes to the spirit of this lively good-time set. The final five bonus selections on this CD are alternate takes drawn from a 1962 album with an orchestra whose main fault is the brevity of the selections. Certainly "Ydeen-O," a jam piece with trumpeter Roy Eldridge and Sir Charles Thompson, should have lasted several times two-and-a-quarter minutes. Jacquet plays well throughout as always and this CD, along with the four previous ones, are easily recommended to his many fans.



King Curtis • It's Party Time With King Curtis



Tracklist
A1 Free For All 4:00
A2 Easy Like 4:45
A3 Hot Saxes 2:10
A4 I'll Wait For You 2:15
A5 The Party Time Twist 2:20
B1 Low Dwon 2:32
B2 Keep Movin' 2:05
B3 (Let's Do) The Hully Gully twist 2:05
B4 Slow Motion 2:55
B5 Firefly 2:29
B6 Something Frantic 2:26

Engineer – Rudy van Gelder
Ace Records Ltd 48-50 Steele Road, London, NW10 7AS / 1962 Fantasy Inc.


Byrdie Green • Sister Byrdie!



Byrdie Green (real name Bertha Greene) is a big-voiced jazz singer, today unjustly forgotten. Her father was a Baptist preacher. She made several singles and 3 LPs: "The Golden Thrush Strikes", "Sister Byrdie" and "The Stinger Meets the Golden Thrush" (with Johnny "Hammond" Smith). Byrdie Green has been singing around New York since the 1950's. She has a clear, forthright voice that can turn sly and cutting ˆ la Dinah Washington. She is a soul sister, and she never lost sight of her roots in blues and gospel music. Her 1968 rendition of "Return of the Prodigal Son" is the perfect mix of gospel, jazz and soul. Delivered with the authority of a preacher, and the soul of a diva, the story from the Bible is told, brilliantly. She allegorically uses this Biblical fable as a means to comment on the very obvious wealth discrepancy she saw all around her in late sixties America. In 1985 and 1996 she performed in the USA and all over Europe with Linda Hopkins and Maxine Weldon in a show entitled "Black and Blue".
Enjoy Byrdie's strong and impressive style!


Tracklist Show Credits
A1 You'd Better Sit Down Kids 4:18
A2 Since You've Been Gone 3:18
A3 When A Woman's In Love 3:15
A4 Return Of The Prodigal Son 3:16
A5 You'll Never Walk Alone 2:45
A6 Where There's A Will 2:30
B1 Muddy Water
B2 Let Them Talk
B3 I Can't Live Without You
B4 Dr. Feelgood
B5 Night Time Is The Right Time

Credits
Arranged By, Conductor – Johnny "Hammond" Smith*
Chorus – Anna Craig, Lucille Burgess, Lynn Daniels
Drums – John Harris (8)
Electric Bass – Jimmy Lewis (2)
Guitar – Wally Richardson
Organ – Johnny "Hammond" Smith*
Vocals – Byrdie Green


Byrdie Green • Sister Byrdie!



Byrdie Green (real name Bertha Greene) is a big-voiced jazz singer, today unjustly forgotten. Her father was a Baptist preacher. She made several singles and 3 LPs: "The Golden Thrush Strikes", "Sister Byrdie" and "The Stinger Meets the Golden Thrush" (with Johnny "Hammond" Smith). Byrdie Green has been singing around New York since the 1950's. She has a clear, forthright voice that can turn sly and cutting ˆ la Dinah Washington. She is a soul sister, and she never lost sight of her roots in blues and gospel music. Her 1968 rendition of "Return of the Prodigal Son" is the perfect mix of gospel, jazz and soul. Delivered with the authority of a preacher, and the soul of a diva, the story from the Bible is told, brilliantly. She allegorically uses this Biblical fable as a means to comment on the very obvious wealth discrepancy she saw all around her in late sixties America. In 1985 and 1996 she performed in the USA and all over Europe with Linda Hopkins and Maxine Weldon in a show entitled "Black and Blue".
Enjoy Byrdie's strong and impressive style!


Tracklist Show Credits
A1 You'd Better Sit Down Kids 4:18
A2 Since You've Been Gone 3:18
A3 When A Woman's In Love 3:15
A4 Return Of The Prodigal Son 3:16
A5 You'll Never Walk Alone 2:45
A6 Where There's A Will 2:30
B1 Muddy Water
B2 Let Them Talk
B3 I Can't Live Without You
B4 Dr. Feelgood
B5 Night Time Is The Right Time

Credits
Arranged By, Conductor – Johnny "Hammond" Smith*
Chorus – Anna Craig, Lucille Burgess, Lynn Daniels
Drums – John Harris (8)
Electric Bass – Jimmy Lewis (2)
Guitar – Wally Richardson
Organ – Johnny "Hammond" Smith*
Vocals – Byrdie Green


Degas • Natalia Brodskaïa, pdf / inglés



pdf / Idioma: Inglés / 200 págs. / texto editable (copiar y pegar en traductor)
















miércoles, 28 de enero de 2015

Scott Hamilton & Friends • Across The Tracks


By Chris May 
A tenor saxophonist standing foursquare and unreconstructed in the tradition established by Coleman Hawkins, Ben Webster and Illinois Jacquet, Scott Hamilton is considered so uncool in some quarters that to admit you enjoy him is to risk being shunned by hip society.
Now in his mid-fifties and playing a brand of jazz that was at its peak before he was born, Hamilton hasn't deviated from his style since his debut album, Scott Hamilton Is A Good Wind Who Is Blowing Us No Ill (Concord, 1977), recorded when he was just 23. Since then he's made another sixty-plus discs as leader or co-leader—an output, interestingly, which in jazz is matched only by saxophonists directly opposite him on the stylometer, like Anthony Braxton or Evan Parker.
In the process, Hamilton's honeyed sound and easy swing have given all but the most po-faced pleasure. He plays the style he plays guilelessly and with conviction, as though born to it. His music has degrees of creativity absent from the pasticheurs. Retro he might be, revivalist he certainly isn't.
Across The Tracks, produced by Bob Porter and recorded by Rudy Van Gelder at his Englewood, New Jersey studio (hence the title), is an infectious set of mainly up-tempo ballads and blues, on which Hamilton fronts a quartet completed by guitarist Duke Robillard, organist Gene Ludwig and drummer Chuck Riggs. Baritone saxophonist Doug James is added on two tracks, "Parker's Pals" and "Intermission Riff."
The guitar/organ/drums line-up suggests chicken shack soul-jazz, circa 1960—and on one track, an ebullient reading of "Something For The Road," Hamilton adopts an appropriately vocalized and raw tone. But elsewhere he favors the warm, caressing sound, given a languorous vibrato at slower tempos, for which he's best known.
Hamilton is brilliantly served by his band. Robillard's elliptical solos are magic, giving fresh nuances to familiar structures, and even when comping he's worth listening to. James shines on his two guest appearances, particularly the boppish "Parker's Pals," written by fellow baritone player Leo Parker and first heard on Parker's Let Me Tell You 'Bout It (Blue Note, 1962), now available in a fine Van Gelder remastered edition. Ludwig and Riggs, who has played with Hamilton on and off for over thirty years, cook from start to finish.
Forget the style police and give yourself a treat. Scott Hamilton may not stretch the envelope, but he surely seals it with a kiss.


Brother Jack McDuff • Steppin' Out



A1 Shortin' Bread
A2 Chicken Feet
A3 Our Miss Brooks
B1 Shaky
B2 Godiva Brown
B3 Moody McDuff

martes, 27 de enero de 2015

Gildo Mahones • I'm Shooting High



Gildo Mahones (born June 2, 1929, New York City) is an American jazz pianist.
Early in his career, Mahones played with Joe Morris (1948) and Milt Jackson. He served in the Army during the Korean War and then played with Lester Young from 1953 to 1956. Later in the 1950s he toured with the Jazz Modes (whose members included Charlie Rouse and Julius Watkins), Sonny Stitt, and Benny Green. From 1959 to 1964 he played behind Lambert, Hendricks & Ross.
When LHR split, Mahones relocated to Los Angeles where he worked both as a studio musician and as a jazz sideman. He led his own trio, and appeared on recordings by O.C. Smith, Lou Rawls, James Moody, Harold Land and Blue Mitchell, Leon Thomas, Jim Hall, Big Joe Turner, Lorez Alexandria, Benny Carter, Pony Poindexter, Booker Ervin, and Jimmy Witherspoon.


Gildo Mahones ‎– I'm Shooting High

Tracklist Show Credits
A1 Water Blues Fall
A2 Good Morning Heartache
A3 The Sweetest Sounds
A4 Stormy Monday
B1 I'm Shooting High
B2 Bali Ha'i
B3 Tales Of Brooklyn
B4 Hey Girl

Bent Fabric und Svend Asmussen • Be Swing Te Party mit




Tracklist
A1 Mein Liebling Heißt Mädi / Liebling Mit Dem Blonden Haar / So Fängt Die Liebe An
A2 On The Sunny Side Of The Street / Sonny Boy
A3 Madonna, Du Bist Schöner Als Der Sonnenschein / Wen Ich Liebe
A4 Puppchen, Du Bist Mein Augenstern / Toot-Toot-Toosie / Ach, Brigitte
A5 Sing, Nachtigall, Sing / Ein Paar Tränen
A6 Puppenhochzeit / Show Me The Way To Go Home
B1 Liebling Mein Herz Läßt Dich Grüßen / Ach, Luise / Trink Bei Mir Heut Nachmittag Tee
B2 An Einem Tag Im Frühling / Ja, Die Frauen Sind Gefährlich / Für Eine Nacht Voller Seligkeit
B3 Lover / Wenn Buddha Träumt
B4 Ich Tanze Mit Dir In Den Himmel Hinein / Es Führt Kein And'rer Weg Zur Seligkeit / Guten Tag, Liebes Glück
B5 Tausendmal War Ich Im Traum Bei Dir / Ain’t She Sweet

Credits
Backing Band – Svend Asmussen Swingtett
Piano – Bent Fabric
Violin – Svend Asmussen



Baja Marimba Band • Heads Up!






Tracklist
A1 Georgy Girl 2:35
A2 Spanish Eyes 3:00
A3 Winchester Cathedral 2:07
A4 Domingo 2:18
A5 The Odd One 2:08
A6 They Call The Wind Maria 3:00
B1 Born Free 3:00
B2 Cabeza Arriba! (Heads Up!) 2:30
B3 Temptation 2:31
B4 Baja Nova 2:20
B5 The Cry Of The Wild Goose 2:15


The James Taylor Quartet • Swinging London the Library



Track Listings
1. Mister Twister
2. The Numbers
3. Do It
4. Beat Club
5. The Scene
6. Blues Stomp
7. The Block
8. Weekender
9. Stand Up
10. Return Of The Hipster
11. Zoot Suit
12. Faster Pussycat




lunes, 26 de enero de 2015

Derek Paravicini Quartet • The Derek Paravicini Quartet



Derek Paravicini was born extremely prematurely, at 25 weeks. His blindness was caused by oxygen therapy given during his time in a neonatal intensive care unit. This also affected his developing brain, resulting in his severe learning disability. He also has autism.
He has absolute pitch and can play a piece of music after hearing it once. He began playing the piano by the age of two when his nanny gave him an old keyboard. His parents arranged for him to attend the Linden Lodge School for the Blind in London. On his introductory visit to the school, in the music room he broke free from his parents, then headed straight for a piano being played, and then pushed the player, Adam Ockelford, aside to take over. Ockelford encouraged him and arranged first weekly and then daily lessons. Aged seven, Paravicini gave his first concert in Tooting Leisure Centre in South London.
In 1989, at the age of nine, Paravicini had his first major public concert at the Barbican Hall in London when he played with the Royal Philharmonic Pops Orchestra. In that year, he appeared on Wogan and was the main subject of a documentary called Musical Savants.
When he was older, he was presented with a Barnardo's Children's Champion Award by Diana, Princess of Wales for his performances at age seven and nine. More opportunities followed, including playing at Ronnie Scott's Jazz Club. Paravicini lives in London.
Paravicini's first album Echoes of the Sounds to Be was released on 27 September 2006. His official biography, In the Key of Genius by Adam Ockelford, was published in the UK by Hutchinson (ISBN 978-0091796129) on 3 May 2007.
He was featured on an episode of Channel 5's Extraordinary People in an episode titled "The Musical Genius", which showed his journey to Las Vegas to play in a charity concert with another savant, Rex Lewis-Clack. He was interviewed twice by Lesley Stahl for 60 Minutes. In 2009, he was one of the subjects of the NOVA series' episode "Musical Minds", featuring neurologist Oliver Sacks, on PBS. He was featured a second time by 60 Minutes on 14 March 2010. In 2009, he performed for the former Chancellor Alistair Darling, when he unexpectedly played Big Spender.
On 13 May 2010, Paravicini made legal history when the United Kingdom's last remaining secret court was opened for the first time to discuss his future care. The Court of Protection, which controls the future of adults incapable of managing their own affairs, appointed Paravicini's family to look after his welfare and commercial future. Until that legal decision was made, the Official Solicitor from the Ministry of Justice had been looking after his affairs, rather than his divorced parents, Nicolas Paravicini and Mary Ann Parker Bowles.
On 26 August 2010, Paravicini was featured on the History Channel's Stan Lee's Superhumans. On the show, he was subjected to testing which verified his savantism and musical ability. After Paravicini improvised at two pianos with the composer Matthew King, for a radio programme made for BBC Radio 4, they collaborated on a new Piano Concerto entitled Blue which was first performed with the Orchestra of St John's in the Queen Elizabeth Hall, London in September 2011. This is believed to be the first concerto ever composed for someone with learning disabilities.

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Traducción automática
Derek Paravicini nació muy prematuramente, a las 25 semanas. Su ceguera fue causada por la terapia de oxígeno dado durante su tiempo en una unidad de cuidados intensivos neonatales. Esto también afectó a su cerebro en desarrollo, lo que resulta en su grave discapacidad de aprendizaje. Él también tiene autismo. Él tiene oído absoluto y puede reproducir una pieza musical después de escuchar una vez. Comenzó a tocar el piano a la edad de dos años cuando su niñera le dio un viejo teclado. Sus padres arreglaron para que asistiera a la Logia Escuela Linden para Ciegos en Londres. En su visita introductoria a la escuela, en la sala de música que se liberó de sus padres, luego se dirigió directamente a un piano que se está reproduciendo, y luego empujó el jugador, Adam Ockelford, a un lado para tomar el relevo. Ockelford lo alentó y organizó las primeras lecciones semanales y diarios. Envejecido siete, Paravicini dio su primer concierto en el Centro de Ocio Tooting en el sur de Londres. En 1989, a la edad de nueve años, Paravicini tuvo su primer concierto público importante en el Barbican Hall de Londres cuando jugó con la Royal Philharmonic Pops Orchestra. En ese año, apareció en Wogan y fue el tema principal de un documental llamado Musical Los sabios. Cuando fue mayor, que se presentó con el Premio Campeón de los niños de un Barnardo de Diana, Princesa de Gales por sus actuaciones a los siete años y nueve. Más oportunidades seguidas, por ejemplo, jugar en el club de jazz Ronnie Scott. Paravicini vive en Londres. El primer álbum de Paravicini Ecos de los sonidos tengan Fue lanzado el 27 de septiembre de 2006. Su biografía oficial, en la llave de Genius por Adam Ockelford, fue publicado en el Reino Unido por Hutchinson (ISBN 978-0091796129) el 3 de mayo de 2007. Él apareció en un episodio de Gente extraordinaria del Canal 5 en un episodio titulado "El genio de la música", que mostró su viaje a Las Vegas para jugar en un concierto benéfico con otro sabio, Rex Lewis-Clack. Fue entrevistado en dos ocasiones por Lesley Stahl durante 60 minutos. En 2009, fue uno de los temas de la serie NOVA "episodio" Mentes Musicales ", con el neurólogo Oliver Sacks, en PBS. Fue presentado un segundo tiempo por 60 minutos el 14 de marzo de 2010. En 2009, actuó para la ex canciller Alistair Darling, cuando inesperadamente jugó Big Spender. El 13 de mayo de 2010, Paravicini hizo historia legal en que se abrió el pasado tribunal secreto restante del Reino Unido por primera vez para hablar de su futuro cuidado. El Tribunal de Protección, que controla el futuro de los adultos incapaces de manejar sus propios asuntos, nombró a la familia de Paravicini para cuidar de su bienestar y el futuro comercial. Hasta que se tomó esa decisión judicial, el Procurador Oficial del Ministerio de Justicia había estado cuidando de sus asuntos, en lugar de sus padres divorciados, Nicolas Paravicini y Mary Ann Parker Bowles. El 26 de agosto de 2010, Paravicini se presentó en superhumanos de del canal de la historia de Stan Lee. En el programa, que fue sometido a la prueba que verifica su savantismo y habilidad musical. Después Paravicini improvisado en dos pianos con el compositor Matthew King, para un programa de radio realizado por BBC Radio 4, que colaboraron en un nuevo concierto para piano titulada azul que se realizó por primera vez con la Orquesta de San Juan en el Queen Elizabeth Hall de Londres en septiembre 2011. Esto se cree que es el primer concierto jamás compuesta para alguien con problemas de aprendizaje.

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The Derek Paravicini Quartet is the new must-hear group, currently wowing audiences all over the UK, following their successful debut on the BBC’s ‘In Tune’ programme. Four stunningly talented young musicians combine to create a unique sound, portraying a kaleidoscope of emotions – now achingly sad, now humorous, now infused with warmth – and all shot
through with a fiery virtuosity. Derek Paravicini Quartet are a musical chameleon, able to change their sonic palette to suit any occasion, with the breathtaking new takes on classic songs and jazz standards, and a repertoire from ragtime to Radiohead, from Irving Berlin to the Beatles, from Cole Porter to Coldplay.


Ken Clark Organ Trio • Mutual Respect



Getting down and getting funky, Ken Clark heats things up with a hip attitude. His trio provides the spark to get things moving as the program moves dynamically through eclectic moods. Clark's song list, consisting mostly of originals, affords plenty of variety. From slow, romantic R&B to hip-hop stompers, he grooves with spirit.

Drummer Steve Chaggaris provides a striking backbeat, guitarist Mike Mele solos with fire, and organist Ken Clark creates murals that are made up of "organic" elements. It's true-life stuff from the guys down the street. Clark's trio lends that kind of a credible familiarity to the program.

"Mutual Respect" stutters with a driving swirl. The trio's anthem allows heels to cool while pushing forward in a motion designed for comfort. The song's structure allows them room for an explosion of creative fire. Here, they've captured the essence of mutual respect by working together cohesively to release spasms of energy. Clark sings "Close the Door" with blues on his mind. Romantic R&B colors give the room a glow that's suited to a sultry mood, as the trio oozes with the spirit.

The trio's lightweight funk session comes with a familiar appearance. You get the feeling that you've met these players before. Like the house band from your favorite downtown nightspot, Ken Clark's organ trio gives you the kind of performance that rings familiar. ~Jim Santella

Personnel: Ken Clark: organ, electric piano, vocals; Mike Mele: guitar; Steve Chaggaris: drums.


domingo, 25 de enero de 2015

Quino • Mundo Quino


Formato jpg / 44,7MB










Jimmy Smith • Plays Red Hot Blues



Tracks:
01 Only In It For The Money (w- Dr John) (4:35)
02 I Just Wanna Make Love To You (w- Etta James, Dr John) (3:57)
03 Strut (w- Taj Mahal) (5:05)
04 Fever (w- Kenny Burrell) (5:36)
05 Delon's Blues (w- Kenny Burrell) (4:49)
06 Blues In The Night (w- Kenny Burrell) (4:48)
07 Hobo Flats (w- Zoot Simms) (4:45)
08 The Sermon (w- Kenny Burrell) (7:43)
09 St. Louis Blues (w- Kenny Burrell) (3:19)
10 Blues For 3+1 (w- Leroy Vinneger) (4:50)
11 Chicago Serenade (w- Kenny Burrell) (3:58)
12 Basin Street Blues (w- Kenny Burrell) (4:01)
13 Blues For J (w- Kenny Burrell) (5:17)
14 Three O'Clock Blues (w- BB King) (4:35)
15 Dot Com Blues (w- Russel Malone) (5:21)
16 Tuition Blues (w- Russel Malone) (5:52)

sábado, 24 de enero de 2015

Satans Pilgrims • Satans Pilgrims



Satan's Pilgrims formed in 1992 during a series of house parties hosted by the members of the band, and were playing shows in their hometown of Portland, Oregon by 1993. Twisting their name from the 60's AIP film "Satan's Sadists" and donning their now familiar matching outfits complete with vampire capes, they became a band.
The Pilgrims are one of the most influential surf instrumental bands around and while much of their sound has a definite Southern California influence, what sets them apart is the legacy of their Pacific Northwest rock 'n' roll ancestors and other influences, creating their own sub-genre of surf instrumental that many fans call "Pilgrim Rock".
This, along with three distinct guitarists and a relentless rhythm section, gives their live set a dazzling variety of dance party sounds to choose from, while maintaining their patented haunted sound. After years of touring, taking the band all over the U.S. and Europe (including a now legendary show in Slovenia), Satan's Pilgrims continued to develop the surf instrumental genre.
November 2000 marked the beginning of a hiatus, as drummer Ted Pilgrim moved from Portland to Memphis, TN to sweat, get autographs from all of his Soul and early Rock n' Roll heroes, and eat Bar-B-Q. Meanwhile, 9 Pilgrim offspring were birthed to various members.
After a few years of changing diapers, Musick Records announced that they wanted to release a retrospective culled from the Pilgrims' original five albums. With renewed interest in the band sweeping the surf message boards on the internet, the
With the release of Plymouth Rock-The Best of Satan's Pilgrims" in December of 2004, it turns out that the Pilgrims haunted brand of driving-guitar, dance-party music has endured into the 21st century. Without a single live appearance by the band since 2000, this album has gained more critical acclaim and worldwide notice for them than all of their original releases did during the surf-bombardment of the 1990s.
In 2005, they reunited for the first time in their hometown of Portland, OR. Since then, they have played many shows and in 2009, recorded "Psychsploitation" a new album of psychedelic influenced instrumentals on their own SP Records.
On Halloween night, 2013, SP will be celebrating their 20th Anniversary with an appearance at Portland's Crystal Ballroom.
The rest of the world is still catching on to what only some knew 20 years ago. That is, if you want a surfy, spooky, garage-stompin' good time, put on Satan's Pilgrims.

Icons • Nikodim Pavlovich Kondakov, pdf / inglés



pdf / 256 páginas / Idioma: Inglés / texto editable (copiar y pegar en traductor)