Review by Ken Dryden
This follow-up to his earlier duo session with guitarist Marc Fossett is unusual in many ways. Grappelli alternates between violin and piano on his bittersweet ballad "Amanda." Fossett contributed three strong originals, including the opener "Rapid," the happy-go-lucky "Bluesy," and the charming unaccompanied "Improvisation Nocturne." Wrapped within are straight-ahead but brief, familiar crowd-pleasers like "Chattanooga Choo Choo" and a furious "Liza." Only released as an import in the U.S., but worth the search for true Grappelli fans.
Concorde is an album by The Modern Jazz Quartet. First released in 1955 as an LP. Recorded in New York, New York on July 2, 1955. Originally released on Prestige (7005). Includes liner notes by Ira Gitler. The album was reissued in 2008 as part of the Rudy Van Gelder Remasters collection.
This Album is the first to feature Drummer Connie Kay, who replaced Kenny Clarke in 1955. "Concorde" is also the first Modern Jazz Quartet LP conceived from the beginning as a long playing record. Previous MJQ recordings had been released as 78's, 10 inch 33's or reissues of these formats on a 12 inch LP. The liner notes acknowledge the additional playing time of the LP format by asking the listener to regard this album as a performance set "at one of America's leading Jazz rooms"
Review by Owen Guthrie-Jones
On this, their fourth studio album, you are treated to the unexpected missing link between James Taylor Quartet's early mod-cum-spy theme sound and the later polished acid jazz feel (which carried the band through to be the respected pioneer figures they are today) without sounding exactly like either of them.
Having landed themselves with the big-budget U.K. label Polydor, James Taylor found he could indulge himself with the best in big jazz-funk sounds, employing what sounded suspiciously like more than a "quartet" to produce a collection of bold and brassy numbers that escalated the sounds of Johnny Hammond and Booker T into the late '80s. The album begins as it finishes, with a touching yet relentless jazz-rock instrumental groove combining clever chord structures and strong piano flourishes gliding over, of course, Taylor's trademark whirring Hammond organ. As ever, it's with this tool that Taylor guides the listener's focus (hence the title), on this record especially, as all but two of the songs are instrumental, a fact you would only subliminally realize as the organ and brass lay down strong melodies. In fact, the only real inclusion of vocals comes courtesy of Cleveland Watkiss on "It Doesn't Matter," a feel-good jive-inspired mid-tempo track, and the anthemic "Breakout," which gives the band a brief chance to exercise their vocal chords. Elsewhere, the listener is treated to cool modern boogaloos and bossa novas as Taylor proves he's more than just adept on the ivories, but a capable arranger as well.
In 1965 the Spencer Davis Group, including drummer Pete York, were recording for Philips Germany, a session produced by Siggi Loch. York and Loch have remained friends ever since, so perhaps it is no surprise to see the drummer, now aged 70, release an album on Loch's ACT label. In spring 2013 Loch received the koda Lifetime Achievement Award on the Jazzahead fair in Bremen. He took the prize money, doubled it and invested it into a project in which young upcoming musicians would play together with an experienced star. And who would better fit the role of the leader and mentor than Pete York. This session is a milestone in the varied career of Pete York. "I think I've been heard on around 200 albums in the last 50 years and now I've come back to my first love, the happy swing of Count Basie. What really knocks me out, apart from Siggi wanting me to do this at all, is the way the Young Friends just dived into this project and made such a great sound right off the bat. With guys like these around me I feel as young as they are. Basie s old hits, such as 'Cute', 'Jumpin At The Woodside' and 'Splanky', are grooving and swinging, making 'Basiecally Speaking' a true pleasure.
En 1965, el Spencer Davis Group, incluyendo el baterista Pete York, estaba grabando para Philips Alemania, una sesión producido por Siggi Loch. York y Loch han permanecido amigos desde entonces, así que tal vez no es ninguna sorpresa para ver el baterista, ahora de 70 años, lanzar un álbum en el sello ACT de Loch. En la primavera de 2013 Loch recibió el Premio a la koda de por vida en la feria Jazzahead en Bremen. Él tomó el dinero del premio, se duplicó y lo invirtió en un proyecto en el que jóvenes músicos próximos jugarían junto con una estrella con experiencia. ¿Y quién mejor ajuste al papel del líder y mentor de Pete York. Esta sesión es un hito en la variada carrera de Pete York. "Creo que me han oído en alrededor de 200 álbumes en los últimos 50 años y ahora he vuelto a mi primer amor, la oscilación feliz de Count Basie. Lo que realmente me deja fuera, aparte de Siggi mí querer hacer esto en absoluto, es la forma en que los jóvenes amigos sólo han buceado en este proyecto e hizo un gran sonido como la derecha del palo. Con tipos como estos que me rodean me siento tan joven como ellos son. viejos éxitos Basie s, como "linda", 'Jumpin At The Woodside' y 'Splanky', se ranurado y balanceo, haciendo 'Basiecally Hablando' un verdadero placer.
1 Groovin' For Basie 3:36
2 Tickle Toe 3:24
3 Splanky 5:01
4 Jumpin' At The Woodside 4:11
5 Moten Swing 4:30
6 Flip, Flop & Fly 3:32
7 Lil Darling 5:31
8 Shiny Stockings 5:41
9 Gute 4:02
10 Gee Baby, Ain't I Good To You 3:21
11 Lester Leaps In 3:48
12 Broadway 3:53
13 Roll 'em Pete 2:14
Review by Brandon Burke
Of the many mid-'50s Prestige jam sessions, Outskirts of Town is probably one of the more successful. If nothing else, it features a handful of players who did not record together on a regular basis. The all-star lineup featured, among others, Art Farmer, Idrees Sulieman, Jerome Richardson, Pepper Adams, Ray Bryant, Tiny Grimes, and Osie Johnson. Richardson and tenor man Jimmy Forrest are particularly exciting and take the set's opener, "I'm Gonna Move to the Outskirts of Town," to unexpected heights, given the tune's mellow opening bars. As one might guess, uptempo and midtempo blues numbers dominate the program here, and the accompaniment of the 11-piece ensemble lends many of these tunes a hot Midwestern Basie vibe.
Art Farmer, Idrees Sulieman - trumpets
Buster Cooper - trombone
Jerome Richardson - alto saxophone, flute
Jimmy Forrest - tenor saxophone
Pepper Adams - baritone saxophone
Ray Bryant - piano
Tiny Grimes - guitar
Wendell Marshall - bass
Osie Johnson - drums
Jerry Valentine - arranger
Review by Scott Yanow
Although organist Don Patterson is the leader of this set that in 1998 was reissued on a CD, the quintet date is most notable for the playing of trumpeter Howard McGhee. McGhee, who had not been heard from much on record for a few years, proves to still be in prime form. Altoist Charles McPherson, the young guitarist Pat Martino and drummer Billy James complete the group. The repertoire is particularly strong with two McGhee originals (including the memorable and haunting "Island Fantasy"), "Epistrophy," "Now's The Time" and a trumpet feature on "Donna Lee." Highly recommended.
Cool "Gator" (also released as Keep on a Blowin') is the second album led by saxophonist Willis Jackson featuring organist Jack McDuff and guitarist Bill Jennings which was recorded in 1959 and 1960 and released on the Prestige label.
Here we have what is virtually an organ trio with a bassist added - which presumably saves the organist from having to supply the bass line on the pedals. The group is led by Swedish guitarist Erik Söderlind, who in many respects is reminiscent of Wes Montgomery. He even plays Montgomery-like octaves at times.
Söderlind's previous album was called Twist for Jimmy Smith, suggesting that Erik sees his group as following the tradition of organ groups which was set by Jimmy Smith from the 1950s onwards. But here the focus is not so much on the organ as on the guitar - and rightly so, because Söderlind is a virtuoso player as well as a talented composer. He wrote seven of the twelve pieces on this album and they exhibit an emphasis on melody which reminds me of Pat Metheny's groups with Lyle Mays.
New Room is an attractive Latin-American theme, while Toots Thielemans' Song for My Lady is delivered as an unaccompanied guitar solo by Erik which ends all too soon. Grandmother's Dream and My One and Only Love are soulful ballads with some lovely playing from Söderlind. Train Tickets shuffles along like a train in Metheny style. The album ends with Alicia, which Erik plays alone on the classical guitar.
Erik is well served by the other members of the group. Kjell Ohman is a useful organist, although he lacks the punch that Jimmy Smith put into his organising. Bassist Kenji Rabson lays down a steady bass and adds some neat solos. Drummer Moussa Federa plays precise drum fours in such tracks as Tfk and Aldrig Mer. Tenorist Fredrik Lindborg joins in to add to the funkiness of Sister Sadie and Syster Yster.
Erik Söderlind is a fairly new name on the jazz scene but you should be hearing more of him in years to come.
Darren Heinrich is a versatile Sydney-based pianist & organist, who holds a 1st class Honours degree in Jazz from the Sydney Conservatorium of Music, where he studied with Judy Bailey and Kevin Hunt. His influences incorporate the entire spectrum of the Jazz idiom, from its earliest ragtime roots to modern jazz. He regularly gigs with his own trio and freelances with a wide variety of acts both locally and abroad. During the last five years his focus has been jazz organ music, travelling to the US to study with Hammond masters Dr. Lonnie Smith and Tony Monaco, and writing a thesis comparing the styles of Jimmy Smith and Larry Young.
"A powerhouse," wrote a sixth-grader who had visited one the dav before, "is a big place where everything is going around and around and making lots of power .so the whole town will get lit up."
That isn't a bad description of this Buddy Cole album. The record¬ing studio was a pretty big place. Buddy and his two cohorts were going in all directions with hands, feet, and musical notes. And if the pulsating power they generated doesn't light up the town, then nothing will.
Buddy's powerhouse approach to the electric organ has been heard before. But in this session something else has been added. "We wore a little braver," says Buddy, trying to pinpoint this subtle jc nr ,sais quoi. "We kind of didn't give a damn."
Though Buddy's self-evaluation may never-crack Bartlett's "Quo¬tations" as one of the significant statements of our times, it does do a job of explaining the vitality that sparks this album. Buddy's status as a swinging musician has long ago been established and often recounted. So history can be skipped. What's more important is that Buddy has added to his other accomplishment.* by developing a large and striking talent at the keyboard of the electric organ. Leaving cocktail-bar capers far behind. Buddy spreads out those swinging fingers into chordal patterns that begin to sound like sections in a big jazz band. Up-tempo or down, pretty or bold, it all comes out hip and happy, unmistakably Buddy Cole.
Buddy's playing reflects taste as well as talent, and the same can be said for his selection of tunes. As a theme song, he resurrects Raymond Scott's Poiverhouse. then lets the current start flowing through a batch of favorites. Duke Ellington heads the list of com¬posers with three tunes to his credit: 1 Let n Sung Go Out of My Heart. Don't Get Around Much Any Mure, and I'm Beginning to See the Light.
Then come songs by such talents as Hoagy Carmichael, Matt Dennis, Cole Porter, Vernon Duke, Richard Rodgers, and others. An original by Buddy. Fulfillment, rounds out the dozen. With Buddy generating his particular brand of jazz, they turn out to be a power¬house dozen, indeed.
As the little boy said, "The whole tow will get lit up."
Review by Michael G. Nastos
In a tribute to Count Basie, ex-Basie tenor saxophonist Frank Foster and Columbus, OH-based organist Hank Marr wend their way through 11 titles that, peripherally, have something to do with Basie. It's the ease of their swing, the simple melodies, and the direct approach that have to do with the Count, and the way these veterans tackle a few standards and their own originals, never forcing the issue. The underrated guitarist Cal Collins and drummer Jim Rupp provide rhythmic support. Of the seven Marr originals, the best is saved for last, the upbeat "Rhythmesque," where the band is on fire and Foster's blues-tinged boppish tenor jumps and jives. The turnaround on "April in Paris" called "Paris in April" is in the same key, Marr assimilating Wild Bill Davis' searing style and Foster playing tart sweet, as he does on most of the date. "Your Basic Gospel Tune," inspired by Horace Silver, is like a mix of "Groove Merchant" and "Red Top," Foster sounding happy and in tune with Marr's soulful, easy swinging. "Basie-cally Speaking" is based on "Whirly Bird"; "I'm Saving All My Hugs for You" is inspired by "Lil' Darlin'." Foster contributed the lone "Kathern the Great" for a discriminating fan in N.Y.C., another easy swinger with the organ at the end quoting "Who's Got the Last Laugh Now." Also included is the evergreen "Just a Closer Walk with Thee," where Marr uses a more church-oriented sound on one of his organ keyboards, a more burning approach on the other, quite like Jimmy Smith. "If I Had You," without Foster, is the lone feature for Collins, a ballad treatment where the guitar states the theme and extrapolates upon it, the organist does the same, then they both pine together. This is one of those recordings that sounds just fine, but begs for a follow-up. Foster's never played with any organist before, and Marr seems to be the perfect foil.
Double Time Records - DBLT 134
Hank Marr - Hammond B-3 Organ
Frank Foster - Tenor Sax
Cal Collins - Guitar
Jim Rupp - Drums
Long regarded as one of Britain's finest jazz drummers and composers, Tony Kinsey's multi-faceted musical career extends from jazz player to composer of music in many genres, including works for full orchestra and chamber groups. He has worked with many of the world's jazz greats, including Billie Holiday, Ella Fitzgerald, Lena Horne, Sarah Vaughan, Ben Webster, Clark Terry, Sweets Eddison, Annie Ross, Cleo Lane, John Dankworth and many more.
Live at the Blue Note album for sale by Stephane Grappelli was released Mar 26, 1996 .
... Q (8/96, p.145) - 4 Stars - Excellent - "...the only jazz fiddler you can ever think of swung like a bastard. Beyond jaunty, his `Night And Day' is a marvel of disciplined aesthetics."...
... Down Beat (5/96, p.46) - 4 Stars - Very Good - "...Grappelli's attack has not only remained rock sure and steady. It has remained deeply rooted and resistant to adulteration and influence....the rhythmic power is irresistible....Like all the best early swing, it exists outside the reach of fashion of a bubble of eternal validity..."
Bass – Jon Burr
Guitar – Bucky Pizzarelli, John Pizzarelli
Violin – Stéphane Grappelli
Bill Heid is unquestionably one of the most impressive Hammond B-3 organists in modern jazz, and one night of listening to him live in performance solidifies this assertion. He's no less impressive in the studio, but the more visceral energy he brings to the stage can still be enjoyed on his studio releases. Wylie Avenue is a tribute to his native Pittsburgh, PA, where on Wylie near Center Avenue, the legendary Hill District was the location of the chitlin circuit jazz and blues clubs that launched the careers of Don Patterson, Big John Patton, Larry Young, Jimmy Smith, Gene Ludwig, and so many other fellow organists. Heid doles out more of his original music on this disc that combines soul-jazz with mainstream and progressive sounds, all blended together in a physical and virtuoso-driven nutty professor swing and bluesy funk. Of the many Pittsburgh icons Heid pays tribute to, "At the Hurricane" (for the legendary Hurricane Bar) is an easy blues, a bit off-kilter, goofy, and always on the move. The light calypso "Always Larry" (for Larry Young) probes into a sidereal deep-blue mood, while the title track is an up-and-down bopper -- mostly up -- with a fierce drum solo by longtime favored Heid sideman Mike Petrosino. "Toe Tappin'" is atypical for Heid, with its loping pace and spare, patient melody. New York guitarist Peter Bernstein is the special guest on this set, well versed and experienced in this type of music. His adaptability shows during the dirty ankle-biting funk of "Grantulant" (dedicated to Grant Green), or in tandem with Heid's organ for the boogaloo-type solid-sending soul song "The Slinky." A personalized groove, "Waltz of the Corgies" is dedicated to Heid's longtime pooch who passed away, and reflects a missing-in-action status. There's no stopping Heid when he gets cranked up, as on the bouncy swinger "Who Else?," where his nutty, spiky accents and flying fingers should convince anyone as to his enormous talent. As Heid's catalog grows and his music grows on you, you have to come to the conclusion that he's one of those rare talents who doesn't come along too often in life. Wylie Avenue is another high point in the brilliant career of perhaps the most underappreciated musician of modern times. ~ Michael G. Nastos
Chicago-based jazz guitarist Ari Seder releases his second album featuring eleven original compositions of straight-ahead jazz with material ranging from slow ballads to some hard-driving rhythms. This recording is one fine session of fresh new jazz delivered by a very capable trio. Seder is joined here by drummer Darren Scorza and Paul Mutzabaugh on the organ. While this is clearly a Seder project with the guitar featured in the lead, organist Mutzabaugh plays a very prominent role in this recording, hence the title of the album Organ Trio.
There’s a terrific variety of jazzy tunes that grabs your attention like the second number "Big Plans," a very catchy melody containing crisp guitar work from the leader accompanied by sharp play by the organist. The group slides into a faster pace with the swinging "Not Alone" revealing an outstanding performance by Seder. In contrast, the music slows down with the beautiful ballad of "The Routine." Another warm and soft piece of music that goes to the heart is the enchanting "Impossible."
The list of splendid music goes on to include the light ballad of "Down Time," in which Mutzabaugh takes center stage with his play, the lively pick up beat of "With Visions" and the melancholy sounds of "Cloudy" just to name a few. All together these clever compositions combine to make one nice package of rhythm-based music that will appeal to the aficionado and the average jazz fan alike. Organ Trio has all of the elements that will make this a successful effort, great writing, excellent musicianship and a sound that deserves to be heard. Kudos for Mr. Seder and his marvelous trio.
Edward Blanco, JazzReview.com
"The musicians sound inspired by the fresh material and while the individual solos are colorful, it is the interplay between the musicians and the appealing ensemble sound that makes Organ Trio....well worth acquiring." ~Scott Yanow, L.A. Jazz Scene
"....it's easy to hear Wes Montgomery's sense of economy, Pat Metheny's sense of melody, and Grant Green's sense of groove. Add to that the tasteful organ playing of Paul Mutzabaugh and the grooving drums of Darren Scorza, and you've got a band that can play it's collective tail off." ~Paul Abella, Chicago Jazz Magazine
Ari Seder - guitar
Paul Mutzabaugh - Hammond B-3 organ
Darren Scorza - drums
Gypsy Jazz like they played in France, in the 30's. but with a modern twist.
Gypsy Jazz, gypsy swing, swing manouche, parisian swing, hot club music… these are all names referring to an extraordinary musical style that rose to fame during the thirtes, especially in France, when the musical genius of guitarist Django Reinhardt, gave birth to a new sound that blended the sheer stamina of gypsy music, with jazz's finesse. The relentless rhythm section, with guitar and upright bass, the sophisticated melodies, the frequent virtuoso passages are this music's main elements, and it's such as this that it's presented nowadays, with its original appeal still intact.
Oncle archibald were born in Padua in late 2005; after a few line-up changes, the band settled on a tipycally Gypsy "two guitars and an upright bass" set. That set, though, is often enriched by many different guest, ranging from Sergio Marchesini on accordion, to Angelo Adamo on chromatic harp.
Their live exhibitions take place both on the road, as they did in various italian Buskers Festivals, in theaters, and at important national jazz festivals (like Veneto Jazz) and jazz clubs (such as the Hopfen&Co. and the Mama's Club).
The Casualties of Jazz is an instrumental jazz trio based in Los Angeles. On their album Kind of Black. A Salute to Black Sabbath (2004) they cover Black Sabbath standards and transform to jazz tracks with drums, double bass and Hammond B3 organ.
The critically acclaimed funky, rare-groove salute to Black Sabbath. A must-have for Hammond B3 fans.
Review by Stephen Thomas Erlewine
Standards is a 12-track collection that is culled from the sessions that resulted in the House Party and Home Cookin' albums, both of which featured Jimmy Smith in a trio with guitarist Kenny Burrell and drummer Donald Bailey. All of the songs are familiar standards along the lines of "Bye Bye Blackbird," "I'm Just a Lucky So and So," "September Song," "Mood Indigo" and "It Might As Well Be Spring," and seven of the tracks are previously unreleased. Throughout the album, the trio is relaxed and laidback, resulting in a warm, inviting collection of standards. It's among Smith's mellowest recordings, and it's all the better for it.
1 Groovy Motion 4:17
2 The Original Sound 3:35
3 Value For Money 5:34
4 Sounds Idea 3:10
5 Four-Channel Sound 4:34
6 The Broadcast Signal 5:41
7 The Project One (Part One) 2:50
8 The Project One (Part Two) 4:31
9 The Amplifier 3:14
10 Watts And Impedence 6:16
11 Ground Noise 4:09
12 Pitch Control 6:38
1. Richard "Groove" Holmes - Halleluja, I Love Her So (2:32)
2. Jimmy Smith Trio - I Got My Mojo Workin' (4:57)
3. Lou Donaldson - Who's Making Love (6:42)
4. Milt Buckner - The Beast (2:32)
5. John Keating - I Feel The Earth Move (3:32)
6. Lonnie Smith - Spinning Wheel (7:30)
7. Ronnie Foster - Some Neck (4:36)
8. George Nardello - Ooga Mooga (3:09)
9. Alan Hawkshaw - Blarney's Stoned (1:50)
10. George Semper - Shortnin' Bread (2:26)
11. Jimmy McGriff - The Worm (3:15)
12. Jimmy McGriff - I've Got A Woman (Part 1) (2:42)
13. Reuben Wilson - Love Bug (7:53)
14. Jimmy McGriff - Where It's At (live) (4:45)
15. Paul Bryant - Burnin' (4:11)
16. Brother Jack McDuff - Oblighetto (6:35)
Review by Evan C. Gutierrez
With a sound that since his death skyrocketed in popularity almost to a point of becoming cliché, it would be an understatement to say that Walter Wanderley was ahead of the times. His compositions and trademark band sound became one of the most prominent voices in bossa nova. Though often mimicked, few were able to reproduce the combination of sophisticated harmonic progressions and a cool, laid-back groove. Wanderley's slick, idiomatic organ comping style, thanks to recordings like 1967's Kee-Ka-Roo, set trends and standards for generations of jazz musicians to come. Unlike many subsequent recordings, where Wanderley records in a trio setting, this record offers the opportunity to hear a fleshed-out group of musicians, including percussion, vibraphone, guitar, flute, and voice. All the players on the session are smooth, confident players who seem to enjoy drifting lazily alongside one other. Even in livelier compositions like "Sambao," Wanderley and his crew don't seem to break a sweat. The relaxed, collected, martini-sipping aesthetic seems to pervade every solo, every chorus. If the listener can get past the postmortem lounge-ifying of this great Brazilian artist, Kee-Ka-Roo will surely put a swing in their step, and might even lower their blood pressure.
Review by Scott Yanow
Violinist Stephane Grappelli teamed up with the perfectly complementary Diz Disley Trio (featuring Disley and Ike Isaacs on guitar and bassist Isla Eckinger) for a spirited program of standards on this LP. Even if he has played some of these songs (such as "Shine" and "Ain't Misbehavin'") a countless numbers of times through the years, Grappelli never loses enthusiasm nor runs out of new variations.
1. I’m On My Way
2. Regards From Freddie Horowitz
3. Somewhat, Somewhere, Somehow
4. Noisy Silence
5. Mother People
8. Teaming Up
9. Walkin’ Down the Highway in a Red Raw Egg
In Life, his 2010 autobiography, Keith Richards makes clear that boogie-woogie pianist Ian Stewart was the organizing principle in the Rolling Stones, calling the first audition/rehearsal that led to the formation of the band, even though, when the group was offered a recording contract, he was shunted aside as an unnecessary sixth member who didn't look the part. (Amazingly, the self-effacing Stewart agreed to continue to play on their records and serve as their road manager.) Ben Waters pays tribute to "Stu" on this album largely given over to boogie-woogie, and he has enlisted a star-filled set of guests including Stones members Richards, Mick Jagger (who sings and plays harmonica on a cover of Bob Dylan's "Watching the River Flow"), Charlie Watts, Bill Wyman, and Ronnie Wood, as well as other notable musicians such as PJ Harvey and Jools Holland. The result is an album Stewart no doubt would have liked better than any of the Rolling Stones albums he played on.
En vida, su autobiografía de 2010, Keith Richards deja claro que el pianista de boogie-woogie Ian Stewart fue el principio organizador de los Rolling Stones, llamando a la primera audición / ensayo que llevó a la formación de la banda, a pesar de que, cuando se ofrece el grupo un contrato de grabación, fue desviada a un lado como un sexto miembro innecesaria que no parecía la pieza. (Sorprendentemente, el modesto Stewart acordó continuar para jugar en sus registros y servir como su road manager.) Ben Aguas rinde homenaje a "Stu" en este álbum en gran parte dedicada al boogie-woogie, y él ha alistado un Star- conjunto lleno de invitados, entre ellos Piedras miembros Richards, Mick Jagger (que canta y toca la armónica en una cubierta de Bob Dylan de "Watching the River Flow"), Charlie Watts, Bill Wyman, y Ronnie Wood, así como otros músicos notables como PJ Harvey y Jools Holland. El resultado es un álbum Stewart sin duda le hubiera gustado mejor que cualquiera de los álbumes de los Rolling Stones.
VARIOUS ARTISTS Vital Organs (1999 US 10-track CD album, compiled by celebrated DJ/collector Mr Fine Wine, and containing obscure yet barnstorming Hammond grooves and funky beats, including Toussaint McCall, The Organics, Jimmy Willis and many more!).
Funky fresh, this music was made for the dance floor. Sven Figees's hammond moans, sweats, sobs and wails over Joost Kroon's (New Cool Collective) mean drumming, while Glenn Gaddum's unwavering bass confidently pins it all to a steady Jazz groove. Contributions by vocalists Sherry Dyanne and Corrina Grayson add that special Soul flavor, while Benjamin Herman on sax adds his own distinctive tone to Benny's Blues. This is an album that makes you want to get up, clear your living room floor in one fell swoop and get down and boogie!
Review by Thom Jurek This small group session was recorded in 1963 for Atlantic, and originally issued in 1976, two years after Duke Ellington's death. It showcases a small group that features string players in the front line. Ray Nance, the Duke's own violinist, is here as is the legendary Stephane Grappelli and violist Svend Asmussen. The rest of the players include tenor man Paul Gonsalves, drummer Sam Woodyard, bassist Ernie Shepard, alto saxist Russell Procope, and trombonist Buster Cooper. Ellington plays piano no all but two tunes where Billy Strayhorn replaced him. The program is a collection of Ellington and Strayhorn standards from "Blues in C" and "Take the 'A' Train," to "Don't Get Around Much Anymore," "Cotton Tail," and the wonderful "Limbo Jazz." The soloist and group interplay are gentle, swinging, and utterly and completely graceful and elegant. There is a lighthearted tenderness in this set that borders on sentimentality without ever going there. And the feeling is loose, relaxed, and full of warmth throughout.
Duke Ellington (piano)
Stephane Grappelli (violin)
Ray Nance (violin)
Svend Asmussen (Viola)
Paul Gonsalves(sax tenor)
Think of The Money Spyder as the soundtrack to the coolest '60s international spy movie never made. Go-go Fender guitars and Hammond organ race from beginning to end. From the title track, with its mysterious piano line, to the urgent, fuzz-infested "Car Chase," we can pretty easily dream up a story line. From Carnaby Street we travel to the arms of an exotic double agent ("The Spiral Staircase"), only to end up somewhere in Spain for the final showdown ("Buzy Bee"). Ah, they don't make flicks like this anymore. --Percy Keegan
The Very Best of This Is Acid Jazz: A 10 Year Celebration finds Instinct Records digging deep into its archive of This Is Acid Jazz compilations to assemble this double-disc best-of. The first disc focuses on the years 1991-1996 and collects all the classics -- tracks like Exodus Quartet's "What's That" that helped jump-start the acid jazz movement. The second disc compiles songs from the years 1997-2001, featuring well-known tracks like United Future Organization's "Somewhere" and Jimpster's "Topics in Groove." If you've always been curious about this long-running series of albums, this best-of is the perfect place to begin. It sorts through the clutter for you. However, if you already own a number of the This Is Acid Jazz compilations, you might want to hold off on this best-of since it reprises the best songs from those albums rather than presents new music.
Review by Scott Yanow
Bill Hardman had long been a talented -- if not overly original -- bop trumpet soloist. Best known for his four stints with Art Blakey's Jazz Messengers, Hardman is in excellent form on a pair of Brazilian pieces, two originals by pianist Mickey Tucker and Tadd Dameron's lesser-known "I Remember Love." There are also fine solos throughout this date by Tucker, tenor saxophonist Junior Cook and trombonist Slide Hampton.
Bill Hardman (trumpet, flugelhorn) Slide Hampton (trombone) Junior Cook (tenor saxophone) Mickey Tucker (piano) Yoshio Suzuki as Chin Suzuki (bass) Victor Jones (drums) Lawrence Killian (percussion)
El multiinstrumentista belga, Bobby Jaspar (sabia tocar el saxo tenor, clarinete, flauta, saxo barítono y clarinete bajo) fue educado por su tía cuando su padre, un pintor de Lieja muy conocido falleció repentinamente. A ella le debió su afición por la música y su afición desde pequeño al jazz. Con el clarinete solía tocar dixieland en un grupo de adolescentes del barrio hasta que se unió a los grupos de Raoul Faisant y Pierre Robert que veían en el incipiente bebop el futuro del jazz. Así nacieron los "Bop Shost" que alcanzaron fama internacional actuando en Francia y Alemania llegando a tocar incluso con Peanust Holland y Don Byas.
En 1948 y tras licenciarse en Químicas, decidió dedicarse profesionalmente al jazz marchando a Paris en 1950. En la capital francesa encontró rápidamente trabajo sustituyendo a Hubert Fol en el grupo de Django Reinhardt. En la primavera de 1952 fue invitado a un club de Tahití junto a otros musicos franceses como Maurice Vender, Berdnard Hullin y Alain Motnet aunque obtuvieron un rotundo fracaso. Enamorados del clima y de la forma de vida del trópico, Bobby Jaspar permanecio en la Isla del Pacifico varios años dedicado a la manufacturacion de aceite de bacalao pero atacado de un brote de nostalgia cuando escuchaba a Stan Getz en una emisora de radio de San Francisco decidió regresar a Europa.
De vuelta a Paris, Bobby Jaspar reanudó su actividad musical tocando con Bernard Peifer y André Hodeir antes de formar su propio quinteto con el guitarrista Sacha Distel como figura destacada. Ya por entonces se había casado con la cantante de jazz norteamericana, Blossom Dearie quien constantemente le animaba a que visitara los Estados Unidos. Fue en abril de 1956 cuando decidió cruzar el charco y aunque los primeros meses fueron muy duros para el, logró encontrar trabajo en el quinteto del trombonista, Jay Jay Johnson. En aquel grupo se hizo famoso y la revista "Down Beat" le proclamó mejor saxofonista tenor de 1956 lo que le valió viajar de gira a Europa con el grupo de Jay Jay Johnson. De vuelta a New York, Bobby Jaspar en 1957 sustituyó a Sonny Rollins en la formación de Miles Davis durante algunas semanas y después en 1958 firmo por el quinteto de Donald Byrd.
Buckaloose brings you hard-driving groove and soul reminiscent of the Hammond B3 jazz organ groups of the 1960s and 70s, with a modern and personal touch. Live at Upstairs buy CD music This intensely high-energy yet deeply warm and expressive performance at Montreal's top jazz venue is yours to enjoy over and over again!!
Chris Gale - saxophones, Vanessa Rodrigues - Hammond B3 organ, Mike Rud - guitar, Davide DiRenzo - drums
Recorded November 11, 2010 Upstairs Jazz Bar Montreal
A1.What You Gonna Do?
A2.Buck's Hot Rod
A3.Hey Good Lookin'
A4.We're Having A Party
A5.Beast Of Burden
B1.Be Good Or Be Gone
B2.Maybe I Will
B3.Pout Tout Quelque'un
B4.Where There's Smoke There's Fire
B6.It's Getting Late
Three months after recording the excellent Bossa Nova Carnival, Dave Pike returned to the studio in December 1962 and recorded another fine LP that underscored his interest in world music. But instead of providing another Brazilian-oriented album, the vibist/marimba player opted to explore Caribbean rhythms and melodies. The term Caribbean music, of course, can describe many different things. It can refer to Latin forms like Cuban salsa, Dominican merengue, or Puerto Rican plena, but it can also describe the music that non-Spanish-speaking blacks have created in the Caribbean, such as calypso, soca, and mento (which was Jamaica's music of choice before ska and reggae came along). While Limbo Carnival does contain some Afro-Cuban influence -- one of the participants is salsa/Latin jazz legend Ray Barretto -- calypso is a stronger influence. An admirer of Sonny Rollins' jazz/calypso experiments, Pike shows his appreciation of the form on material that ranges from two songs Harry Belafonte had recorded ("Jamaica Farewell" and "Matilda, Matilda") to Rollins' "St. Thomas" and Charlie Parker's "My Little Suede Shoes." Meanwhile, both Afro-Cuban and calypso influences can be heard on an interesting version of "La Bamba," which is hardly a Caribbean song; "La Bamba" is a Mexican folk standard that became a rock & roll hit when Ritchie Valens (a Mexican-American from Los Angeles) recorded it in 1959. Pike, whose sidemen include guitarist Jimmy Raney, pianist Tommy Flanagan, and bassist George Duvivier, takes his share of chances on this vinyl LP, and they pay off handsomely. http://www.allmusic.com/album/limbo-carnival-mw0001881506
Extraño disco este el de Jimmy, si bien no deja de ser jazz nos sorprende con covers de temas de series de TV como Bewitched, sí Hechizada, o The Munsters' theme, pasando por algunos temas de las bandas de sonido de James Bond; con un estupendo arreglo orquestal con músicos de primera categoría.
Strange disc is that of Jimmy, although no longer surprises us with jazz covers topics such TV series Bewitched and The Munsters' theme, going through some issues soundtracks of James Bond; with a great orchestral arrangement with top notch musicians.
A1 Comin’ In The Back Door 2:14
A2 Up Cherry Street 2:04
A3 Maria Elena 2:48
A4 Pedro’s Porch (Part 2) 2:44
A5 Baja Nights 2:25
A6 Charade 2:30
B1 Moonglow (Picnic Theme) 2:12
B2 Acapulco 1922 2:07
B3 Maria’s First Rose 2:46
B4 Samba De Orpheu 2:55
B5 December’s Child 2:07
B6 Back To Cuernavaca 3:02