jueves, 30 de abril de 2015
A1 A String Of Pearls 2:57
A2 Close Your Eyes 2:41
A3 The Song Of Delilah 3:24
A4 On Green Dolphin Street 3:13
A5 The Sweetest Sounds 3:01
A6 One Mint Julep 3:04
B1 The Lamp Is Low 2:31
B2 Tin Tin Deo 3:28
B3 If I Should Lose You 2:35
B4 Invitation 2:05
B5 Two Different Worlds 2:44
B6 Star Eyes 2:57
Arranged By – Kenny Burrell
Guitar – Barry Galbraith, Bucky Pizzarelli, Kenny Burrell
Bass – Milt Hinton
Drums – Osie Johnson
Flute – Jerome Richardson
Percussion – Tommy Lopez, Willy Rodriguez
Tenor Saxophone – Jerome Richardson
Trumpet – Clark Terry
Label: Kapp Records – KL-1326
Format: Vinyl, LP, Mono
from Kenny Burrell Catalog
The Kenny Burrell Octet - Lotsa Bossa Nova! (Kapp KL 1326)
Clark Terry (trumpet) Kenny Burrell, Barry Galbraith, Bucky Pizzarelli (guitar) Milt Hinton (bass) Osie Johnson (drums) Tommy Lopez, Willy Rodriguez (percussion)
NYC, February 25, 1963
K6917 Star Eyes
K6918 Tin Tin Deo
K6919 A String Of Pearls
K6920 On Green Dolphin Street
Jerome Richardson (tenor saxophone, flute) replaces Terry
NYC, February 27, 1963
K6936 Close Your Eyes
K6937 The Sweetest Sounds
K6938 The Song Of Delilah
K6939 If I Should Lose You
add Clark Terry (trumpet)
NYC, March 1, 1963
K6941 The Lamp Is Low
K6942 One Mint Julep
K6943 Two Different Worlds
** also issued on Kapp KS 3326.
Review by Paula Edelstein
Two years after her stunning debut on Verve, violinist Regina Carter offers listeners her exceptional string virtuosity on ten great songs inspired by her hometown of Detroit, Michigan. Motor City Moments features a stellar collection of songs written by some of the best musicians from Detroit including Marvin Gaye, Stevie Wonder, Thad Jones, and Milt Jackson. Regina Carter applies her pure skill, pizzicato, and arco passages to "Don't Mess With Mr. T" and "Higher Ground" with impeccable tuning and multiple approaches. Her string virtuosity on Milt Jackson's "For Someone I Love," is a masterful performance backed adeptly by Mayra Casales on percussion and spotlights a brilliant piano solo by Werner "Vana" Gierig. Two originals, "Forever February" and "Up South," which was co-written with guitarist Russell Malone, provide an interesting contrast of the artist's use of reflective temperament and folk-ornamented cadences. Each song also emphasizes Carter's adept techniques with melodic phrasing and song forms. Accompanied by her touring band of Darryl Hall on bass, Alvester Garnett on drums, percussionist Mayra Casales, Marcus Belgrave on trumpet and flugelhorn, James Carter on bass clarinet and tenor sax, Barry Harris on piano, Lewis Nash, as well as several special guests, Regina Carter has rapidly become one of the most exciting and original violinists to arrive on the jazz scene.
miércoles, 29 de abril de 2015
One of the coolest albums ever from organist Milt Buckner – a set that not only features his own great work on Hammond, but also some excellent vibes from Gene Redd! This isn't the Redd that was a member of Kool & The Gang, but his pops – and Gene works with Buckner here on arrangements to craft a sound that's much hipper and more soulful than usual for Milt – quite a change from some of his dates for other labels, especially some of the overseas ones. The rest of the group features Bill Willis on bass and Phil Paul on drums – and tunes are awash in cool tones and unusual sounds – handled very differently than in other versions. The album includes nice versions of "Take Five", "Fly Me To The Moon", "All Blues", and "Why Don't You Do Right" – all with a lot more of a soul jazz groove than you'd expect! (Cover has a mostly split top seam, splitting on the bottom seam, and some pen on back.) © 1996-2015, Dusty Groove, Inc.
One of Kenny's nicely grooving sides for Chess - recorded live at the Village Vanguard in 1959, with a trio that features Richard Davis on bass and Roy Haynes on drums. Haynes' free touch on the kit really opens up the style of Kenny's playing - free, light, and lyrical, yet still quite soulful and filled with rhythm. Titles include "All Night Long", "Trio", "Will You Still Be Mine", "Soft Winds", and "Well You Needn't".
Recorded live at Jack's Bar in San Francisco (established in 1932 and still going at the time of this release), Hammond B3 organist Jackie Ivory and his quartet do R&B, soul, and blues with some smooth jazz thrown in, just to let you know they can do it. Borrowing judiciously from Ben E. King, Junior Parker, and Johnny "Hammond" Smith, Ivory does as pleading a version of "Stand by Me" as one is ever likely to hear. Matters get very soulful as Booker T. & the MG's are recalled with a groovy, funky R&B version of "Green Onions," with the slangy guitar of Charles Garner and the honking Hal Singer-like sax of Edward Surgest all riding atop Ivory's B3. Garner gets in some well-placed vocals during the session. The slow dancers get a chance with "Saving All My Love for You," with Surgest's erotic sax setting the tone. But irrespective of what's being played, Ivory and group are having a fun time doing it. They have a way to make everything come out on the upbeat -- happy and carefree. Jack's Bar must be a place where people expect to unwind, quaff a few, listen to some fine music, take a few turns around the dancefloor, and come away feeling good. ~ Dave Nathan
martes, 28 de abril de 2015
Willie Pooch, born William Joseph (1937 – May 5, 2010)
Willie Pooch was a popular Columbus, Ohio area blues singer who began his career in gospel groups while still just a child in and around Tupelo, Mississippi. During his teens, he and his family moved to Chicago where Pooch fell under the tutelage of Luther Allison who schooled him in the art of the blues guitar. Over the next several years, Pooch played with the likes of Muddy Waters, Elmore James and Hound Dog Taylor. After spending many years touring the mid west, Pooch settled in Columbus during the early ’60s. By then he was fronting his own band who became a local blues staple for the better part of the next four decades. On May 5, 2010, Willie Pooch died from complications of diabetes. He was 72 years old.
Tony Monaco is a leader in a modest revival of the Hammond B3 organ in jazz. As he has been with so many fledgling jazz organists, Jimmy Smith played a significant role in attracting Monaco to jazz and retaining his interest in the music. Monaco was 12 years old when he first heard Smith and, as a 16th birthday present, got a phone call from the organ giant. The culmination of this association came when Smith invited the young performer to join him at Smith's club. Monaco has also been fortunate to spend time with other jazz organ masters, including Hank Marr and Dr. Lonnie Smith. He started subbing for players, like Marr, in and around Columbus, OH, when he was just 16. Monaco has also been helped along by one of his peers, Joey DeFrancesco, who produced Monaco's first album, Burnin' Grooves, and joined the session on piano. Monaco added horns to his second album, Master Chops T, released in 2002, giving the Hammond organ player much more flexibility to the arrangements. It also allowed him to take full advantage of the rhythmic invention the electric organ allows its players to engage in. A live follow-up, Intimately Live, followed later that year. In addition to his albums as leader, Monaco has recorded with Eric Neymeyer and neo-bop guitarist Mark Elf. Monaco doesn't rely entirely on his jazz work to support his family. He and his brother run and own a concrete construction business. When not performing or building, Monaco listens to other masters of the organ, including Smith, Richard "Groove" Holmes, and Larry Goldings.
Tony Monaco may be the best organ player you have yet to hear of flying stealth while playing arguably some of the hottest B-3 around. Mentored by the legendary Jimmy Smith in what is considered the more classic style, Monaco does not swing, smolder or smoke. Tony Monaco burns is this most fitting!
Critical Jazz Review, 2012
Singer Willie Pooch is a name deserving a genesis in the fiction of William Faulkner. Pooch (born William Johnson) is a native of Tupelo, Mississippi where he was a contemporary of Elvis Presley. He has performed with a variety of blues artists from Elmore James to Luther Allison. Pooch appeared on Monaco's Fiery Blues where he sung "Everyday I Have the Blues, a performance reprised on Funk-N-Blues.
What grease was missing on East To West and Blue Bop is amply compensated for on Funk-N-Blues. Monaco has his regular guys on hand and they put the pots on, gas on high. As for Pooch, he is more Jimmy Rushing than Joe Williams. He has an expressive tenor voice that is somewhere between the chitlin' circuit and the concert stage, tending toward the humid confines of a Pentecostal tent meeting. There is plenty of church in Pooch's vocals, as evidenced on "Cross My Heart Blues, "Natural Ball and "Georgia On My Mind. Monaco is all over the organic map with his carefully shaded fills and solos. Guitarist Rick Collura conjures blue notes and chords from thin air, never overdoing it.
Funk-N-Blues finds Monaco fitting into an accompanist role with ease, introducing the old "new talent of Willie Pooch. The album is predictable, as it can only be, but it is apparent that Pooch has many more tricks up his sleeve. Monaco will surely look for them.
lunes, 27 de abril de 2015
This 1974 LP marked a comeback for Jimmy Raney, following his long layoff from the music business in order to make a full recovery from alcoholism. Accompanied by bassist Richard Davis and drummer Alan Dawson, the guitarist is in terrific form as he explores several standards, a bossa nova-flavored "Nobody Else but Me," and a driving take of "Just Friends." He composed the other two works heard on the date. His piece, "'Momentum," is a reworking of an earlier original he called "Motion," both of which are obviously based upon the chord changes to "You Stepped Out of a Dream." "We'll Be Together" is an original ballad (set to words he wrote earlier, according to liner-note writer Ira Gitler), though it sounds as if it was partially inspired by "Autumn in New York"; it also features a strong solo by Davis. Originally released on MPS and reissued by Pausa, this record has been unavailable for quite some time, but it can be found with a diligent search. ~ Ken Dryden, All Music Guide
Robert Walter - Hammond Organ, Clavinet, Piano, Melodica and Percussion
Stanton Moore – Drums and Percussion
Johnny Vidacovich – Drums and Cymbals
Tim Green – Tenor Sax
James Singleton – Bass
Anthony Farrell – Vocals
Review / TROY COLLINS, Published: June 6, 2006
Regina Carter dedicated I'll Be Seeing You to her mother, who recently passed away. In the process of recording this disc as both loving tribute and musical therapy, Carter followed the advice of arranger John Clayton, working through a set of tunes culled from her mother's youth. The results are wistfully nostalgic and viable in their commemoration.
The violinist has recorded in a number of configurations and styles, from duets with pianist Kenny Barron on Freefall (Verve, 2001) to full orchestra on Paganini: After a Dream (Verve, 2003). This session finds her in an intimate, stripped-down format. Her regular piano/bass/drums rhythm section is occasionally augmented by Paquito D'Rivera (clarinet) and Gil Goldstein (accordion). Their sumptuous contributions add an air of authenticity to this program of Great American Songbook standards and early swing tunes.
Dee Dee Bridgewater and Carla Cook lend their vocal talents to a few numbers. Cook's bluesy inflection on "St. Louis Blues" and Bridgewater's lively scat solo on "This Can't Be Love" are highlights. Both are giants in their fields, and Carter couldn't have asked for better interpreters for this material.
Carter's discography is a textbook example of the varied experiences from which modern jazz musicians draw inspiration. She was once a member of the String Trio of New York and has accompanied such independent thinkers as James Carter, Mark Helias and Steve Turre. While there is nothing overtly avant-garde on I'll Be Seeing You, the recording definitely manifests a sense of playfulness. She adds uplifting Bachian invention to "Little Brown Jug" and swings John Kirby's arrangement of Edvard Grieg's "Anitra's Dance" with an infectious energy worthy of Raymond Scott. Her buoyant, extended interpretation of "A-Tisket, A-Tasket" features a string of solos for the whole group.
The violinist is in excellent form throughout, soaring with lyrical panache on the swing tunes, grinding away blissfully on the blues numbers, and revealing a tender, dulcet side on the ballads, with a somber take on the titular closing track. Despite the context, the album never drifts into maudlin territory. Simultaneously celebratory and reverent, I'll Be Seeing You is a fitting tribute to Grace Louise Carter. http://www.allaboutjazz.com/php/article.php?id=21883#.UWQD5IhRmVE
Review by Brandon Burke
One probably doesn't hear the name Gloria Coleman thrown around quite as often as other organists of the day. Similarly, the Impulse! label wasn't particularly known as a home for organ combos, but perhaps that's what makes this title the underappreciated gem that it is. Soul Sisters, in retrospect, would have probably made more sense as a Blue Note release, as it has much more in common with sessions like Freddie Roach's Good Move or John Patton's Along Came John than much of the Impulse! catalog. There are a couple of reasons for this. First of all, though they both worked for other labels as well, guitarist Grant Green and engineer Rudy Van Gelder -- both present on this session -- are virtually synonymous with the Blue Note sound. Green in particular, with his distinct style and patented licks, makes it easy to forget that you aren't listening to any number of different Blue Note titles. Both he and alto saxophonist Leo Wright are in fine form throughout. Unfortunately, fans expecting the blistering maelstrom of a Jimmy Smith/Art Blakey set or the syrupy blues of a John Patton/Ben Dixon session might find themselves a bit underwhelmed. Coleman, while a perfectly competent player in her own right, is simply not up to the level of Smith, Patton, Shirley Scott, or any of the other masters commonly associated with jazz organ. Then again -- and to her credit -- few are. All the same, these details shouldn't impair one's ability to enjoy this record on its own terms. Recommended for fans of the comparable titles listed above if for no other reason than to hear the consistently inspired solos of Wright.
Artist Biography by Richard Skelly
Born in Louisville, Kentucky, Hammond B-3 organist Sarah McLawler was raised in the church with gospel music. She studied organ at an Indiana Conservatory. Influenced heavily by the music of the big bands, McLawler used to sneak into clubs in Indianapolis to hear Lucky Millinder's big band. She ended up going on the road with the bandleader, and later formed an ahead-of-its-time all-woman band, the Syn-Co-Ettes. They spent some time as a house band at Chicago's Savoy Club.
After meeting Richard Otto, a classical violinist who liked to play jazz, at a residency at a Brooklyn club, she married him and the two spent years touring and recording together. As fixtures on the New York jazz scene in the 1950s, they became friends with the likes of Milt Jackson, Errol Garner, Dinah Washington, Cab Calloway, Nat Cole, Tony Bennett, Sammy Davis, Jr. and others. Washington was so taken with her playing, she once offered to be her manager.
McLawler's singles for the King and Brunswick labels, recorded in the 1950s, are now collectors' items, and they include sides like "I Can't Stop Loving You" "Love, Sweet Love," both for King, as well as "Red Light" "Tipping In" "Let's Get the Party Rocking" and "Blue Room." Her recordings with violinist Otto include "Somehow," "Yesterday" "Body & Soul" for Brunswick, and "Babe in the Woods" "Relax, Miss Frisky" "Flamingo" "Canadian Sunset" and "At the Break of Day" for Vee-Jay.
She continues to perform jazz standards, because she feels a lot of the popular jazz standards have never gotten enough recognition. Her major shows include recent Newport Jazz Festivals and the Newark Jazz Festival. She's based herself in New York City for many years, and can performs periodically at the Novotel hotel there.
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domingo, 26 de abril de 2015
B.B. & The Blues Shacks today have developed into the most successful performers of traditional blues in Europe. Since its formation in 1989, the band from Hildesheim / Germany has established itself as one of the top acts within the blues scene, with countless club and festival appearances all over Europe. With their swinging and shuffling brand of blues from the 1940's and 1950's, together with their own compositions in this style, they are among the most authentic blues bands active today. Whether covering lesser-known classics of the era or performing their own songs, B.B. & The Blues Shacks always show their respect of their idols, such as T-Bone Walker or Sonny Boy Williamson.
But at the same time, the Shacks are very much up to date, incorporating contemporary topics and recent events in their own songs, telling their own stories of today. Although their own compositions sound like they could have been written in the 50's, the imaginative lyrics and creative musical ideas make them sound fresh. www.bluesshacks.com .
The band has gathered essential experience by backing up many touring American blues acts such as R.J. Mischo, Kid Ramos and Smokey Wilson, contributing to the further development of their own mature musical expression. Besides their musical prowess, B.B. & The Blues Shacks are an exciting visual live act with a repertoire that encompasses Delta Blues, Swing, Chicago Blues, and West Coast Jump Blues, all the way to 50's style Rock 'n' Roll. This is music for all lovers of charged-up blues shows without any hackneyed clichés! Back to the essentials of electric blues with B.B. & The Blues Shacks!