martes, 30 de junio de 2015

domingo, 28 de junio de 2015

James Taylor Quartet • Hammond-Ology, the best of




The Jazz Crusaders • Freedom Sound



Review by Scott Yanow
The first album by the Jazz Crusaders (which started an extensive series for Pacific Jazz) introduced the colorful quintet. With trombonist Wayne Henderson and tenor saxophonist Wilton Felder giving the ensembles a unique sound, the group (also featuring regular members pianist Joe Sample and drummer Stix Hooper along with guests Jimmy Bond on bass and guitarist Roy Gaines) managed to strike a balance between creative hard bop and accessible soul-jazz. In addition to their version of "Theme From Exodus" (hoping to jump on the bandwagon created by Eddie Harris' hit rendition), the Jazz Crusaders perform originals by Felder, Henderson, and Sample ("Freedom Sound").



Gabor Szabo • Macho



Cory Weeds • Up A Step (The Music Of Hank Mobley)




sábado, 27 de junio de 2015

Jimmy Smith • Damn!



Jimmy Smith (organ); Abraham Burton (alto saxophone); Tim Warfield, Ron Blake, Mark Turner (tenor saxophone); Roy Hargrove, Nicholas Payton (trumpet); Mark Whitfield (guitar); Christian McBride (bass); Arthur Taylor, Bernard Purdie (drums) Enero-95

Chico Hamilton • A Different Journey



Review by Scott Yanow
Drummer Chico Hamilton considered this quintet (which also included Charles Lloyd on tenor and flute, trombonist George Bohanon, guitarist Gabor Szabo and bassist Albert Stinson) to be his finest band. This superb LP of material not yet reissued on CD has several memorable melodies (including the closing "Island Blues"), lots of advanced yet logical improvising, and more than its share of variety. The group had its own sound and was quite underrated during its relatively short life. A gem.



VA • Jump & Swing with Black Top



Review by Jason Ankeny
A fine midline-priced introduction to the contemporary West Coast blues sound, Jump and Swing With Black Top features artists including Rod Piazza, Guitar Shorty, Greg Piccolo, James Harman playing in the tradition of the music of the 1940s.


jueves, 25 de junio de 2015

Richard ''Groove'' Holmes • On basie's bandstand



Review by Richie Unterberger
Some wags might claim there's already enough organ-based '60s soul-jazz in the Prestige catalog without throwing a previously unreleased album of the stuff on the bonfire. And your first inclination might be to dismiss this trio date, on which Richard "Groove" Holmes is joined by guitarist Gene Edwards and drummer George Randall, as more of the same old. However, though it does boast much of the expected characteristics of the Prestige sound, this live material, recorded at Count Basie's Lounge in Harlem on April 22, 1966, is above average and worth hearing. The sound quality's very good and fresh, but more importantly, the stripped-down trio arrangements boil the soul-jazz genre down to its most powerful essence. Most soul-jazz acts felt obligated to break up their up-tempo numbers with sleepy renditions of standards, but everything selected for release here's mid-tempo or faster, which, frankly, makes the nearly-hour-long program peppier than you'd expect. And at times, the speed of the rhythms verges on the manic, as on Edwards' solo on "(Back Home Again In) Indiana." On the Coleman Hawkins cover, "Rifftide" the pace gets yet more furious, like the vehemence of fellows who've had way too much coffee during their set break, leaving even the seasoned listener gasping for air like a seasick passenger holding onto the rails for dear life. Their version of Horace Silver's "Nica's Dream" is an only slightly less intense soul-jazz reading of a hard bop number. They can play a more solid, shuffling blues groove well too, though, as they do on covers of "Night Train," and Bobby Timmons' "Moanin'."


Les Paul • V-Disc Recordings


Review by William Ruhlmann
These are jazz-oriented Les Paul Trio recordings from the 1940s, and bear little resemblance to Paul's pop recordings with Mary Ford, lacking vocals and multiple guitar overdubs. This is an important point on an album that leads off with "How High the Moon" in a rendition that is very different from Paul's subsequent hit record. That said, the album contains 24 examples of the trio's jazz prowess, especially its leader's facility for soloing. Most of the tracks last only one or two minutes, but that's enough time for Paul to work fast, interesting variations a series of standards. Everything' s up for grabs, from tune to tempo, and the trio romps through performances that must have amazed the G.I.s who were the first audience for these recordings. Note that this album was mastered from records without any sound improvement, and sometimes the quality suffers for that.



Dick Hyman & Ray Kennedy • What Is There To Say




Lightning Slim • The Feature Sides




miércoles, 24 de junio de 2015

Howlin' Wolf • The London Sessions



AllMusic Review by Cub Koda
For the casual blues fan with a scant knowledge of the Wolf, this 1971 pairing, with Eric Clapton, Bill Wyman and Charlie Watts from the Rolling Stones, Ringo Starr, and other British superstars, appears on the surface to be one hell of a super session. But those lofty notions are quickly dispelled once you slip this disc into the player and hit play. While it's nowhere near as awful as some blues purists make it out to be, the disparity of energy levels between the Wolf and his U.K. acolytes is not only palpable but downright depressing. Wolf was a very sick man at this juncture and Norman Dayron's non-production idea of just doing remakes of earlier Chess classics is wrongheaded in the extreme. The rehearsal snippet of Wolf trying to teach the band how to play Willie Dixon's "Little Red Rooster" shows just how far off the mark the whole concept of this rock superstar mélange truly is. Even Eric Clapton, who usually welcomes any chance to play with one of his idols, has criticized this album repeatedly in interviews, which speaks volumes in and of itself.




* Howlin' Wolf: vocals, harmonica, acoustic guitar
* Eric Clapton: lead guitar Clapton
* Hubert Sumlin: rhythm guitar
* Steve Winwood: piano, organ
* Bill Wyman, Klaus Voormann, Phil Upchurch: bass
* Charlie Watts, Ringo Starr (credited as "Richie": drums
* Ian Stewart, Lafayette Leake, John Simon: piano
* Jeffrey M. Carp: harmonica
* Joe Miller, Jordan Sandke, Dennis Lansing: horns


The Bassface Swing Trio • Plays Gershwin


martes, 23 de junio de 2015

Dick Hyman • Provocative Piano, Vols.I & II




Sergio Mendes & Brasil 66 • Introducing



Artist Biography by Bruce Eder
For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.
Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians. He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.
His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.
The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day," "Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles' "Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."
During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills' "For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.


The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.
During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from will.i.am of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend, will.i.am., and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.



Herbie Mann • Brazil Blues



AllMusic Review by Scott Yanow
A slightly expanded version of flutist Herbie Mann's 1961-62 group performs African-, Cuban- and Brazilian-influenced jazz on this appealing LP. With guitarist Billy Bean, vibraphonist Hagood Hardy, Dave Pike on marimba and four percussionists in the backup group, Mann's flute is well featured on tunes ranging from his own "B.N. Blues" and the standard "Brazil" to "One Note Samba." This album will be difficult to find but is worth the search.

Csaba Deseo • The Swinging Violin Of Csaba Deseo



lunes, 22 de junio de 2015

VA • Genuine Excello R&B



Review by Steve Leggett
Jay Miller's Nashville-based Excello Records generated a sound as distinct as any in the history of modern American pop music, favoring an echo-laden, rustic, and swamp-tinged approach to blues, R&B, and gospel that makes every Excello side immediately identifiable. This generous compilation features several rare tracks from Miller's vaults, including such highlights as Silas Hogan's delightfully loose-limbed "Go on Pretty Baby," the odd (and completely compelling) submerged feel of Jimmy Anderson's take on "Frankie and Johnny," a busy and proto-funky "We Gonna Rub" from Joe Johnson, and Slim Harpo's classic "Rainin' in My Heart."



Gene Ludwig & Pat Martino Trio • Young Guns



Review ...

viernes, 19 de junio de 2015

Grant Green • Quartets with Sonny Clark



AllMusic Review by Stephen Thomas Erlewine
Mosaic released a four-disc box set titled The Complete Blue Note With Sonny Clark in 1991, rounding up everything that the guitarist and pianist recorded together between 1961 and 1962. Blue Note's 1997 version of the set, The Complete Quartets With Sonny Clark, trims Mosaic's collection by two discs, offering only the quartet sessions (the Ike Quebec sessions, Born to Be Blue and Blue and Sentimental, are available on individual discs). In some ways, this actually results in a more unified set, since it puts Green and Clark directly in the spotlight, with no saxophone to complete for solos, but it doesn't really matter if the music is presented as this double-disc set, the four-disc box, or the individual albums -- this is superb music, showcasing the guitarist and pianist at their very best. All of the sessions are straight-ahead bop but the music has a gentle, relaxed vibe that makes it warm, intimate, and accessible. Grant and Clark's mastery is subtle -- the music is so enjoyable, you may not notice the deftness of their improvisation and technique -- but that invests the music with the grace, style, and emotion that distinguishes The Complete Quartets. Small group hard bop rarely comes any better than this.


J.B. Lenoir • The Chronological

J.B. Lenoir - The Chronological 1951-1954  


J.B. Lenoir - The Chronological 1955-1956





miércoles, 17 de junio de 2015

T-Bone Walker • T-Bone Blues



AllMusic Review by Bill Dahl
The last truly indispensable disc of the great guitar hero's career, and perhaps the most innately satisfying of all, these mid-'50s recordings boast magnificent presence, with T-Bone Walker's axe so crisp and clear it seems as though he's sitting right next to you as he delivers a luxurious remake of "Call It Stormy Monday." Atlantic took some chances with Walker, dispatching him to Chicago for a 1955 date with Junior Wells and Jimmy Rogers that produced "Why Not" and "Papa Ain't Salty." Even better were the 1956-1957 L.A. dates that produced the scalding instrumental "Two Bones and a Pick" (which finds Walker dueling it out with nephew R.S. Rankin and jazzman Barney Kessel).


Kenny Burrell • God Bless The Child



AllMusic Review by Thom Jurek
Kenny Burrell's guitaristry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless the Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalog. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition "Love Is the Answer" and "Do What You Gotta Do" -- and stroke it smooth and mellow as on the title track, the truly sublime "Be Yourself," and Thad Jones' "A Child Is Born." The Legacy CD remaster also includes the only three outtakes from the session, an alternate of the Jones tune, and two brief but gorgeous solos on "Ballad of the Sad Young Men" and on Kurt Weill's "Lost in the Stars." This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.


Count Basie & His Orchestra • Swingin' The Blues




Classic recordings for Decca were cut between July 1937 and February 1939. The band line-up included the twin tenor sax threat of Lester Young and Herschel Evans, the All American Rhythm Section of Freddy Green (guitar), Walter Page (bass), Jo Jones (drums) and the Count himself on piano.


Les Paul • Crazy Rhythm




Herbie Mann • Bossa Nova Ecstasy



Clark Terry - Terry Pollard • Cats vs. Chicks



Cats: Clark Terry, tp; Lucky Thompson, ts; Urbie Green, tbn; Horace Silver, p; Tal Farlow, g; Percy Heath, b; Kenny Clarke, d.
Chicks Norman Carson, tp; Terry Pollard, vbs; Corky Hecht, harp; Beryl Booker, p; Mary Osborne, g; Bonnie Wetzel, b; Elaine Leighton, d.
New York, NY, 1958




martes, 16 de junio de 2015

Jimmy Witherspoon • Roots




Crime Jazz • Music In The First Degree



01- Bill Perkins/Shorty Rogers & His Orchestra 01 The Wild One (03:23)
02- Elmer Bernstein/Shorty Rogers 02 Frankie Machine (05:02)
03- Buddy Morrow 03 Staccato's Theme (03:01)
04- Irving Joseph 04 Stool Pigeon (02:19)
05- Joseph Gershenson & Orchestra 05 Touch of Evil (Main Title) (03:32)
06- David Amram 06 Harold's Way (02:15)
07- Stan Kenton & His Orchestra 07 Cool (04:30)
08- Warren Barker 08 77 Sunset Strip Cha Cha (02:09)
09- Leith Stevens & His Orchestra 09 Daddy Long Legs (03:51)
10- Elmer Bernstein 10 The Street (Main Title) (02:43)
11- Buddy Morrow 11 Richard Diamond (02:33)
12- Warren Barker 12 The Stu Bailey Blues (02:48)
13- Quincy Jones 13 Peter Gunn (03:01)
14- John Gregory Orchestra 14 Echo Four-Two (02:40)
15- Kenyon Hopkins 15 Contract With Depravity (02:16)
16- Skip Martin 16 Riff Blues (Theme) (02:30)
17- Stanley Wilson 17 M-Squad (Theme) (02:37)
18- Mundell Lowe 18 Naked City (04:28)


George Van Eps & Howard Alden • Hand-Crafted Swing




Lynn Hope & His Tenor Sax



Artist Biography by Ron Wynn
Tenor saxophonist Lynn Hope was noted for his apparel and instrumental remakes of established pre-rock pop anthems. Hope joined King Kolax's band when he graduated from high school in Birmingham during the '40s. He later converted to Islam, and became noted for wearing a turban, though few ever called him Al Hajji Abdullah Rascheed Ahmed. Hope signed with Miracle in 1950, but the contract proved invalid. He moved to Premium, where he cut "Tenderly," a song that was later picked up by Chess. Hope recorded often for Aladdin between 1951 and 1957, doing such reworked standards as "September Song" and "Summertime." While these numbers were often performed with little or no melodic embellishment or improvisation, the flip sides were often fierce uptempo blues or jump tunes. "Tenderly" earned Hope his only hit in 1950, reaching number eight R&B and #19 pop. He made his last sessions for King in 1960, then dropped out of sight.





lunes, 15 de junio de 2015

Dick Hyman& Mary Mayo • Moon Gas



En mi opinión, este album debe escucharse haciendo el ensayo de ubicarse en la época en que fue grabado, de esta manera creo puede apreciarse en su total plenitud.

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In my opinion, this album must be heard by the trial located at the time it was recorded, so I think can be seen in its fullness.


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Richard "Dick" Hyman (born March 8, 1927, New York City) is an American jazz pianist/keyboardist and composer, best known for his versatility with jazz piano styles. Over a 50-year career, he has functioned as a pianist, organist, arranger, music director, and, increasingly, as a composer. His versatility in all of these areas has resulted in well over 100 albums recorded under his own name and many more in support of other artists.

Hyman's career is pretty intimidating in its achievements and scope. He has scored, arranged and/or performend for roadway, movies, television and live radio, and he's recorded in every format, from 78s to CD-ROMs. He's got a whole gamut of music genres covered, from Jazz and Blues to Classical to Pop and Electronic Psychedelia. Hyman is exceptionally renowned as a professional musician, and was inducted into the Jazz Hall of Fame in 1995. His articulate and wry anecdotes, commentary on the business, and techniques of making music have been published along with sheet music in a series of books.


Beginning in the mid-1950s he started recording with his own name for MGM. His cover of "Moritat", on harpsichord with his trio, sold over a million copies in 1956 and was the most successful recording of the tune until Bobby Darin did it as "Mack the Knife". He was the musical director of The Arthur Godfrey Show from 1958 to 1961. He was an early staple of Enoch Light's Command label, for which he recorded light classical, swinging harpsichord, funky organ, and "now sound" combo albums. He also demonstrated his continuing interest in new keyboard instruments, releasing two of the earliest Moog albums.

The aforementioned albums, "Moog - The Electric Eclectics of Dick Hyman" and "The Age of Electronicus", will be the subject of other posts in the future here on Stereo Candies... For the time being let's take care about "Moon Gas", which is a great, Great, GREAT record from the Space Age era also due to the otherwordly vocals provided by Mary Mayo.

Born 20 July 1924 in Statesville, North Carolina, Mary Mayo first got started as a singer appearing on broadcasts from radio station WBT in Charlotte, just after the end of World War Two. Gifted with a four-octave range, she was soon spotted by talent scouts and wound up working for Tex Beneke, who was leading the post-war version of the Glenn Miller Orchestra. While singing with Beneke, she married Al Ham, an arranger and bass player in the band. Like that of other session singers, Mayo's work is largely uncredited outside her Musicians Union logs. She ghosted on the "original cast" albums of numerous Broadway musicals, and sang alongside Don Elliott in a short-lived vocal jazz combo known as the Manhattanaires. She released a couple of singles for Columbia in the 1950s and she earned a cover billing on one of Leroy Holmes' releases for MGM. Aside from "Moon Gas", her one noteworthy credited appearance of the '60s was at Duke Ellington's legendary 1969 jazz concert at the White House for President Nixon.



Dubbed "a glimpse at the possible sounds of the 22nd century" in the liner notes, "Moon Gas" was by far Mayo's most notable effort and remains much-prized by collectors of Exotica and early electronic recordings, although she enjoyed her greatest commercial success thanks to Coca-Cola: when the advertising agency McCann Erickson hired Ham to assemble a wholesome folk group to record their jingle "I'd Like To Give the World a Coke", he tapped Mayo and their daughter Lorri to lead the studio chorus, and when the commercial proved a cultural phenomenon, the song was re-recorded under the title "I'd Like to Teach the World To Sing", credited to the Hillside Singers. The Metromedia label subsequently released two full-length Hillside Singers LPs, including a Christmas recording, both featuring Mayo. In 1986 the label also issued "Time Remembered", a collection of songs she cut for the NPR radio series American Popular Song nine years earlier. Unfortunately, Mayo did not live to see the album's release, she died of cancer in December of 1985.

The following liner notes printed on the back cover of "Moon Gas" were written by Leonard Feather, a British-born jazz pianist, composer, and producer who was best known for his music journalism and other writing. Among his music releases we remember "Hi Fi Suite", recorded in 1957 with the Dick Hyman Orchestra; this is the album which contains the original version of "Space Reflex (Blues In 5/4)"...


«This is an album of amazing contrasts.

For Dick Hyman, brilliant 36-year-old pianist/organist, the album is a glimpse at the possible sounds of the 22nd century. For vocalist Mary Mayo, the setting is antithetical to almost everything she has ever known.

Says Hyman of the far-future sounds devised for Mary's environment: "A lot of electronic music has been created by making marks or cuts on the actual recording tape - the 'musique concrete' technique - as well as by using machines that make syntethic tones, or by recording various sounds and then changing them by tricks such as altering the tape speeds, playing tape backwards, adding echo and so forth. By the time you got the final product this way, it was the result of a great deal of editing and splicing of small lenghts of tape.

"We used a different approach here. The same results, we decided, can be produced by playing electronic instruments. So this is electronic music by live musicians, plus Mary's voice and a swinging rhythm section."

"The Lowrey organ has a built-in reverberation, plus a 'glide pedal' with which you can actually bend the notes. Then there's the AOC - the Accompaniment Orchestra Control - which is a feature of a smaller home model Lowrey organ that enables you to play a full chord by just hitting a single note, so that very rapid block-chord passages can be produced with just a single-finger technique."

"Then there's the Martinot, which in addition to a keyboard, has an adjustable ribbon with which theremin-like sounds can be made. And the Ondioline, a keyboard instrument with a wide variety of tones. ln addition, we used a pure-tone oscillator with a dial operated by a telegraph key."

"On top of all this, I was lucky enough to have the help of Vinnie Bell, who has some complicated home-made equipment attached to his guitar, operated by four foot-pedals; this enabled him to make a lot of the rustles, squeaks, rumbles and other inexplicable noises."

The album is a marked contrast to everything Mary Mayo has known right from birth - in a conservative Colonial-style house in Statesville, N.C. - through her upbringing, as a daughter of a concert soprano and an operatic tenor. Her own life in music, too, developed on a very different level. Irish songs, part of the family tradition, were her specialty, and a record of Molly Malone was her first big popular hit.


There is nothing illogical, though, in the radical new departure on these sides. Juilliard trained in voice, piano and theory, Mary has had every kind of experience in popular singing, from dance band work (with Tex Beneke) to theatres, supper clubs, television (with Frank Sinatra, Perry Como, Jackie Gleason, Jack Paar and the late Ernie Kovacs) and recordings with Ray Conniff, Kirby Stone and innumerable others.

Married to the talented arranger-conductor Al Ham, who doubles as manager of Oscar Brown Jr., Mary is the mother of a six-year-old daughter and in recent years has confined her activity chiefly to work in and around New York.

"I've done singing commercials ad infinitum", she reports, "and enjoy doing them; you get to work with the finest studio musicians around. But making this album with Dick Hyman was a ball - and an exciting challenge. We'd worked together on a lot of other people's records and it was great to be working on our own.

"I've been so thrilled about the whole album idea - the girl from outer space, or love music two hundred years from now. And it was a special kick, after being associated lately with so many dates on which I just sang oohs and aahs and obligatos, to know that this time I was going to be able to use real words too!"

The basic personnel comprises Dick Hyman on Lowrey organ, AOC and piano; Nick Tagg on Lowrey organ, Hammond organ, AOC and piano; Vinnie Bell on -what shall we call it?- super-electric guitar; Bob (Rosie) Rosengarden on bongos, tambourine, Martinot, oscillator, door buzzer, etc.; Osie Johnson on regular drums; and Joe Benjamin on bass (replaced on the first, third and fourth tracks on Side 2 by Milt Hilton).»



Jimmy Smith • Crazy! Baby



VA • Hey DJ Play Some Blues Boppers - Vol. 1-2


Variada selección no comercial de blues y rhythm and blues.
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Noncommercial varied selection of blues and R&B.


Jan Davis • Boss Guitar!-Best Of



An unheralded master of cool ‘60s instrumentals, Jan Davis straddled the worlds of the Ventures, the Rockin’ Rebels and the Shadows like a guitar-wielding superhero. Problem was, none of Davis’ eye-popping singles dented the national sales charts, so we’re here to right that wrong with 20 of his most powerful tunes! From the bloodcurdling scream that sucks you into "The Time Funnel" to the mystical swamp gibberish of "Watusi Zombie" or the baying bloodhounds on "Fugitive," we think it’s high time the rest of the world tune in to the sparkling guitar-universe of Jan Davis!



domingo, 14 de junio de 2015

Oscar Aleman • Vida con Swing, Documental, español



La increíble historia de vida de un hombre que se sobrepuso a sus pesares y angustias queda registrada en el documental.
Y tal fue su intención por vivir y su talento innato que las fuerzas del destino no pudieron resistírsele.
Y se constituyó como un referente a respetar en el mundo del Jazz al que todos querían tener en su banda. Y a mí como espectador provocó la ilusión y la frustración de no haber tenido la oportunidad de presenciar en vivo alguna de sus representaciones.
A pesar de la advertencia inicial y recriminación hacia las autoridades nacionales que les corresponda sobre la falta de conservación de archivos sobre la trayectoria de esta figura monumental, les aseguro que con lo que pudo rescatar el director les alcanzará para tomar cuenta de la magnitud del ser a que se refiere.
Un artista nómade con la capacidad de encantar con su talento al público de todo el mundo y con el valor suficiente para enfrentar al nazismo y ser solidario con el país que le abrió sus puertas y lo reconoció como un personaje a respetar: Francia.
El documental de Gaffet no dudo que tendrá la capacidad como para introducirlos en una atmósfera de ensoñación; desde una época a otra.
Y no se queda sólo en las luces glamourosas de los escenarios de este genio desbordante de talento, nos acerca también hacia los recuerdos de su dolorosa infancia. Y en ese viaje que nos propone, una mirada en cuanto a lo social que por entonces ocurría también es posible de considerar.
Me resulta difícil describirles semejante fuerza de voluntad puesta en juego por un hombre para enfrentar a una sensación continua de orfandad y sin embargo seguir adelante.
Gaffet, desde las imágenes que produjo, no necesita que nadie agregue más; su documental se sostiene por sí mismo.
Logró reconstruir desde los afectos y lo artístico, la historia de vida de un músico que tal vez nunca logró desprenderse de los recuerdos de una infancia muy dura y con ellos a cuesta brillar aún en cada una de sus actuaciones y llegar al reconocimiento internacional por sus propios méritos.


Gabor Szabo • Bacchanal



Cal Tjader • Gozame! Pero Ya



This album contains the killer classic "Shoshana" which features Poncho Sanchez. Brilliant!
This is truly an outstandingly beautiful recording with musicianship of the the highest form. Play it on a cool summer evening just as the sun sets. . . . . . especially so is the case for the track on this c. d called "This Is Always". This track is the coolest, most relaxing piece of music I have ever heard. But quite frankly, every track is wonderful.
The inclusion of the Fender Rhodes electric piano and flute add a breath takingly stunning musical voyage, and Mundell Lowes guitar work is his best ever. I would give this one ten stars if I could!! ~ P. J. LeFaucheur

Mabel Scott • The Chronological 1951-1955



Mabel Scott [1915-2000] de formación clásica en iniciada en el canto en los grupos de gospel de la iglesia de su vecindario, ya alrededor de 1932 comenzó a cantar en Harlem's Cotton Club con Cab Calloway Orchestra, haciéndose relativa fama lo que la llevo a ser vocalista de Bob Mosley, con quien viajó a Inglaterra e hizo sus primeras grabaciones para el sello Parlophone británico.



Debido a la aparición de la Segunda Guerra Mundial, Mabel regresó a los Estados Unidos y se trasladó nuevamente, esta vez a Los Angeles, haciendo el circuito de clubes durante los años cuarenta.
En 1946 hizo su primera grabación para el sello Excelsior, logrando sus primeros éxitos.
En la década del 50 realiza una serie de grabaciones y una promesa de un buen contrato discográfico que nunca se cumplió, desilusionada de la "industria" musical se retira y vuelve a sus raíces: canta solamente en su iglesia, hasta sus últimos días.
Bio completa en inglés: http://home.earthlink.net/~v1tiger/mabels.html

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Bio complete in English  http://home.earthlink.net/~v1tiger/mabels.html


sábado, 13 de junio de 2015

VA • Violin, Sing The Blues For Me African American Fiddlers 1926-1949



El violín tiene una significativa importancia en los comienzos del blues, esta antología intenta acercarnos a ese sonido primigenio, que por ser tal, todavía conlleva en muchos casos el corte rural o country del que provenía.

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The violin had a more prominent role in early blues than has often been supposed. Violins were far more apt to be played than guitars in the 19th century, and even when the blues began to be recorded in the 1920s, violins were still often used, although they weren't as apt to be featured on disc as the guitar and other instruments were. This 24-track compilation (with only one cut dating from after 1935) includes some fairly recognizable blues names like Peg Leg Howell, Howard Armstrong, Cow Cow Davenport, the Mississippi Sheiks, the Memphis Jug Band, Charley Patton (accompanying Henry Sims), and Big Joe Williams (a 1935 version of his signature tune "Baby Please Don't Go"), although many of the performers are far more obscure. The material tends toward the more good-timey and folky side of the rural blues tradition; the violins can get into a hoedown kick, as on Peg Leg Howell's "Beaver Slide Rag," or get into a rapid ragtime mode, as on Louie Bluie & Ted Bogan's "Ted's Stomp." Because of the chronological span and wide roster of artists represented, it's a good overview of violin-informed early blues, a subgenre that hasn't gotten a whole of attention. And check out Frank Stokes' "Right Now Blues" to get your head spun around when you hear a lyric that was repeated in Chuck Berry's classic "Reelin' and Rockin'." ~Review by Richie Unterberger


Barbara Carroll • Everything I Love




Pianista, compositora y cantante, Barbara Carroll es considerada una leyenda, nacida en EEUU en 1925, comenzó su formación clásica en el piano a los ocho años, pero ya en la escuela secundaria había decidido convertirse en una pianista de jazz.
En 1947, Leonard Feather la apodó como "la primera mujer en tocar bebop al piano". En el año siguiente formó su trío, con Chuck Wayne en guitarra y Clyde Lombardi en el contrabajo, también trabajó brevemente con Benny Goodman.
En la década de 1950 alternó trabajos en solitario, así como con su trío.
Después de hacer su debut en Nueva York en el legendario Club Downbeat de la calle 52, pasó a actuar en salas de música más importantes del país y sigue así hasta el presente.
Su discografía es extensa y en la actualidad es llamada "la primera dama del piano-jazz", toda una leyenda.
Mas info en su website: http://www.barbaracarrolljazz.com/


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On Carroll's 19th effort, she interprets some of her personal favorite songs (hence the title, taken from the Cole Porter number performed here). The record also dips into the songbooks of Stephen Sondheim, Harold Arlen, Charlie Parker and Billy Strayhorn.


Herbie Mann • Astral Island




lunes, 8 de junio de 2015

Jonny Lewis Quartet • Shuckin' And Jivin'



The Johnny Lewis Quartet and a shadowy group in Seattle,
they recorded this one live album in the restaurant "Trojan Horse" in 1972
when Johnny plays with his friends for 5 years as House Band.
Recorded live in 1972, Shuckin' n' Jivin' is a previously lost soul jazz gem. Funky as all hell, the Johnny Lewis Quartet mix the laid-back style of late 60's Blue Note jazz with the funkier rare groove sound of the early 70's. This special edition re-release from the Luv n' Haight Archives Series includes all of the original Shuckin' n' Jivin' album, plus two extra tunes: a killer, ultra-funky version of the Meters' "Cissy Strut" (with a fat drum break you've never heard) and Buddy Miles' "Them Changes."
Featuring Seattle legend Johnny Lewis on sax, James (Moody) Thompson on organ, Joe Villa on guitar and Kenneth Drake on drums, Shuckin' n' Jivin' is filled to the brim with dirty organ and clavinet solos, choppy rhythm guitar, massive percussion breakdowns and the hottest horn solos this side of Maceo Parker.
The live tunes for Shuckin and Jivin' were recorded in 1972 at the Trojan Horse restaurant in Seattle where Johnny and the boys played as the house band for five years.


Frank Wess • Going Wess



Review by Scott Yanow
This album gave Frank Wess (doubling on tenor and flute) his first opportunity to record with an organ, and he is in top form on this trio outing with organist Bobby Forrester and drummer Clarence "Tootsie" Bean. Burners alternate with warm ballads and Wess (whether on his tough tenor or fluid flute) matches very well with ForresThister's light, pre-Jimmy Smith organ style. In fact, this session swings so naturally that it could have been recorded in 1958. The ten superior standards are all given very favorable treatments, making this a highly recommended outing.


Jimmy Smith • Bucket



VA • The Fabulous Swing-Jump-Blues Guitar - The Revivalists


Howlin' Wolf • Live And Cookin' (At Alice's Revisited)



The 1972 live album Live and Cookin' at Alice's Revisited is a great document of Wolf toward the end, still capable of bringing the heat and rocking the house down to the last brick. Of special note are the wild and wooly takes on "I Had a Dream," "I Didn't Know," and Muddy Waters' "Mean Mistreater." There are mistakes galore out of the band and some P.A. system feedback here and there, both of which only add to the charm of it all.

sábado, 6 de junio de 2015

Django Reinhardt • Memorial



1947 was one of the most intriguing years for Django Reinhardt. Having survived World War II, and having had his first reunion with violinist Stéphane Grappelli and his only tour of the United States, the masterful guitarist began to seriously explore both the electric guitar and bebop. Not counting three sessions with Grappelli, Reinhardt recorded 65 selections (plus three alternate takes) during the five months covered by this two-CD set, Memorial. The music deserves to be reissued complete and in chronological order, but this is a strong sampling of 39 of the songs. Usually joined by either Hubert Rostaing, Gerard Leveque, or Maurice Meunier on clarinet plus guitar, bass, drums, and occasional piano, Reinhardt plays a few standards but mostly performs his own surprisingly boppish originals. At times the music is rhythmically awkward although there are some obscure and rewarding songs on this two-fer that are worth reviving. Reinhardt would sound much smoother by 1949, but these early bop efforts (which surprisingly include no Charlie Parker or Dizzy Gillespie songs) are intriguing and innovative in their own way; just do not expect the gypsy swing that Reinhardt performed in the '30s. A bonus is the two selections recorded by Reinhardt as a sideman with visiting cornetist Rex Stewart. Recommended.
Scott Yanow, All Music Guide


Salvador Dalí • Confidential Concepts



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