jueves, 30 de julio de 2015

Brian Setzer • Setzer Goes Instru-MENTAL!



Review by Stephen Thomas Erlewine
Given the never-ending flood of Brian Setzer albums, it comes as a mild shock that 2011’s Setzer Goes Instru-MENTAL! is his first-ever instrumental record. And a good one it is, too. Concentrating on the pre-Beatles classics that are his lifeblood, he tears it up on “Blue Moon of Kentucky” and “Be-Bop-A-Lula,” crosses the ocean for “Cherokee,” then throws a slight curve ball by dipping his toe into bluegrass with “Earl’s Breakdown” and “Hillbilly Jazz Meltdown.” It’s enough to distinguish the album from the innumerable collections of swinging rockabilly and rocking jazz that Setzer has released since his ‘90s big-band makeover, but the best thing about the album is how it focuses squarely on Setzer’s quick picking, confirming how he is a consummate roots guitarist.

Setzer Goes Instru-Mental! is a music album by Brian Setzer, released in April 2011. The album earned Setzer a Grammy Award nomination for Best Pop Instrumental Album in 2012.



Al Casey • Jivin' Around



Alvin Wayne "Al" Casey (October 26, 1936 – September 17, 2006) was an American guitarist. He was mainly noted for his work as a session musician, but also released his own records and scored three Billboard Hot 100 hits in the United States. His contribution to the rockabilly genre has been recognized by the Rockabilly Hall of Fame.
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Fernando Rusconi Hammond Organ Trio • Lost In Time



Revista veintitres 2012
Es el mayor referente del organo Hammond en la Argentina.

Pagina 12, 2010
“Lost in time” cuarto disco del organista considerado entre los 10 mejores discos del año 2010

La Nación 2011
Propone una música que no tiene edad ni lugar en el tiempo; sino que esta viva y se mueve…
Rusconi, es para quién no lo sepa, el nombre del Hammond en la Argentina desde hace unos años.

Club del disco 2010
“Lost in time” es el cuarto disco de Fernando Rusconi Hammond Organ Trío, que consagra a Rusconi como principal referente del órgano hammond en la escena musical de Argentina. En “Lost in time” se consolida un sonido que logra una fina mixtura de sonido tradicional y contemporáneo (…)

Revista RollingStone, 2010
El organista y compositor Fernando Rusconi se confirma como el émulo argentino de Jimmy Smith. Hard bop de proyección sideral, funk y soul, para musicalizar una de espías ambientada en los años 60 (…)

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The album Lost in time is a great gift of sound level international, as it could have been done anywhere in the United States, but no this is Argentina, and its title reflects this idea to propose a music that knows no age or place time ; it is alive and moves ...
Rusconi, is who does not know the name of Hammond in Argentina for the last few years ; is the largest collector of these instruments, and a leading interpreter, knower of all its bells and possibilities.
This fourth and final album presented to complete the combo of this interesting instrumentalist and prolific composer, has just been published . And it appears as directly with the label jazz & funk. But the music does not stop with that. More danceable night if wants ; with a lot of groove . In this case the accompanying trio format: Timothy Cid in battery coming from the rock, and played with the band The Balls, Axel Krygier, and swing groups .
Same school for guitarist Ryan Anderson, born in USA ( ... )
If you drooling with things like Medeski Martin & Wood, why not give the right keyboardist Rusconi, guitarist and drummer Ryan Anderson Timothy Cid? This album is a journey hung sometimes flasher and energy at times before, but always attractive, especially with the opening of " Under a superstition," the power of " The grosso " pulse and soul of "I to you. " Elegant and refined, with the right amount of virtuosity and blood drive, one of those records that conquer the heart almost immediately ( ... )


Martin Taylor • Spirit of Django



Martin Taylor (acoustic guitar); Alec Dankworth (guitar, double bass, percussion); John Goldie (acoustic guitar); Jack Emblow (accordion); Dave O'Higgins (saxophone); James Taylor (drums).


Dave Phillips • The Best Of


James Taylor Quartet • New World



Saffire - The Uppity Blues Women • Cleaning House




Jimmy Smith • Paid In Full



Charlie Feathers & Mac Curtis • Rockabilly Kings



Charlie Feathers: Aunque en su momento no fue reconocido, como padre del rockabilly, hay que decir que fue compositor de gran parte de canciones que dieron fama a otros cantantes, entre ellos por ejemplo Elvis Presley.

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Mac Curtis: Born in Fort Worth, Texas, Curtis began playing guitar at the age of 12, entering local talent competitions. He moved to Weatherford in 1954, and while there he formed a band with two classmates, Jim and Ken Galbraith. They played at school events, but during one of the events, their show was shut down due to sexually suggestive on-stage movements. Instead, the group played locally, and in 1955 they were offered a deal with King Records, who released their debut single, "If I Had Me a Woman". Soon after Alan Freed heard the group and invited them to play on his Christmas radio special in 1956. He returned to Weatherford to finish school in 1957, and then became a disc jockey in Seoul, Korea after joining the military. Upon his return in 1960, he continued work as a DJ in the South, and released a few albums; his 1968 release, The Sunshine Man, hit #35 on the U.S. Country albums chart. As rockabilly grew in popularity in the 1970s, he began recording with Ray Campi and signed to European label Rollin Rock; his career took off there in the 1980s and 1990s. He was later elected to the Rockabilly Hall of Fame.

VA • Six Million Dollar Groove



Buddy Rich – It’s Crazy (World Pacific)
Wynder K Frog – Jumping Jack Flash (UA)
Bobby Christian – Boogaloo (Ovation)
Roy Meriwether Trio – Jesus Christ Superstar (Notes of Gold)
Moe Koffman – James Brown’s Bag (Jubilee)
Odell Brown & the Organizers – No More Water In the Well (Cadet)
Johnny Lytle – The Snapper (Tuba)
Freddy Robinson – The Coming Atlantis (World Pacific Jazz)
Wilbert Longmire – Scarborough Fair/Canticle (World Pacific Jazz)
Ernie Wilkins Big Band – Funky Broadway (Mainstream)
Little Richie Varola – Who’s Afraid of Virginia Woolf (Verve)
Freddie McCoy – Beans and Rice (Prestige)
Brother Jack McDuff – I Can’t Be Satisfied (Atlantic)
Jimmy Smith – Sugar Sugar (MGM)
Herbie Mann – Bitch (Atlantic)


Ultra-Lounge Vol. 1 • Mondo Exotica



01. Martin Denny - Swamp Fire
02. The Out-Islanders - Moon Mist
03. 80 Drums Around The World - Caravan
04. Martin Denny - Hypnotique
05. Les Baxter - Atlantis
06. Webley Edwards - Alika
07. Martin Denny - Misirlou
08. Bas Sheva - Lust
09. Chick Floyd - Hana Maui
10. Les Baxter - Voodoo Dreams / Voodoo
11. Martin Denny - Jungle Madness
12. Yma Sumac - Babalu
13. Les Baxter - Simba
14. Martin Denny - The Girlfriend Of The Whirling Dervish
15. Tak Shindo - Bali Hai
16. Les Baxter - Pyramid Of The Sun
17. Martin Denny - Quiet Village
18. Yma Sumac - Wimoweh


Herbie Mann • Opalescence




Bob De Angelis • Cheek To Cheek



One of Canada’s most accomplished bandleaders and instrumentalists, Bob DeAngelis has entertained for numerous heads of state including Canadian Prime Ministers, American Presidents and several members of the British Royal Family. A master of the clarinet, Saxophone and other Woodwinds, Bob’s varied career includes appearances at numerous jazz festivals such as the Montreux Jazz Festival and the Toronto Downtown Jazz Festival. He was the featured soloist in the hit musical Fosse where he recreated Benny Goodman’s performance of Sing, Sing, Sing at Carnegie Hall. The 2004 launch of his symphonic tribute to Benny Goodman’s musical legacy introduced Bob’s phenomenal clarinet playing to an entirely new audience. As that program continues to fill halls and garner rave reviews, Bob is totally jazzed to be collaborating once again with renowned arranger/trumpeter, Juno and Grammy recipient, John MacLeod for their new holiday pops program, And the Angels Swing.
Among Bob’s many career highlights are his Toronto performance with the “Champagne Symphony” pops orchestra” at Roy Thomson Hall, & his extended run as Bandleader at the Imperial Room in Toronto’s venerable Royal York Hotel as well as and receiving a Juno Award for Best Instrumental Album in 2004. In demand as a soloist, Bob has been honored to work with many wonderful artists including Anne Murray, Marvin Hamlisch, Peter Appleyard, the Spitfire Band, Rosemary Clooney, Jackie Richardson, John McDermott, Brian Barlow and Joe Sealy. Equally at home in the studio, Bob’s discography includes Anne Murray’s 2004 release I’ll be Seeing You, top 40’s pop diva Esthero’s 2006 chart topper Wikked Lil Grrrls as well as Brian Barlow’s 2007 release of “One Hot Summer Night”. He is the arranger and featured performer on numerous CD’s on the Avalon/Solitudes label including In a Sentimental Mood ...What a Wonderful World… Italian Love Songs and Beyond the Sea. Newly recorded “Champagne Memories” features Bob with full symphony orchestra is set for release in the summer of 2007.
Bob has two solo releases 2004 “Jive for Joni” which features a combination of traditional jazz and swing favorites & his first solo album, Runnin’ Wild which was produced in 1986 and digitally re-mastered & re-released in 2006. Bob’s soundtrack recordings range from a Steven Spielberg film to HBO and CBC documentaries and biographies. Bob’s exquisite sound is heard on countless jingles for radio and TV

Frank Frost • Jelly Roll Blues




miércoles, 29 de julio de 2015

Dick Hyman • The Way You Look Tonight



A very versatile virtuoso, Dick Hyman once recorded an album on which he played "A Child Is Born" in the styles of 11 different pianists, from Scott Joplin to Cecil Taylor. Hyman can clearly play anything he wants to, and since the '70s, he has mostly concentrated on pre-bop swing and stride styles. Hyman worked with Red Norvo (1949-1950) and Benny Goodman (1950), and then spent much of the 1950s and '60s as a studio musician. He appears on the one known sound film of Charlie Parker (Hot House from 1952); recorded honky tonk under pseudonyms; played organ and early synthesizers in addition to piano; was Arthur Godfrey's music director (1959-1962); collaborated with Leonard Feather on some History of Jazz concerts (doubling on clarinet), and even performed rock and free jazz; but all of this was a prelude to his later work. In the 1970s, Hyman played with the New York Jazz Repertory Company, formed the Perfect Jazz Repertory Quintet (1976), and started writing soundtracks for Woody Allen films. He has recorded frequently during the past several decades (sometimes in duets with Ruby Braff) for Concord, Music Masters, and Reference, among other labels, and ranks at the top of the classic jazz field. In 2013, Hyman teamed up with vocalist Heather Masse for a set of standards on the Red House label called Lock My Heart. ~by Scott Yanow

VA • Final Themes from U.N.C.L.E



Ultra-Lounge Vol. 11 • Organs In Orbit



01. The Ernie Freeman Combo - Rockhouse
02. The John Buzon Trio - Ill Wind
03. Denny McLain - The Girl From Ipanima,Meditation
04. Jackie Davis - Love Is Just Around The Corner
05. Sir Julian - Movin' At Midnight
06. Walter Wanderley - Voce E Eu
07. The Joe Bucci Trio - Li'l Darlin'
08. Billy May & His Orchestra - Patricia
09. The Don Baker Trio - The Third Man Theme
10. Sir Julian - A Man And A Woman
11. The John Buzon Trio - Mr. Ghost Goes To Town
12. Denny McLain - Laura/More
13. Jackie Davis - Perfidia
14. Milt Buckner - The Late, Late Show
15. The Ernie Freeman Combo - Fever/Comin' Home Baby
16. Shay Torrent - Flying Fiddles
17. Martin Denny - Song Of The Bayou
18. The Forbidden Five - Enchanted Farm
19. Unknown Artist - Voice Track


Gene Ammons • The Gene Ammons Storyː Organ Combos



Review by Scott Yanow
Gene Ammons recorded frequently for Prestige during the 1950s and early '60s and virtually all of the tenor's dates were quite rewarding. This two-LP set reissues Twistin' the Jug plus part of Angel Eyes and Velvet Soul. Ammons, a bop-based but very versatile soloist, sounds quite comfortable playing a variety of standards and lesser-known material in groups featuring Jack McDuff or Johnny "Hammond" Smith on organ and either trumpeter Joe Newman or Frank Wess on tenor and flute. This version of "Angel Eyes" became a surprise hit.

Doc Watkins • The Outlaw



Pianist, Organist, and Bandleader Doc Watkins is based in San Antonio, Texas. Currently performing over 200 shows per year, he has quickly risen to become one of Texas’ most active and versatile artists, leading multiple groups ranging from a Hammond Organ Trio to an 18-piece big band. His latest album, The Outlaw features Watkins with his hard-swinging trio in an exciting collection of tunes ranging from Jazz to Country to original compositions.
Originally from the state of Oregon, Watkins relocated to Austin, Texas in 2003 to pursue a Master's and Doctorate in music from the University of Texas at Austin. In 2006 he relocated to San Antonio and quickly found work performing along San Antonio's legendary Riverwalk. Within less than a year, he was leading his own groups and performing full-time throughout the South Texas region. In January 2014, Watkins and his trio performed at New York City’s Carnegie Hall to a full and enthusiastic house.
Watkins currently resides in San Antonio with his wife, Jessica and their 4 children. When not on the road or in the studio, he can be found performing around town in some of San Antonio’s finest music venues, including the Majestic and Empire Theatres, Bohanan’s, and the Esquire Tavern. He is a self-declared enthusiast of Texas BBQ.
Featuring Watkins on piano and Hammond B3, Brandon Rivas on bass, and Brandon Guerra on drums, The Outlaw features fresh takes on a variety of Jazz, Country, and Blues tunes, including 3 original compositions.

Cal Tjader • Sweeter Than Sweetness - Summer Passion




Willie Mitchell • It's Dance Time


Review by Kurt Edwards
It's Dance Time begins with an introductory run-through of the days popular steps, a brief warm-up for the listener. From there, Willie Mitchell delivers his usual solid set of instrumentals. While the album doesn't quite match up to Mitchell's best album, That Driving Beat, it does have plenty of highlights, including the swaggering "Buster Browne" and "Shake"-styled "When My Dreamboat Comes Home," complete with a lively fuzz-guitar and nice drum breaks. As with most Mitchell albums, most of the songs are over in two minutes' time, quickly moving on to the next dance craze, and the tracks include many tasteful cover versions. Those on It's Dance Time include "Twine Time," "Fever," and a bluesy "Since I Met You Baby."


Billy Butler • Don't Be That Way



Drums – Oliver Jackson
Organ – Wild Bill Davis
Guitar – Billy Butler


martes, 28 de julio de 2015

Gabor Szabo • Magical Connection




Eddie ''Lockjaw'' Davis with Shirley Scott • Misty




Johnny Rivers • ...And I Know You Wanna Dance



Howlin' Wolf • The Rocking Chair Album




Stan Getz and Charlie Byrd • Jazz Samba



Das Michael-Naura-Quintett • Down To Earth [EP]




VA • Old School Hammond



jueves, 23 de julio de 2015

Tony Monaco, Yosuke Onuma & Gene Jackson • Live at Cotton Club Japan



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.



miércoles, 22 de julio de 2015

Jimmy Smith • The Boss


Stan Getz and Charlie Byrd • Jazz Samba



Partly because of its Brazilian collaborators and partly because of "The Girl From Ipanema," Getz/Gilberto is nearly always acknowledged as the Stan Getz bossa nova LP. But Jazz Samba is just as crucial and groundbreaking; after all, it came first, and in fact was the first full-fledged bossa nova album ever recorded by American jazz musicians. And it was just as commercially successful, topping the LP charts and producing its own pop chart hit single in "Desafinado." It was the true beginning of the bossa nova craze, and introduced several standards of the genre (including Ary Barroso's "Bahia" and Antonio Carlos Jobim's "Desafinado" and "Samba de Uma Nota Só" [aka "One Note Samba"]). But above all, Jazz Samba stands on its own artistic merit as a shimmering, graceful collection that's as subtly advanced -- in harmony and rhythm -- as it is beautiful. Getz and his co-billed partner, guitarist Charlie Byrd -- who was actually responsible for bringing bossa nova records to the U.S. and introducing Getz to the style -- have the perfect touch for bossa nova's delicate, airy texture. For his part, Byrd was one of the first American musicians to master bossa nova's difficult, bubbling syncopations, and his solos are light and lilting. Meanwhile, Getz's playing is superb, simultaneously offering a warm, full tone and a cool control of dynamics; plus, Byrd's gently off-kilter harmonies seem to stimulate Getz's melodic inventiveness even more than usual. But beyond technique, Getz intuitively understands the romanticism and the undercurrent of melancholy inherent in the music, and that's what really made Jazz Samba such a revelatory classic. Absolutely essential for any jazz collection.


Vibraphonic • Vibraphonic



Joschi Schneeberger Quintett • Rani


martes, 21 de julio de 2015

Grant Green • Blue Note Retrospective




Reuben Wilson Trio • Revisited



For any organist mining the soul-jazz vein, it's tough to escape the long shadow of Hammond B-3 titans such as Jimmy Smith, Charles Earland, Richard Groove Holmes and Jimmy McGriff. On the other hand, invoking the memory of a few of the masters doesn't hurt an artist in reaching fans who crave sounds that stop short of Larry Young's mid 1960s, saxophonist John Coltrane-influenced innovations and fusion oriented work.

In many respects, Revisited bears the weight of this storied past and violates none of the rules. Wilson recorded a number of releases on Blue Note in the late 1960s through early 1970s, yet has never received the recognition he deserves. The recording includes covers of Misty, Holmes's monster hit single from 1965, as well as Smith's venerated Back at the Chicken Shack, released back in 1963. Wilson's Revisited trio brings the right credentials to the project. Guitarist Bob DeVos has worked with just about every major soul-jazz organist. Several years ago he launched an organ trio that carefully extended the genre's range without marring its roots. Drummer Vince Ector toured extensively with Earland, led organ-inclusive groups and, more recently, was an important part of organist Akiko Tsuruga's band.

It's not a surprise that Wilson's trio pays homage to the past; it's that it succeeds in doing it on its own terms. This is one of those rare instances in which some very good musicians make an all-too-familiar style sound fresh and engaging. Scrubbed clean of every trace of soul-jazz excess—like a screaming chord held for many bars, or one simple phrase repeated for near an entire chorus—the record is a very appealing mixture of economy, precision and high spirits. Instead of opting for some of the well worn, crowd pleasing tricks of the trade, Wilson's trio generates considerable momentum by exercising a degree of restraint and exhibiting a razor-sharp rapport.

The disc's eight tracks vary in mood and emphasis—from the funky See See Rider, to a straightforward ballad rendition of Autumn In Vermont, to a burning, up tempo Wee. The opener, Here We Go, exemplifies the trio's strengths. The twelve bar head is played twice at a brisk tempo. While Wilson states the symmetrical, riff-like melody, DeVos' chords chop at and slide around the organist, adding a tasteful layer of rhythmic tension. For the first twelve bars, Ector makes a point of lying back, discreetly adding accents in key places only. The second time around he's noticeably more assertive, inserting brief fills and single strokes that stand on their own and engage Wilson.

DeVos's five chorus solo is remarkable for the tight rein he keeps on his visceral side, while building momentum in a subtle, almost imperceptible manner. He never wastes a note, and there's real muscle beneath a deceptively smooth surface. Taking his sweet time, DeVos eventually reaches his desired destination—a climax that doesn't feel labored or excessive. Often working from familiar blues and R & B phraseology, Wilson takes several sturdy choruses. DeVos' effusive chording makes the music jump without detracting from Wilson or affecting the trio's deep pocket. The track's end feels a bit ragged, as if it's undecided as how to finish things off. Not to worry. Like their illustrious predecessors Wilson, DeVos and Ector aren't interested in perfection, but rather in washing away the dust of everyday life, and maybe even making us feel good. And on those terms, they succeed.



Hirofumi Asaba • Easy Like



Jazz Guitarist in Tokyo, Japan.
His playing is a blend of modern and swing styles of jazz, and is strongly inspired by Barney Kessel and Charlie Christian.
His upbeat, swinging guitar playing and beautiful chord solos entertain music lovers of all genres and truly stands alone in today’s jazz scene.
Hirofumi was born in Tokyo. In 1986, he started playing piano at age five, and he has been playing the guitar since he was fourteen years old.
His playing has spanned genres, including punk, rockabilly, rock and roll,ska, and reggae music.
He has traveled with his guitar to New Orleans,Cuba, Jamaica, Australia, and Southeast Asia, jamming with many people along the way.
In Japan, he worked in a jazz bar, where he met many great jazz musicians, including Yoshiaki Okayasu, one of the greatest jazz guitarists in Japan. Hirofumi studied jazz under Okayasu for four years.
In April 2015 , Okayasu will produce Hirofumi’s first album.
In 2013, Hirofumi received a special judgement award at Asakusa Jazz Contest in Tokyo, Japan.

The Dave Brubeck Quartet • Dave Digs Disney



Dave Digs Disney is a studio album by Dave Brubeck Quartet. The album features jazz renditions of songs from Disney animated films including Alice in Wonderland, Pinocchio, Snow White and the Seven Dwarfs and Cinderella.

The original LP was issued only in mono, though stereo tapes were recorded at the time. The stereo mixes of the album's tracks weren't widely available until later re-releases.


Bob Snyder • Sunday at the Grand


Gospel interpretado en un clarinete muy bien tocado.

Tracklist
Amazing grace (4:15) --
In the garden (3:17) --
Down by the riverside (4:27) --
Ave Maria (5:10) --
The Lord's prayer (3:00) --
What a friend we have in Jesus (4:00) --
How great thou art (4:12) --
Abide with me (3:03) --
What a wonderful world (3:51) --
Do Lord (3:13) --
Just a closer walk with Thee (4:20) --
When the saints go marching in (2:40) --
America the beautiful (2:38).

Bob Snyder, clarinet ; Johnny Allen, piano, arrangements ; Lou Lacey, bass ; Lynn Gorman, harp ; Rudy Robinson, piano, organ ; Reggie Wilson, drums, tambourine.




lunes, 20 de julio de 2015

VA • Hammond Internationale



Selection by / Compilado por:
http://funky16corners.com/


Howard Roberts • Forever



1956-1979, 50 songs special selection


Howlin' Wolf • The Blues Collection




Bob Thiele & Gabor Szabo • Light My Fire




The Cook Trio • Moonlight



Acoustic Gypsy Jazz in the style of legendary guitarist, Django Reinhardt. Enter the nattily dressed Cook brothers, natives of these parts, who, Frankenstein-like, raise Reinhardt back to life through their acoustic guitar trio. Formed in April 2005, the Cook Trio consists of Ian and Jason Cook and Kyle Jones, who were brought together by their common love of Reinhardt's passionate music and anarchic spirit.

domingo, 19 de julio de 2015

Kenny Burrell & Grover Washington Jr. • Togethering



Kenny Burrell (Acoustic & Electric Guitar); Ron Carter (Bass); Jack DeJohnette (Drums); Ralph MacDonald (Percussion); Grover Washington Jr. (Soprano & Tenor Sax).


Neil Stacey's Kimbara Brothers • Another Day



English contemporary guitarist Neil Stacey is an exceptional composer critically acclaimed for his intensely lyrical and poetic style. He has performed worldwide in his own groups to high acclaim, participating with many great musicians - Martin Taylor, Chris Botti, Dominic Miller, Martin Simpson, Steps Ahead to name a few. He has produced music for BBC Horizon, Kipper (Sting's producer), Bang & Olufsen, and represented the British Council on numerous occasions in several countries.


viernes, 17 de julio de 2015

Pete Levin • Deacon Blue


Organista, hermano de Tony Levin. / Organist, brother of Tony Levin.

Personnel:
Pete Levin (Organ)
Mike DeMicco (Guitar)
Tony Levin (Bass)
Danny Gottlieb (Drums)
Ken Lovelett (Drums, Percussion)
Carlos Valdez (Percussion)



Tail Dragger & His Chicago Blues Band • American People






Lenny Dee • Dee-Latin Hi-Fi Organ



Leonard George DeStoppelaire (January 5, 1923 – February 12, 2006), better known as Lenny Dee, was a virtuoso organist who played many styles of music. His record albums were among the most popular of easy listening and space age pop organists of the 1950s through the early 1970s. His signature hit, Plantation Boogie, charted as a Top 20 hit in 1955. He also had a gold record with 1970's Spinning Wheel.
Dee played a variety of songs in numerous styles. He played original compositions, popular songs, and novelty tunes, and was a master of improvisation. Although his unique style was a pop/boogie-woogie blend, he also played ballads, country and western, jazz, rock, and patriotic songs.
more info ...


Jimmy Smith • I'm Movin' On



Drums – Donald Bailey
Guitar – Grant Green
Organ – Jimmy Smith





Masters Of Groove • Meet Dr. No



Masters of Groove is an all-star project featuring organist Reuben Wilson, drummer Bernard Purdie, and two considerably younger, still up-and-coming musicians -- guitarist Grant Green, Jr. and bassist Tarus Mateen. (Mateen is known in the jazz world as an upright player, but here he plays five-string electric.) The concept is simple: music from or inspired by Dr. No, the very first James Bond film, released in 1962. The group does justice to the movie's Jamaican flavor, dipping into reggae and calypso rhythms on "III Blind Mice," "Jump Up," and, of course, "Under the Mango Tree," a melody that surfaces time and again in the film. But there's also a steady supply of funk, as there must be when veteran soul-jazzer Wilson and R&B session master Purdie are on hand. The nicest twist is "Bond II" -- the universally recognized Bond theme over a laid-back 12/8 feel that has come to be known as the "Purdie shuffle." Wilson's own "Crab Key Lullaby," a brief and juicy organ solo finale, closes out the album on a swinging note. All along, one wonders whether they'll give listeners that classic Bond signoff: a sustained E minor/major ninth chord. Sure enough, it's the last sound you hear, sampled right from the soundtrack. This sort of danceable, improv-based worldbeat will certainly appeal to the jam band crowd. The playing is excellent, but some of these loosely structured tunes go on well after the point has been made.
by David R. Adler http://www.allmusic.com/album/masters-of-groove-meet-dr-no-mw0000115924


Herbie Mann • Bird In A Silver Cage