lunes, 30 de noviembre de 2015
Selection by / Compilado por:
Charles Earland, Hank Marr, Merl Saunders, Jesse Butler, Truman Thomas, Georgie Fame, Bill Doggett ...
'Screamin' Jay Hawkins, B. B. King, Blues, Bo Diddley, Elmore James, Howlin' Wolf, J.B. Lenoir, Jimmy Reed, John Lee Hooker,Muddy Waters, Sonny Boy Williamson, T-Bone Walker, Willie Dixon,Slim Harpo ...
A longtime giant of the European jazz landscape, pianist Georges Arvanitas' graceful technique and effortless versatility made him a sought-after accompanist among American musicians touring France. Born June 13, 1931 in Marseilles, Arvanitas was the son of Greek immigrants hailing from Istanbul. He began classical piano studies at age four, but as a teen gravitated to jazz. At 18 he was called for military duty and stationed in Versailles. His proximity to Paris exposed Arvanitas to the city's thriving postwar jazz culture, and he moonlighted at clubs like Le Tabou and Les Trois Mailletz alongside American masters including Don Byas and Mezz Mezzrow. After completing his service, Arvanitas relocated permanently to Paris where he led the house band at the Club St. Germain before he graduated to the city's premier jazz venue, the legendary Blue Note. There he supported American stars like Dexter Gordon and Chet Baker, and as his profile grew, he also gained notoriety as a leader. He assembled bassist Doug Watkins and drummer Art Taylor to record 1963's 3 A.M., winner of the Prix Django Reinhardt and the Prix Jazz Hot. Arvanitas spent half of 1965 in New York City collaborating with saxophonist Yusef Lateef and trumpeter Ted Curzon on the Blue Note label LP The Blue Thing and the New Thing. He returned stateside a year later, this time on a tour with trombonist Slide Hampton's big band. Arvanitas was also a respected session contributor; he earned the nickname "Georges Une Prise" ("One-take George") for his reliable efficiency and mastery. He was a particular favorite of the composer Michel Legrand and appeared on many of his soundtrack recordings. Arvanitas also played the memorable Hammond organ fills on Serge Gainsbourg's infamous 1969 pop hit "Je T'aime, Moi Non Plus." Arvanitas nevertheless remains best remembered for a series of LPs he cut with bassist Jacky Samson and drummer Charles Saudrais, a trio that endured from 1965 to 1993 (the 1968 album Space Ballad and 1976's Anniversary are particularly noteworthy). He was also the recipient of the Chevalier des Arts et des Lettres award in 1985. Failing health forced Arvanitas to retire from music in 2003. He died in Paris on September 25, 2005. ~ Jason Ankeny
Georges Arvanitas - piano & organ
Jacky Samson - bass & electric bass
Charles Saudrais - drums
1 Three Of Us
2 High Beat
3 Space Ballad
4 Trane's Call
6 Un P'tit Peu D'soleil
Recording date : June 1970
Genre: Jazz / Style: Contemporary Jazz
domingo, 29 de noviembre de 2015
Hungarian born jazz guitarist Gabor Szabo arrived in America in the late 1950s, having fled the anti-communist uprising in his homeland. By the early 1960s, he had begun to establish himself as one of jazz's rising stars, joining drummer Chico Hamilton's group in 1960. He left Hamilton in 1965 and briefly played in a group co-led with tenor saxophonist Charles Lloyd before going out on his own as a solo artist. Between 1965 and 1977, he recorded a string of solo albums for the Impulse, Blue Thumb, Skye, CTI and Mercury labels. Faces, recorded for Mercury in 1977, is very much a jazz-fusion album. Produced by trombonist and ex-Crusader Wayne Henderson, the rhythm section was drawn from the soul-jazz-funk band Pleasure with whom Henderson was working at the Fantasy label. The music is built on irresistible, earthy funk grooves that allow Szabo plenty of space to spin long, elegant guitar lines and meticulously constructed solos, both of which were his trademarks. Largely overlooked on its original release, Faces is now revealed as a minor classic within the jazz-fusion genre.
La historia comienza allá lejos en 1962, cuando el sexteto del saxofonista Paul Winter partía desde Washigton D.C. hacia veintitrés países de Latinoamérica, Argentina incluída, en una gira de seis meses de duración auspiciada por el Departamento de Estado. A su regreso, Winter, impresionado especialmente por la música de Brasil, decidió apartarse de la corriente más convencional del jazz para formar un nuevo grupo, el Consort, con el que comenzaría a explorar nuevas formas musicales, abriéndose a distintas influencias.
Entre 1970 y 1971 graba su álbum Road. Para ese entonces, el Consort estaba formado por Winter (saxo), David Darling (cello), Ralph Towner (guitarras clásica y de doce cuerdas), Paul McCandless (oboe y corno inglés), Collin Walcott (diversos instrumentos de percusión) y Glen Moore (bajo). En 1972 (con el bajista Herb Bushler reemplazando a Moore) graban otro disco fundamental: Icarus, producido por George Martin, el de los Beatles, quien en su autobiografía afirma que éste es su mejor álbum como productor.
Ese mismo año, Towner, McCandless, Moore y Walcott entran al estudio para grabar el que será el primer álbum oficial de Oregon: Music of Another Present Era, para el sello Vanguard. Bastante después, en 1980, y con Oregon grabando para Elektra, Vanguard editó bajo el nombre de Our First Record un conjunto de tomas que habían sido originalmente descartadas.
La novedad de Oregon no sólo se debía a la variedad de influencias que nutrían su música (Towner, McCandless y Moore tenían experiencia en el jazz y la música de cámara). Tanto como esto, la riqueza musical del grupo residía en la condición de multiinstrumentistas de todos sus integrantes. McCandless brillaba por igual en el oboe, el corno inglés, el clarinete bajo y posteriormente el saxo soprano y diversas flautas de bambú. Ralph Towner, el principal compositor del grupo, se destacaba con las guitarras clásica y de doce cuerdas y con el piano, pero también tocaba la trompeta y el corno francés, y el bajista Glen Moore también tocaba piano, flauta y violín. Pero la nota de color la ponía Collin Walcott, un etnomusicólogo encargado de los instrumentos de percusión y de los instrumentos hindúes como el sitar y las tablas, los que había estudiado con Ravi Shankar y Alla Rakha respectivamente. En los '70s, Oregon grabó varios álbumes excelentes en cuarteto (Distant Hills, Winter Light, In Concert), en los que desarrollaba un estilo generado en base a una matriz tomada del jazz, con temas y solos sobre los acordes, pero con criterios de orquestación claramente derivados de la música de cámara. Walcott, con su arsenal de instrumentos no convencionales, imbuía a Oregon de un sonido inconfundible.
Texto extractado de http://www.guillermobazzola.com.ar/nota_oregon.htm
Este podría decirse en un disco representativo del sonido de esta banda, aunque todos tienen sus matices particulares. Es un CD para quienes quieren conocer a la banda como para aquellos que ya conocen Oregon.
Review by Ron Wynn
If there was a "second best" recording from Oregon in their early years, this would be it. The concept of "Winter Light" certainly reflects the visage of the Pacific Northwest in the fourth season, yet it is a music, and time of year, filled with hope for the future while pondering a somewhat bleak present. Winter can be pleasant, bearable and filled with its own snowy delights. The first three pieces on their own are worth the price of this entire project, and are definitive works from the quartet. "Tide Pool" while accented with bizarre twists, is anchored by Walcott's energetic tabla and Towner's pure bred energy on acoustic guitar. Of course Jim Pepper's "Witchi-Tai-To" is classic, made moreso by the group's personal collective serenity and peace injected into the flavor of the composition. "Ghost Beads" is really the one for Towner and oboist Paul McCandless to dig in and fully express their vitruosity. These are three great examples of early world music. While the rest of the recording is not as provocative, it is still well played and conceived. "Winter Light" is heartily recommended as your follow-up Oregon purchase after "Music Of Another Present Era," with "Distant Hills" a close third.
- Ralph Towner / guitar, percussion, piano, flugelhorn
- Collin Walcott / clarinet, percussion, conga, sitar, tabla, photographer
- Glen Moore / bass, flute, piano, violin, bass guitar
- Paul McCandless / English horn, oboe
Artist Biography by Mark Deming
An eclectic singer, songwriter, and performer, Lee Michaels made music that had the physical impact of hard rock, the creative ambition of psychedelia and progressive rock, and the passion and grit of rhythm & blues, the latter facet reinforced by Michaels' vocals, which could swing from sweet to soulfully gritty at a moment's notice. Michaels was also a gifted keyboard player, and often played full concerts at the organ with only a drummer to accompany him. (Michaels was also a sure hand at the piano and harpsichord.) One could argue that Michaels' wide-ranging sound was one of the reasons he didn't enjoy greater commercial success despite the loyalty of his audience, though Michaels did enjoy a Top Ten hit in 1971 with "Do You Know What I Mean."
Lee Eugene Michaels was born on November 24, 1945, in Los Angeles, California. By the mid-'60s, Michaels was already a fixture on the California music scene; he was playing keyboards with the Sentinels, a surf rock band with an R&B influence that also featured John Barbata (who later played with the Turtles), and he wrote a tune that appeared on the debut album of the sunshine pop band the Holy Mackerel (featuring songwriter and media personality Paul Williams). Michaels later moved on to play in the band the Strangers, led by future Canned Heat guitarist Joel Scott Hill. Michaels soon bowed out of the Strangers, and his tenure in the Family Tree, a San Francisco band featuring future power pop icon Bob Segarini, was also short-lived, though Michaels opted to stay in the Bay Area. In time, Michaels struck out as a solo artist, and he landed a record deal with A&M Records, which released his debut album, Carnival of Life, in 1968. The psychedelic-influenced effort produced only marginal sales, and Michaels returned with the tougher-sounding Recital before the year was out.
Musically, Michaels hit his stride with his self-titled third album, released in 1969, which paired him with drummer Barry "Frosty" Smith and featured "Heighty Hi," which became an FM radio staple, and Michaels' signature cover of "Stormy Monday." Frosty became Michaels' on-stage foil, and his super-amped organ setup and Frosty's drumming made for a power duo with enough muscle to share stages with the leading hard rock acts of the day. Michaels built his own studio in his home, and used the space to record 1970's Barrel, which featured him, Frosty, and guitarist Drake Levin in a set of funky and topical hard rock. For 1971's Fifth, Michaels recruited Joel Larson to play drums in Frosty's absence, and while the album wasn't one of his most ambitious, a white soul number with a solid groove, "Do You Know What I Mean," connected with radio programmers and gave Michaels the biggest hit of his career, rising to number six on the singles chart.
The success of Fifth and "Do You Know What I Mean" made Lee Michaels a genuine rock star, but his next album didn't connect with his new fans; 1972's Space & First Takes was dominated by a pair of semi-improvised extended jams (each in the neighborhood of 15 minutes) that found Michaels swapping his keyboards for a guitar. The album brought tensions between Michaels and A&M to a head, and by the end of 1972 Michaels gave the label Lee Michaels Live, a concert set recorded in New York that fulfilled his commitments to the label. Michaels promptly signed a new deal with Columbia Records, but neither 1973's Nice Day for Something or 1974's Tailface made much of an impression with fans or record buyers, and Michaels and Columbia soon parted ways. Within a few years Michaels went into semi-retirement, and while he released Absolute Lee in 1996 and My Life in 2008, for the most part Michaels stayed out of the public eye. After his music career faded out, Michaels opened a restaurant in Marina del Rey, California centered around a spicy shrimp dish he'd created; Killer Shrimp became a success, and the family-run business now boasts six locations in California and Nevada. In 2015, Manifesto Records released a box set, The Complete A&M Albums Collection, that brought together Michaels' first seven albums in one package; Manifesto also issued a single-disc sampler, Heighty Hi: The Best of Lee Michaels. http://www.allmusic.com/artist/lee-michaels-mn0000812418/biography
Lee Eugene Michaels (born Michael Olsen, November 24, 1945, Los Angeles, California) is an American rock musician who sings and accompanies himself on organ, piano, or guitar. He is best known for his energetic virtuosity on the Hammond organ, peaking in 1971 with his Top 10 pop hit single, "Do You Know What I Mean".
Michaels began his career with The Sentinals, a San Luis Obispo, California-based surf group that included drummer Johny Barbata (later of The Turtles, Jefferson Airplane and Jefferson Starship). Michaels joined Barbata in the Strangers, a group led by guitarist Joel Scott Hill. Michaels later moved to San Francisco, where he joined an early version of The Family Tree, a band led by Bob Segarini. In 1967, he signed a contract with A&M Records, releasing his debut album, Carnival of Life, later that year with David Potter on Drums. As a session musician, he played with Jimi Hendrix, among others.
Michaels' choice of the Hammond organ as his primary instrument was unusual for the time, as was his bare-bones stage and studio accompaniment: usually just a single drummer, most often a musician known as "Frosty" (Bartholomew Eugene Smith-Frost) a member of Sweathog, or with Joel Larson of The Grass Roots. This unorthodox approach attracted a following in San Francisco, and some critical notice (Sounds reported that he had been called "the ultimate power organist"), but Michaels did not achieve real commercial success until the release of his fifth album.
Album 5th (1971) produced a surprise US Top 10 hit (#6 in the fall of 1971), "Do You Know What I Mean", an autobiographical homage to the loss of a girlfriend, and a Top 40 follow-up, a cover version of the Motown standard, "Can I Get a Witness", which peaked at #39 on Christmas Day 1971, eight years to the week after Marvin Gaye's version peaked at #22. Billboard ranked "Do You Know What I Mean" as the No. 19 song for 1971. Michaels recorded two more albums for A&M before signing a recording contract with Columbia Records in 1973. His Columbia recordings failed to generate much interest, and Michaels went into semi-retirement from the music industry by the end of the decade.
Artist Biography by Scott Yanow
Victor Feldman was a child prodigy who was a professional from the age of seven and sat in on drums with Glenn Miller's Army Air Force Band in 1944 when he was ten. He was active in his native England through the bebop years (mostly on drums), debuting as a leader in 1948. By 1952, Feldman was getting better-known for his vibes playing and he recorded extensively during the 1950s. After touring with Woody Herman (1956-1957), he decided to move to the U.S. in 1957, where he worked at the Lighthouse with Howard Rumsey. Feldman recorded (on vibes and piano) for Mode, Contemporary, and Riverside during 1957-1961, a period in which he became a busy studio musician. Feldman was with Cannonball Adderley's Quintet (mostly as a pianist) for six months in 1960-1961 and recorded with Miles Davis in 1963 (who offered him a job with his new quintet and recorded his original "Seven Steps to Heaven"), but remained in L.A. and the studios. He cut jazz dates for Choice, Concord, Palo Alto, and TBA and in the 1980s up until his death he led a soulful crossover group (the Generation Band) that often featured his son, Trevor Feldman, on drums. http://www.allmusic.com/artist/victor-feldman-mn0000977537/biography
Victor Stanley Feldman (April 7, 1934 – May 12, 1987) was a British jazz musician, best known as a pianist and percussionist.
He began performing professionally during childhood, eventually earning acclaim in the UK jazz scene as an adult. Feldman immigrated to the United States in the mid-1950s, where he continued working in jazz and also as a session musician with a variety of pop and rock performers. https://en.wikipedia.org/wiki/Victor_Feldman
sábado, 28 de noviembre de 2015
The Madeira plays surf music born of screaming wind over the sand dunes of the Sahara Desert, deafening echoes of waves pounding the Gibraltar Rock, joyous late-night gypsy dances in the small towns of Andalucia, and exotic cacophony of the Marrakesh town square. It is the surf music of the millennia-old Mediterranean mysteries.
The Madeira began in 2004 in Indianapolis, IN. The band features Ivan Pongracic on lead guitar, the founder of the 1990s surf music icons the Space Cossacks; Patrick O'Connor on rhythm guitar, the founder of the Indy space-surf mavens Destination: Earth!; Dane Carter on drums; and Todd Fortier on bass. The Madeira have released five CDs: “Sandstorm” (2005), “Ruins” EP (2006), “Carpe Noctem” (2008), “Tribal Fires” (2012) and "Sonic Cataclysm - Live" (2014). They've played all around the US, including three California tours as well as shows on the East Coast and in the South, though they primarily play in the Indiana/Illinois/Ohio/Michigan/Wisconsin area. They headlined the third and final night of the 2009 Surfer Joe Festival in Livorno, Italy, followed by a 10-day Italian tour. UK's Pipeline magazine, the leading surf/instrumental-rock fanzine in the world, selected “Carpe Noctem” Album of the Year in 2008, and “Sandstorm” and “Tribal Fires” as runners-up for the Album of the Year in 2006 and 2012, respectively. NUVO Indianapolis Weekly paper included "Carpe Noctem" in their April 2014 article "100 Best Hoosier Albums Ever," among albums by music legends Wes Montgomery, the Jackson Five and John Mellencamp. The band was also featured in a full-page article in the March issue of the Guitar Player magazine in the column titled "Now Hear This - Snappy Profiles of Players You Should Know." http://themadeira.net/
Review by Steve Leggett
Undoubtedly the funkiest thing to ever come out of Iowa City, the Diplomats of Solid Sound, led by the Hammond B-3 playing of Nate Basinger, have had a series of jazz-inflected instrumental funk albums that recall at times a sort of breezier version of Booker T. & the MG's. For this outing, though, the Diplomats, who also include Doug Roberson on guitar, Jim Viner on drums, David Basinger on baritone sax, and Eddie McKinley on tenor sax, have added vocals, courtesy of the Diplomettes (singers Sarah Cram, Katherine Ruestow, and Abbie Sawyer), and the result is a pleasantly varied and jazzy take on a set of R&B and funk pieces. the Diplomats don't really stomp the funk so much as they skate around it in a kind of soul-jazz mode, strong enough to dance to but light enough to allow for some real interplay between the players, and the addition of vocalists actually adds a little Caribbean lilt to things. Among the highlights here are the sturdy, muscular "Come in My Kitchen," the bright, snappy "Trouble Me," and the interesting reggae remix of "Hurt Me So" that closes things off, a track that is more dancehall than Sly Stone. It's all fun, but assuming the Diplomettes are going to stick around, the Diplomats of Solid Sound may be on the edge of breaking into a whole new place with their next release. Until then, this set shows some interesting possibilities, and it's the perfect album for a little summer dance party on the patio.
viernes, 27 de noviembre de 2015
The word boogie dates to the 14th century. "Bugge" meant phantom or ghost. A similar word, "booger" may originate in West Africa - the Mandingo word "bug" was associated with a fast drumbeat in the performance of voodoo music. Somehow the two words converged.
"Booger" was applied to a form of piano rag which evolved into boogie-woogie. At some time the word 'boogie' became a euphemism for sex. "Boogie-woogie" music was now a form of barrelhouse piano and a vocal expression of sexual prowess.
Boogie-woogie traveled out from the south, finding strongholds in Kansas City, Chicago and St. Louis. Jimmy Yancey, Meade Lux Lewis, Jabbo Williams and Pete Johnson all helped spread the faith.
Cleo (Cleopatra) Brown was one of the first recorded female boogie-woogie pianists/singers. She learned boogie from her brother Everett. Her popular Cleo's Boogie is included here.
Also important was Mary Lou Williams, the most significant female jazz artist during the 1930s. She joined Andy Kirk's band, as pianist and arranger. She also wrote for Goodman, Hines, Armstrong and Ellington. With Kirk she waxed Boogie Woogie Cocktail, one of the most skilfully created boogies ever recorded.
Also included are "The Queen of Boogie," Hadda Brooks, Hazel Scott, Martha Davis, Lil Armstrong Hardin, Beryl Booker, Sarah McLawler and Anna Mae Woodburn. These women and the many others featured proved, once again, the old adage that to succeed women have to be twice as good? Not content with that - they provided a large slice of glamour as well.
Review by Leo Stanley
Vibraphonic's third album, On a Roll, finds the post-acid-jazz combo upping the groove quotient, resulting in their smoothest, funkiest and best record to date. While their jazz inclinations are downplayed, they have never displayed a sharper dance sense or better songcraft, particularly on the shimmering instrumentals "One for the Road" and "Keep on Moving," or the vocal cuts "Wherever You Are" and "Nothing Comes Close."
An extremely versatile jazz guitarist, Frank Vignola has demonstrated that he is capable of playing everything from fusion and commercial pop-jazz to hard bop, post-bop, and swing. The native New Yorker has a wide variety of influences; everyone from Wes Montgomery, Joe Pass, and Pat Metheny to Django Reinhardt and Charlie Christian has affected his playing in some way. For Vignola, different influences have asserted themselves at different times -- the Reinhardt or Christian influence might be especially prominent in a swing environment, whereas he has sometimes sounded more Metheny-ish in fusion or pop-jazz/NAC settings. And he might be mindful of Montgomery or Pass on a hard bop or post-bop project. Born on suburban Long Island on December 30, 1965, Vignola was raised in the New York area. The Italian-American started playing the guitar at the age of five and grew up admiring a variety of guitarists. Far from a jazz snob, Vignola never listened to jazz exclusively and was also a major fan of rock, R&B, and pop. The guitarists that he admired ranged from jazz musicians to rock icons like Eric Clapton and Eddie Van Halen. As a young adult, Vignola studied at the Cultural Arts Center of Long Island and went on to enjoy a lot of sideman gigs in the 1980s. The New Yorker was 27 when, in 1993, he signed with Concord Jazz and recorded his first Concord session as a leader, Appel Direct. Several more Concord releases followed in the 1990s, and the early 2000s found Vignola recording for Nagel-Heyer as well as Acoustic Disc. ~ Alex Henderson
jueves, 26 de noviembre de 2015
After finishing All Sides Now for Blue Note in 1997, the concept album of pairings with musicians of various compatability, Pat Martino headed off to San Francisco to record this intriguing east-meeting-west project. In a sense, it has a collaborative spirit that extends the earlier project, but here, the musicians cross freely over cultural boundaries, mainly in the direction of Indian classical tradition. The session is led by flutist Peter Block and sitarist Habib Khan, who provide the compositions-improvisational vehicles more than anything-and are joined by violinist Ilya Rayzman and the ever-robust Zakir Hussain on tabla. But it is Martino who provides the greatest excitement here, partly because of the unorthodoxy of the electric guitar in this setting, and partly because he burns, pure and simple. He serves a clean-but-ferocious style that is inimitably his own, and yet which adapts itself to other modes of musical thinking.
Review by Tom Schulte
A surfing romp through the Blue Oyster Cult's "Don't Fear the Reaper" leads off this instrumental surf guitar album, and it's also the title track. Straight out of southern California, this enthusiastic teenage trio offers up the sounds that made famous the Venture's influential surf album. Their heavy surf sound is definitely in the Dick Dale tradition and influenced by the proto-rock experimentation of Link Wray.
Ernest Ranglin (born 19 June 1932) is a Jamaican guitarist and composer who established his career while working as a session guitarist and music director for various Jamaican record labels including Studio One and Island Records. Ranglin played guitar on many early ska recordings and helped create the rhythmic guitar style that defined the form. Ranglin has worked with Theophilus Beckford, Jimmy Cliff, Monty Alexander, Prince Buster, the Skatalites, Bob Marley and the Eric Deans Orchestra. He is noted for a chordal and rhythmic approach that blends jazz, mento and reggae with percussive guitar solos incorporating rhythm 'n' blues and jazz inflections. https://en.wikipedia.org/wiki/Ernest_Ranglin
martes, 24 de noviembre de 2015
Ben Woods is a true master Flamenco guitarist and innovator. A protagonist of authentic Spanish Flamenco guitar, yet best known for his unique Flamenco-Metal style, Ben plays many music and guitar festivals, clinics and concerts around the world. He is not only an impressive musician, but a wonderfully engaging entertainer. With a strong online presence (over 2 million youtube views) and his acoustic arrangements of Rock/Metal/Surf/Flamenco material, Ben’s performance is always a big draw and the highlight of any event.
Marius Apostol : violon
Manuel Rocheman : piano, Rhodes
Marc-Michel Le Bévillon : contrebasse
Luis Augusto : batterie
Angelo Debarre : guitare (1, 4, 6)
Ludovic Beier : accordina (7, 10)
Lettuce is a funk band that originated in Boston, Massachusetts in 1992. Its members consist of guitarists Eric Krasno and Adam "Shmeeans" Smirnoff, Neal Evans (Keyboards, Hammond B-3 Organ, Piano), Adam Deitch (Drums/Percussion), Erick "E.D." Coomes (Bass), Ryan Zoidis (Saxophone), and partial-member Rashawn Ross (Trumpet). In 2011, Trumpeter Eric "Benny" Bloom replaced Rashawn Ross in the band. They are known for their energetic live shows.
Although somewhat obscure, Delbert Bump is a fine organist in the tradition of Jimmy Smith. Organ-Ization music is bluesy and swinging style is soulful and perfectly suited to this set of mostly basic originals. Organ-Ization songs Guitarist Steve Homan offers a contrasting solo voice and some solid rhythm playing while drummer Babtunde keeps the proceedings swinging with solid forward momentum. The music is a bit derivative and perhaps predictable, but it is enjoyable overall and easily recommended to fans of Jimmy Smith and the grooving jazz organists of the 1960s.
sábado, 21 de noviembre de 2015
viernes, 20 de noviembre de 2015
An instrumental is, in contrast to a song, a musical composition or recording without lyrics or any other sort of vocal music; all of the music is produced by musical instruments. Specifically, this term is used when referring to popular music; some musical genres make little use of the human voice, such as jazz, electronic music, and large amounts of European classical music (although in electronic music the voice can be sampled just like anything else).
George Benson, Wes Montgomery, Grant Green, Kenny Burrell, Howard Roberts, Lee Ritenour , Pat Martino, Tal Farlow ...
Angelo Debarre (guitar) – Marius Apostol (violon) – Tchavolo Hassan (rythmic guitar) – Antonio Licusati (double bass) - Raangy Debarre (rythmic guitar) - invité possible : Constantin Lacatus (cymbalum)
Les grandes stars de la guitare manouche héritiers de Django Reinhardt se comptent sur les doigts d'une main. Avec ce nouvel album Complicité, Angelo Debarre a voulu composer à 4 mains avec le violoniste virtuose Marius Apostol. Au-delà de la technique évidente, les ?uvres atteignent des sommets de lyrisme en prouvant si cela est nécessaire les talents de compositeurs de ces deux musiciens.
jueves, 19 de noviembre de 2015
In the large stable of blues talent that Crowley, LA, producer Jay Miller recorded for the Nashville-based Excello label, no one enjoyed more mainstream success than Slim Harpo. Just a shade behind Lightnin' Slim in local popularity, Harpo played both guitar and neck-rack harmonica in a more down-home approximation of Jimmy Reed, with a few discernible, and distinctive, differences. Harpo's music was certainly more laid-back than Reed's, if such a notion was possible. But the rhythm was insistent and, overall, Harpo was more adaptable than Reed or most other bluesmen. His material not only made the national charts, but also proved to be quite adaptable for white artists on both sides of the Atlantic, including the Rolling Stones, Yardbirds, Kinks, Dave Edmunds with Love Sculpture, Van Morrison with Them, Sun rockabilly singer Warren Smith, Hank Williams, Jr., and the Fabulous Thunderbirds.
A people-pleasing club entertainer, he certainly wasn't above working rock & roll rhythms into his music, along with hard-stressed, country & western vocal inflections. Several of his best tunes were co-written with his wife Lovelle and show a fine hand for song construction, appearing to have arrived at the studio pretty well formed. His harmonica playing was driving and straightforward, full of surprising melody, while his vocals were perhaps best described by writer Peter Guralnick as "if a black country & western singer or a white rhythm & blues singer were attempting to impersonate a member of the opposite genre." And here perhaps was Harpo's true genius, and what has allowed his music to have a wider currency. By the time his first single became a Southern jukebox favorite, his songs were being adapted and played by white musicians left and right. Here was good-time Saturday-night blues that could be sung by elements of the Caucasian persuasion with a straight face. Nothing resembling the emotional investment of a Howlin' Wolf or a Muddy Waters was required; it all came natural and easy, and its influence has stood the test of time.
He was born James Moore just outside of Baton Rouge, LA. After his parents died, he dropped out of school to work every juke joint, street corner, picnic, and house rent party that came his way. By this time he had acquired the alias of Harmonica Slim, which he used until his first record was released. It was fellow bluesman Lightnin' Slim who first steered him to local recordman J.D. Miller. The producer used him as an accompanist to Hopkins on a half-dozen sides before recording him on his own. When it came time to release his first single ("I'm a King Bee"), Miller informed him that there was another Harmonica Slim recording on the West Coast, and a new name was needed before the record could come out. Moore's wife took the slang word for harmonica, added an "o" to the end of it, and a new stage name was the result, one that would stay with Slim Harpo the rest of his career.
Harpo's first record became a double-sided R&B hit, spawning numerous follow-ups on the "King Bee" theme, but even bigger was "Rainin' in My Heart," which made the Billboard Top 40 pop charts in the summer of 1961. It was another perfect distillation of Harpo's across-the-board appeal, and was immediately adapted by country, Cajun, and rock & roll musicians; anybody could play it and sound good doing it. In the wake of the Rolling Stones covering "I'm a King Bee" on their first album, Slim had the biggest hit of his career in 1966 with "Baby, Scratch My Back." Harpo described it "as an attempt at rock & roll for me," and its appearance in Billboard's Top 20 pop charts prompted the dance-oriented follow-ups "Tip on In" and "Tee-Ni-Nee-Ni-Nu," both R&B charters. For the first time in his career, Harpo appeared in such far-flung locales as Los Angeles and New York City. Flush with success, he contacted Lightnin' Slim, who was now residing outside of Detroit, MI. The two reunited and formed a band, touring together as a sort of blues mini-package to appreciative white rock audiences until the end of the decade. The new year beckoned with a tour of Europe (his first ever) all firmed up, and a recording session scheduled when he arrived in London. Unexplainably, Harpo -- who had never been plagued with any ailments stronger than a common cold -- suddenly succumbed to a heart attack on January 31, 1970. ~by Cub Koda.
miércoles, 18 de noviembre de 2015
Review by Richie Unterberger
The Ace/Kent label's ongoing, if sporadic, Mod Jazz series is a fine example of how to construct an intelligent and highly enjoyable batch of anthologies spotlighting rather obscure tracks (and usually rather obscure performers) in a genre that doesn't get a great deal of attention from history books. Showcasing jazz from the 1960s with a good measure of soul (and sometimes some rock, pop, and funk influence), this is the kind of jazz (or at least jazzy material) that's usually more accessible than most to non-jazz specialists, though it doesn't mean jazzheads of a certain taste can't find it to their liking too. Certainly not many of the artists on this volume are going to be familiar to the general public (and often not even to the specialist collector), with exceptions like Jack McDuff, Buddy Guy (a version of "Fever"), and maybe Johnny "Hammond" Smith and Mark Murphy. The selections are unremittingly hip and, even more importantly for a compilation of this nature, quite varied, from vocals and instrumentals to cuts that approach this kind of fusion as much from a blues or funk angle as a jazz one. It's eclectic enough to make general description hard, but generally you'll find more organ, Latin-influenced beats, and guitars than you hear in most jazz, as well as a willingness to take on some commercial covers that purists might deem beneath them (like Donovan's "Sunshine Superman"). Naming high points is a challenge since those will vary a lot according to individual tastes, but Byrdie Green's "Return of the Prodigal Son" is certainly first-rate penetrating, lyrical and stoic vocal soul-jazz; McDuff's "Screamin'" has a great scampering organ; the Johnny Lytle Trio's "The Village Caller" boasts some unexpected exotica vibes; and Clint Stacy's "The Work Song" is a good version of a classic song that makes a tune that's been done nearly to death fairly fresh. Overall, this is kind of like being able to listen to a crate-digging DJ on a soul-jazz theme night without having to go out to a loud club, and it's unlikely any DJ would have all of this, since five of the tracks are previously unreleased.
The great Wild Bill Davis was, like Jimmy Smith, who cited him as a primary influence, both an innovator and a popularizer of jazz organ. One of the very first to play the organ as the instrument it is and not like a piano which most practitioners did before him, Davis was the first to establish the classic organ trio format with guitar and drums eventually adding a tenor sax later on occasionally. These classic 1960 recordings feature Bill Jennings (guitar), Grady Tate (drums) and George Clark (tenor sax, flute).
martes, 17 de noviembre de 2015
Eugène Séguy (1890 – 1 June 1985) was a French entomologist who specialised in Diptera. He held a chair of entomology at the Muséum national d'histoire naturelle in Paris from 1956-1960. He was a French man known for his textiles work.
Eugene Alain Seguy (1889-1985), fue uno de los diseñadores franceses más importante de comienzos del siglo 20. Sus trabajos están enmarcados dentro del Art Decó y el Art Nouveau, realizo múltiples diseños utilizando la técnica del pochoir.
Tras analizar los colores del original, el artesano reconstituye las formas necesarias trazando los contornos de los futuros patrones o pochoirs sobre delgadas láminas de zinc o de cobre: estos son recortados a continuación por medio de una fina punta de acero fijada en un mango de madera y son confiados al colorista. Con ayuda de brochas y pinceles, pochoir tras pochoir, las pasadas sucesivas de los colores desembocan en la imagen definitiva tras conseguir los tonos exactos, los menores matices, los valores más sutiles. El número restringido de coloristas, la importante repetición de las pasadas para conseguir el color (a veces hasta cien o más) y la paciente cadencia de las pinceladas a mano imponen largos plazos de fabricación. El pochoir es pues un trabajo exclusivamente manual; de ahí su dificultad y rareza. Es igualmente uno de los componentes esenciales que aseguran la perennidad de este tipo de estampas y su revalorización.
Esta técnica también llamada esténcil o estarcido es el antecedente de la serigrafía actual, hoy en día escasamente utilizada en la edición de obra gráfica, es, sin embargo, un procedimiento milenario cuya invención se remonta a más de 1000 años a.C, existen estarcidos de manos realizadas en cavernas rupestres que se grababan soplando polvos de hollín a través de una caña que se lanzaban sobre las manos. En el s. XVIII en Japón las plantillas se utilizaron de forma generalizada para la decoración de telas para confección. Utilizado también en Occidente para colorear xilografías y aguafuertes, empleando diferentes plantillas para los distintos colores.
En el siglo XX fue utilizada por artistas como Kitaj, Warhol, Leger, Chagall, Georges Braque o Pablo Picasso. Actualmente los artistas grafiteros, sobre todo en EEUU, México y Francia han adoptado este procedimiento con resultados espectaculares. Los diseños geométricos del Art Deco eran ideales para colocación de letreros y la técnica se convirtió en una moda con los editores de moda francesa. La fotografía era utilizada a menudo para imprimir el esquema principal y, a continuación se añadían los colores con un pincel a través de las plantillas.
Eugene Alain Seguy produjo once álbumes de ilustraciones y diseños desde finales del siglo XIX hasta la década de 1930:
Samarkande: 20 compositions en couleurs dans le style oriental, 1900
Fleurs et leurs applications décoratives, 1902.
Document du décorateur, 1908.
Floréal Dessins & coloris nouveaux, 1910.
Bouquets et frondaisons. 60 motifs en couleur 192?
Papillons: vingt planches en phototypie coloriées au patron donnant 81 papillons et 16 compositions décoratives, 1920.
Laques du Coromandel, 192?.
Primavera: dessins & coloris nouveaux, 192?.
Suggestions pour étoffes et tapis; 60 motifs en couleur, 1923.
Insectes: vingt planches en phototypie coloriées au patron donnant quatre-vingts insectes et seize compositions décoratives, 1929.
Prismes: 40 planches de dessins et coloris nouveaux, 1930.
Diseños Textiles / Textile Designs
At the time of this Prestige set (reissued on CD), Herbie Mann was a flutist who occasionally played tenor and Bobby Jaspar a tenor-saxophonist who doubled on flute. Two of the four songs find them switching back and forth while the other two are strictly flute features. With pianist Tommy Flanagan, guitarist Joe Puma, bassist Wendell Marshall and drummer Bobby Donaldson contributing quiet support, the two lead voices constantly interact and trade off during this enjoyable performance. Highpoints are the haunting "Tel Aviv" and a delightful version of "Chasing the Bird."
Scott Yanow, All Music Guide
Grabado en el sello Warwick, este álbum permite apreciar las etapas más tempranas de Johnny al órgano, en búsqueda del estilo que lo definiría en los '60.
Recorded at the Warwick label, this album can appreciate the earliest stages of Johnny the body in search of style that would define in the '60s.
lunes, 16 de noviembre de 2015
One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-'50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir and his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others. In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson's trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing on gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, as well as recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others. Burrell made his recorded debut as a leader on the 1956 Blue Note session Introducing Kenny Burrell -- technically his second session for the label, but the first to see release. From the late '50s onward, Burrell continued to record by himself and with others, and has appeared on countless albums over the years including such notable albums as 1957's The Cats featuring Coltrane, 1963's Midnight Blue featuring saxophonist Stanley Turrentine, 1965's Guitar Forms with arrangements by Gil Evans, and 1968's Blues -- The Common Ground. Beginning in 1971, Burrell started leading various college seminars including the first regular course to be held in the United States on the music of composer, pianist, and bandleader Duke Ellington. He continued performing, recording, and teaching throughout the '80s and '90s, releasing several albums including 1989's Guiding Spirit, 1991's Sunup to Sundown, 1994's Collaboration with pianist LaMont Johnson, 1995's Primal Blue, and 1998's church music-inspired Love Is the Answer. In 2001, Burrell released the relaxed quartet date A Lucky So and So on Concord and followed it up in 2003 with Blue Muse. He celebrated turning 75 years old in 2006 by recording a live date, released a year later as 75th Birthday Bash Live! In 2010, Burrell released the live album Be Yourself: Live at Dizzy's Club Coca-Cola, recorded at Lincoln Center's smaller club-like venue, followed two years later by Special Requests (And Other Favorites): Live at Catalina's. In 2015, Burrell released The Road to Love, recorded live at Catalina's Jazz Club in Hollywood. Besides continuing to perform, Burrell is the founder and director of the Jazz Studies Program at UCLA as well as president emeritus of the Jazz Heritage Foundation