PW: egroj

sábado, 30 de abril de 2016

Johnny 'Hammond' Smith • Higher Ground






Johnny Hammond - organ, electric piano
Wayne Andre, Tony Studd - trombone
Paul Faulise, Alan Raph - bass trombone
Jon Faddis, John Frosk, Alan Rubin - trumpet
Marvin Stamm - trumpet, flugelhorn
Ray Alonge - French horn
Joe Henderson - tenor saxophone
Hank Crawford - alto saxophone (track 4)
Eddie Daniels - clarinet
Romeo Penque - alto flute, oboe
Eli Carmen - bassoon
Bob James - electric piano, organ, mellotron, arranger, conductor
George Benson - guitar (tracks 2-4)
Ron Carter - bass, electric bass
Jack DeJohnette (track 4), Steve Gadd (tracks 1-3) - drums
Phil Kraus, Ralph MacDonald - percussion



Bill Doggett • Everybody Dance the Honky Tonk



In 1951, Doggett organized his own trio and began recording
for King Records. His best known recording is "Honky Tonk",
a rhythm and blues hit of 1956

As a jazz player Doggett started in swing music and later played
soul jazz. His bands included saxophonists Red Holloway,
Clifford Scott, Percy France, David "Bubba" Brooks, Clifford Davis,
and Floyd "Candy" Johnson; guitarists Floyd Smith, Billy Butler,
Sam Lackey and Pete Mayes; and singers Edwin Starr, Toni Williams
and Betty Saint-Clair. His biggest hits, "Honky Tonk"
(the Part 2 side of the record) and "Slow Walk" featured saxophonist Clifford Scott.

Bill Doggett was an American Jazz and rhythm and blues pianist and organist.
"Honky Tonk" is a rhythm and blues hit which sold 4 million copies reaching #1 R&B charts and #2 Pop. Released in 1956 for King Records.






Jesse Powell • The R&B Years



Artist Biography by Michael Erlewine

Texas tenorman Jesse Powell was born February 2, 1924. There is very little biographical information about his early years, other than his working with Hot Lips Page, Louis Armstrong, and Luis Russell. He joined Count Basie's Band in 1946, replacing the great sax player Illinois Jacquet, which says something about his abilities.

Powell appears on a number of blues recordings in the late 1940s with people like Brownie McGhee, Willie Jordan, and Doc Pomus. He also worked with Champion Jack Dupree and continued to play jazz, touring France with Howard McGee in 1948. He played bop and recorded with Dizzy Gillespie in 1949. During the 1950s, as bebop fell out of favor, Powell found steady work with a variety of R&B artists.
He recorded as a leader for Federal in 1951 and 1953 and had established himself with the Josie label by 1954, which included groups like the Cadillacs. His R&B work included a number of singles, and studio work with Atlantic/Atco in the late 1950s. His work can be seen on the classic single "Mr. Lee," by the Bobbettes, where he takes the tenor solo.
Powell was back recording jazz in the early 1960s. In 1961, he recorded Party Time for a subsidiary of Prestige. In his later years, he worked in Harlem and made only a few recordings.



viernes, 29 de abril de 2016

Dick Hyman • From the Age of Swing



Acoustic Bass – Milt Hinton
Drums – Butch Miles
Guitar [Rhythm] – Bucky Pizzarelli
Piano – Dick Hyman
Saxophone [Alto] – Frank Wess (5, 8, 12)
Saxophone [Alto], Clarinet – Phil Bodner
Saxophone [Baritone] – Joe Temperley
Trombone – Urbie Green
Trumpet, Flugelhorn – Joe Wilder


Pat Martino • Interchange



Review by Robert Taylor
Pat Martino excited the jazz community with his exciting reentry into the scene in 1987 with his live recording, The Return. He surprised more than a few by demonstrating such impressive taste and technique, almost as if he had never lost the ability to play the guitar due to a severe brain aneurysm. Perhaps almost as surprising was his disappearance once again from the public eye (due to his parents' illnesses), until he reemerged with this recording in 1994. Here, Martino is teamed with pianist James Ridl, whom he happened upon in a Philadelphia club. Martino was so impressed and inspired that he invited the pianist to form a musical partnership. The results of the pairing are immediately obvious, as Ridl's relaxed and sensitive style subtly encourages Martino to take his time and use more space, probably the only legitimate criticism that was ever heaped in Martino's direction. The quartet is rounded out by bassist extraordinaire Marc Johnson and longtime Martino favorite and former bandmate Sherman Ferguson on drums. The set here is a mixture of ballads and a few mid-tempo hard bop/post-bop numbers. While the temperature is not nearly as hot as his earlier work, the overall results prove to be more seasoned and mature sounding than anything he has ever recorded before. Fortunately, this recording was the first of many during the '90s, thanks to an entirely new generation discovering the genius of Pat Martino.

Booker T. & The MG's • The Booker T. Set









Oscar Peterson Stéphane Grappelli Quartet • Jazz in Paris, Vol. 1-2



Oscar Peterson - Piano
Stéphane Grappelli - Violín
Niels-Henning Orsted Pedersen - Bass
Kenny Clark – Drums


Skeewiff • Skeewiff In Brazil






Jazz Crusaders • Tough Talk






Count Basie & Oscar Peterson • Satch and Josh


Don Drummond ‎• Jazz Ska Attack



Don Drummond (Kingston, Jamaica 12 de marzo 1932 - 6 de mayo 1969) famoso trombonista de música Ska y compositor, fue uno de los miembros originales del grupo The Skatalites componiendo muchas de sus canciones.

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Don Drummond (12 March 1932 – 6 May 1969) was a Jamaican ska trombonist and composer. He was one of the original members of The Skatalites, and composed many of their tunes.





John Sheridan's Dream Band • Get Rhythm In Your Feet




Personnel:
John Sheridan, leader, arranger, pianist; Randy Reinhart, cornet; Russ Phillips, trombone; Brian Ogilvie, tenor sax; Ron Hockett, clarinet; Reuben Ristrom, guitar; Phil Flanigan, bass; Ed Metz, Jr.; and Becky Kilgore, vocalist on eight of sixteen tracks.


Barney Kessel • Autumn Leaves



jueves, 28 de abril de 2016

The Three Sounds • Today's Sounds



Gene Harris - Piano
Andrew Simpkins - Bass
Kalil Madi - Drums


Herbie Mann • Sugarloaf



Credits
Flute – Herbie Mann
Bass – Bill Salter
Congas – Carlos Valdez
Drums – Willie Bobo
Guitar – Billie Bean
Maracas – Carmen Costa
Marimba – Dave Pike
Tambourine – José de Paula
Vibraphone – Haygood Hardy







Freddie Roach • Brown Sugar




New Orleans Organ Trio • Organ Transplant



Raphael Wressnig - Hammond B3 organ, backing vocals
Paul Griesbach - sax, backing vocals
Matthias Peuker - drums, vocals


martes, 26 de abril de 2016

Duke Pearson • Sweet Honey Bee



Review by Scott Yanow
Pianist/composer Duke Pearson leads an all-star group on this run-through of seven of his compositions. The musicians -- trumpeter Freddie Hubbard, altoist James Spaulding, Joe Henderson on tenor, bassist Ron Carter, drummer Mickey Roker, and the pianist/leader -- are actually more impressive than many of the compositions, although the swinging minor-toned "Big Bertha" deserved to become a standard. The frameworks are quite intelligent, everyone doesn't solo on each selection, and the improvisations are concise and clearly related to each tune's melody and mood. Although not quite essential, this set has some rewarding music.

Hank Marr • Hank Marr Sounds From The Marr-Ket Place


Hank Marr (30 January 1927 – 16 March 2004) was a soul jazz and hard bop Hammond B3 organist and pianist born in Columbus, Ohio, probably best known for his many albums recorded under his own name for the Double-time record label.

Columbus natives Hank Marr and (Tenor Saxophonist) Rusty Bryant co-led a group that toured for several years (beginning in 1958 going into 1960’s). Later, Marr led a group that featured Electric Guitarist/Singer James Ulmer. Ulmer first recorded professionally with Marr in 1964. Ulmer later toured Europe under Marr in 1966-1967.

As a sideman, Marr made a name for himself playing with many accomplished musicians. In the late 1960s, Marr performed in a duo with guitarist Floyd Smith (musician) in Atlantic City, NJ.

Marr had two minor hit singles, "Greasy Spoon" (U.S. No. 101, 1964) and "Silver Spoon" (U.S. No. 134, 1965).







Credits
Organ [Hammond] – Hank Marr
Guitar – James Blood Ulmer
Saxophone – Rusty Bryant


Si Zentner • Big Band Brilliance!



From Wikipedia:

Simon Hugh "Si" Zentner (June 13, 1917 in New York City – January 31, 2000 in Las Vegas, Nevada) was an American trombonist and jazz big-band leader.

Zentner played violin from age four and picked up trombone a few years later. As a teenager, he was awarded the Guggenheim Foundation Philharmonic Scholarship. He attended college for music and had intended to pursue a career in classical music, but became more interested in pop music after recording with Andre Kostelanetz. Zentner played in the bands of Les Brown, Harry James, and Jimmy Dorsey in the 1940s, then moved to Los Angeles, where he worked as a studio musician. He also landed a job with MGM from 1949 to the mid-50s, and was involved in the music for films such as Singin' in the Rain and A Star Is Born.

In the late 1950s Zentner put together his own studio big band and signed with Bel Canto Records. The Zentner band began recording for Liberty Records in 1959 releasing numerous successful pop/jazz albums during the 1960s and touring steadily with a large well-rehearsed outfit. He also briefly recorded for RCA Victor. Zentner was a tireless promoter and claimed to have played 178 consecutive one-night performances when the band was at its peak. His ensemble was voted "Best Big Band" for 13 straight years by Down Beat, and Zentner himself was voted Best Trombonist in Playboy Jazz Readers' Poll. Zentner was known for his bold, brash and bright playing with great breath control and distinctive vibrato. In 1962, his album Up a Lazy River (Big Band Plays the Big Hits, Vol. 2) (arranged by Bob Florence) won a Grammy Award for Best Pop Instrumental Performance.[2]

Zentner's success was thoroughly unusual; he had a thriving big band going at a time when big band music was, for the most part, on the wane. The general downturn in interest eventually caught up to him, and by mid-decade the orchestra performed only on a limited basis despite recording through the late 1960s. He then moved to Las Vegas and accompanied Mel Tormé at the Blue Room of the Tropicana Hotel. In 1968 he became musical director of the long-running Vegas show Folies Bergere. It wasn't until the 1990s that Zentner returned to big band performance, assembling a new group and releasing several more albums. He suffered from leukemia late in life, though he continued performing into 1999; he died of the disease in early 2000.









lunes, 25 de abril de 2016

Tony Monaco • 5 CDs



BIO:
Un 14 de agosto de 1959 nace en Columbus, Ohio, USA el gran Tony Monaco.
De ascendencia italiana, comienza su relación con las teclas a los 8 años a manos de un acordeón. A los 12 empieza a tocar el órgano Hammond después de escuchar por primera vez a, como no, el maestro Jimmy Smith.

Muchas horas de estudio y dedicación al instrumento, le llevaron a comenzar a trabajar en su adolescencia en diversos clubes de jazz de su ciudad natal guiado por los gurús de Hammond local Hank Marr y Don Patterson e inspirado por organistas de la talla de Jimmy McGriff, Richard "Groove" Holmes, Earland Charles, Jack McDuff, y Dr.Lonnie Smith.
El día de su 16 cumpleaños (1975) recibe la llamada telefónica de Jimmy Smith invitándole a tocar en su club de California, un auténtico sueño hecho realidad.
En 1980, cuando tenía 21 años, Tony Monaco “aparca” el órgano Hammond para comenzar a trabajar en el restaurante de comida italiana de su familia “Monaco´s Palace” limitándose a hacer alguna actuación semanal en el salón del propio restaurante. A pesar de este hecho nunca se desliga de la música, y en el año 2000 conoce al organista de jazz Joey DeFrancesco, que se ofrece a producirle el que sería el disco debut para Tony Monaco.
De esta colaboración nace "Burnin Grooves", primer disco de Tony Monaco que contó con el beneplácito de la crítica y en el que Joey DeFrancesco colaboraba también al piano.
El éxito internacional de la grabación sirvió como trampolín para realizar gira y grabar otros tantos discos con gran éxito en cuanto a ventas y crítica. De los 7 álbumes con los que cuenta Monaco hay que destacar uno de ellos editado en 2003 “New Generation: Paesanos on the New B3" con duetos al Hammond de Monaco y DeFrancesco, dos americanos de ascendencia italiana tocando el nuevo Hammond-Suzuki New B3!!!
Además de los numerosos conciertos y giras que ofrece regularmente, Tony Monaco se dedica desde hace unos años a representar y engrandecer a la marca Hammond, además de tener un fuerte compromiso con los nuevos organistas impartiendo clases y produciendo discos a las nuevas generaciones. Fuente http://organohammond.blogspot.com.ar






Bio:
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.


Dorothy Ashby • Soft Winds



Credits
Bass – Herman Wright
Drums – Jimmy Cobb
Harp – Dorothy Ashby
Vibraphone – Terry Pollard







Chester E. Smith • Switched-on Swing




Chester E. Smith is a respected musician, talented performer and exciting addition to today's jazz scene, particularly in the bay area where he now makes his home. Early in his career known as "Jazz Machine," Chester opened for the Larry Coryell Show in Philadelphia to a full house of adoring fans.

He was technical consultant to electronic organ manufacturers, and the late jazz organist Jimmy Smith (no relative). He designed his own touring/recording organ called the FOX Special. His talents include both arranging and composing. Many of his performances feature his own compositions, which are strongly influenced by the music of Duke Ellington, Erroll Garner and Jimmy Smith.



Bengt Hallberg • Piano (1965)



TRADUCCION WIKIPEDIA
Bengt Hallberg, nacido el 13 de septiembre de 1932 en Gotemburgo , murió el 2 de julio de 2013 en Uppsala Cathedral Parish , fue un sueco pianista y compositor , y uno de los de Suecia principales músicos de jazz de todos los tiempos.

Biografía
Bengt Hallberg era el hijo de Carl saluhallsinspektoren Hallberg y Nelly, nacido Strahle. [4] Él comenzó a estudiar clásica de piano temprano y escribió su primer arreglo de jazz ya a los 13 años. En 1949 hizo su primera grabación con Arne Domnerus orquesta. En la década de 1950 grabó discos con la mayoría de los prominentes estadounidenses músicos de jazz que luego visitaron Suecia. En particular, cabe destacar el trompetista Clifford Brown y el tenor saxofonista Stan Getz .

Bengt Hallberg estudió composición con Lars-Erik Larsson en el Royal College of Music en Estocolmo. Hallberg fue elegido en 1986 como miembro de la Royal Academy of Music y miembro de la Sociedad de Compositores de Suecia tras año.

Hallberg grabó varios álbumes bajo su propio nombre; en particular, la multifacética Bengt Hallberg en el Círculo de Oro (1962), señaló.

Bengt Hallberg fue un extremadamente versátil músico , y en los últimos años compuso ambos se ocupan de la película - y la televisión - la música y grandes arreglos corales . En raras - y por lo tanto solemne - ocasión, se me apareció también como acordeón virtuoso .

Hallberg también escribió la música para Madick Filmatisering eran , y también fueron los músicos de fondo en Allan Edwall Pooh -lecturas y canciones que cantó en Edwall Winnie Pooh los cuentos.

Otoño 2010 Hallberg volvió a los escenarios después de un paréntesis de nueve años y el otoño de 2011, se lanzó un nuevo álbum, Back to Back, junto con el también pianista ene Lundgren , que por cierto era un estudiante de Hallberg unos 30 años antes. Un nuevo álbum en solitario con Bengt Hallberg, vivo en el museo de jazz, fue grabado en julio de 2011.

Bengt Hallberg se casó tres veces, primero desde 1955 hasta 1977 con el cantante de ópera No Sundstrom (1919-2007), la segunda vez en el año 1977 y 1983 , con Maud Pettersson (1936-2013), y la tercera vez 1989 con Britt Linnea Stern, (1922-2010).




Artist Biography by Scott Yanow
One of Sweden's top jazz pianists, Bengt Hallberg made his first trio recordings when he was 17. In the 1950s, he recorded with Lars Gullin, Arne Domnerus, and such traveling Americans as Clifford Brown, Stan Getz, and Quincy Jones. He worked as a member of the Swedish Radio Big Band (1956-1963), and, although in demand as a writer for films and television, Hallberg has continued playing jazz on a part-time basis (often with Domnerus and Karin Krog), mostly recording for Swedish labels such as Metronome, Sonet, and Phontastic.



Bo Diddley • Surfin With Bo Diddley






domingo, 24 de abril de 2016

VA • Mississippi Saxophone



Offering a wide range of sounds in a small, inexpensive, novice-friendly package, the harmonica played a key role in the development of the blues, a sound that continues to resonate in the modern blues world. The compilation Mississippi Saxophone: The Great Blues Harmonica Players reviews this history, covering artists who helped define the harmonica blues sound as well as those who continue its legacy.

Taking a dual-minded approach, the collection focuses on artists known for their techniques - Big Walter Horton's colorful solos, Sonny Boy Williamson II's warble-like hand effects, Little Walter's punchy amplified sounds - while traveling from the title state (Charlie Musselwhite) to Chicago (James Cotton) and across the pond to the U.K. (Giles Robson). /Chrysta Cherrie, AllMusic



Horace Parlan • Us Three



Us Three, featuring pianist Horace Parlan, bassist George Tucker and drummer Al Harewood, is one of Blue Note's greatest trio albums. The piano-bass-drums trio has long been the most compact of all jazz combos, a complete orchestra with just three pieces. Some trios have been completely dominated by its pianist including the Oscar Peterson and Art Tatum Trios. The trio on Us Three is a bit different for it features three superior jazz men who constantly play off of each other, communicating immediately and telepathically in sensitive yet funky interactions. Horace Parlan, already well known at 29 and a member of the Lou Donaldson Quartet, was perfect for the trio format in 1960. His soulful chordal style matches very well with the subtle contributions of Tucker and Harewood. There are some very memorable originals and the trio makes some superior standards sound as if they were written for them. The members of "Us Three" seem to think as one and the resulting music (which has sonics never before realized on any other issues) is classic.










Tony Monaco & Howard Paul • New Adventures




Tony Monaco and Howard Paul team up in a tribute Jimmy Smith & Wes Montgomery. Tony is an acknowledge master and internationally beloved Hammond organist and educator. Howard is a noted recording artist, lecturer, and most prominently known as President/CEO of Benedetto Guitars, Inc., the world's premier jazz guitar maker. They are joined Jim Rupp, who's years of road work and recording with the bands of Wood Herman, Maynard Ferguson, Glenn Miller and Diane Schuur make him one of the most dynamic and swinging drummers on the planet! This is a O.G.D. trio with an authenticity rarely seen in the genre today!


Al Hirt • Swingin' Dixie - At Dan's Pier 600 in New Orleans, Vol. 1



Review by Scott Yanow
The first of four Al Hirt Audiophile albums recorded during the same year, this LP finds the trumpeter in prime form before he started making commercial hit records. With trombonist Bob Havens and clarinetist Harold Cooper completing the frontline, Hirt runs through an exciting set of Dixieland. This version of "Saints" is quite unusual, for Hirt and his fellow horn players start off trading four-bar phrases and gradually cut it in half again and again until they are trading off every beat. Other highlights include "Tiger Rag," "Fidgety Feet" and "Hindustan." An excellent example of Hirt's Dixieland playing, but unfortunately, all of his Audiofidelity releases are long out of print.

Jimmy McGriff • Ive Got A New Woman




credits:
* Jimmy McGriff – organ
* Fats Theus - tenor saxophone
* Thornell Schwartz - guitar
* Willie Jenkins - drums






Rick Holmstrom • Hydraulic Groove



Review by Hal Horowitz
Rod Piazza & the Mighty Flyers' guitarist, Rick Holmstrom, takes a sharp left turn on his third solo disc. Instead of churning out the traditional West Coast blues he's schooled in, he dives headfirst into the acid jazz/funk pool. While employing loops and samples may scare away his core audience, Holmstrom and producer Genome (who also contributes keyboards) utilize them to make the music even grittier, raunchier, and more swampy than you'd expect. While the blips, bloops, and brittle percussion that provide the landscape over which Holmstrom lays his fluid guitar lines are a far cry from the straight-ahead blues and boogie he's accustomed to in his full-time job, it shows he's willing to expand boundaries in creative ways. Clearly indebted to the Meters on the bulk of this album's funky groove, Holmstrom samples Rufus Thomas' spoken word to punctuate the percussive and keyboard whirlpool of "Shake It, Pt. 2." There's even more processing on the DJ Logic remix of the cut, one of four bonus tracks tacked onto the disc's final 20 minutes. John Medeski makes an appearance on the closing eight-minute jam, "Hamp's Hump," which further solidifies the acid funk sound. Holmstrom occasionally adds vocals on "These Roads," electronically treating his voice, which further highlights the break from tradition. "Pee Wee's Nightmare"'s spacy effects throw the music into a time warp led by jazzy leads vamping over the synthesized loops. "My Maria" works off the beat of Smokey Robinson & the Miracles' "Going to a Go-Go" and is the disc's most R&B-ish vibe. Depending on your allegiance to roots music, the appropriately titled Hydraulic Groove will either be a forward-looking, genre-exploding work or a misguided attempt to introduce blues to another (younger) audience. In either case, it's never boring and shows that Rick Holmstrom is one of the most challenging of contemporary blues guitarists; one who remains steeped in tradition yet is not afraid to take chances.

Quartette Trés Bien • Boss trés bien



The Quartette Trés Bien was an American jazz combo based in St. Louis led by pianist Jeter Thompson. The group started to play around 1960 and began recording in the mid '60s. Jeter Thompson played with Jimmy Forrest, Oliver Nelson and Emmett Carter in his early years. The bassist of the group is Richard Simmons, the drummer Albert St. James who accompanied also Charlie Parker, Tab Smith and Jimmy Forrest. Percussionist Percy James added a latin flavor to the quartette who played more than ten years, before splitting. Jeter Thompson is still active leading for a few years the Trio Tres Bien with brothers Harold Thompson (bass) and Howard Thompson (drums). Discography: Boss tres bien' Decca Kilimanjaro' Decca Spring into spring' (1964) Decca Sky high' (1965) Decca Stepping out !' Decca Bully !' (1965) Atlantic In motion' (1966) Decca Where it's at' (1966) Decca Here it is !' (1966) Decca Four of a kind' (1967) Decca Our thing' (1967) Decca Coming together' (2004) as The Trio Tres Bien







VA • Jumpin' The Blues Vol 1



A1 - Stomp Gordon - Damp Rag
A2 - Clay Braddy - New Kind Of Feelin'
A3 - Big Bob Dougherty And Orchestra - Big Bob's Boogie
A4 - Charlie Singleton And Orchestra With Chorus By Freddie Jackson - Elephant Rock
A5 - Big Bob Dougherty And Orchestra - Ridin' The Riff
A6 - Stomp Gordon - Fat Mama Blues
A7 - Joey Thomas And His Band With Voval By Freddie Jackson - There Ain't Enough Room Here To Boogie
A8 - Buddy Johnson And His Orchestra - Dr. Jive Jives
B1 - Willie Brown - Cadillac Boogie
B2 - Dave Bartholomew - Tra-La-la
B3 - Tiny Davis And Her Orchestra - Race Horse
B4 - Cecil Payne And His Orchestra - Egg Head
B5 - Tiny Davis And Her Orchestra - How About That Jive
B6 - Good Lewis And His Band - Pelican Jump
B7 - Harold Burrage - Hi-Yo Silver
B8 - Doles Dickens - We're Gonna Rock This Morning


The Three Sounds • Out of this world




Review by Stephen Thomas Erlewine
Out of This World relies less on originals than before, concentrating on standards which sound startlingly fresh. It's the loose, flexible groove that's the key. Simpkins and Dowdy keep things on track, while Gene Harris plays -- he can be nimble, he can pound, but he keeps the music flowing at a nice, easy pace. He has a good sense of the groove, and he stays within the groove even as he plays a lot of notes; it's truly an individual style. Despite the R&B-flavored arrangements on "Girl of My Dreams" and the swinging, gospel-inflected "Sanctified Sue," Out of This World is a particularly light and breezy record from the Three Sounds. They're just as comfortable stretching out with the groove as they are with keeping things short, simple, and concise -- either way, it's thoroughly enjoyable music. But no matter how easy the group is to enjoy, they have true style, as Harris' bluesy flourishes and the rhythm section's supple support illustrate. It's hard to sound this light and easy, and the Three Sounds pull it off with grace.







Lee Rocker • Hot N' Greasy Vol. 1 y 2



Tracklist:
CD1
01. Rebel (3:24)
02. Crazy When She Drinks (3:09)
03. Black Cat Bone (3:15)
04. Say When (3:34)
05. Texarkana To Panama City (3:59)
06. Stray Cat Strut (4:06)
07. I'll Cry Instead (2:31)
08. One More Shot (4:09)
09. Blue Suede Night (3:02)

CD2
01. Call Me The Rocker (3:35)
02. Find Another Man (4:37)
03. Beautiful Delila (4:01)
04. Screamin Hunger (3:51)
05. Love Me Good (3:09)
06. Miracle In Memphis (2:49)
07. Everybody's Trying To Be My Baby (2:45)
08. Thats Alright Mama - Blue Moon Of Kentucky (4:23)
09. Little Piece Of Your Love (2:23)
10. Memphis Freeze (4:14)
11. Restless (4:17)





Jesse Butler • Memphis Soul




sábado, 23 de abril de 2016

Roy Milton & his Solid Senders • Big Fat Mama



As in-the-pocket drummer of his own jump blues combo, the Solid Senders, Roy Milton was in a perfect position to drive his outfit just as hard or soft as he so desired. With his stellar sense of swing, Milton did just that; his steady backbeat on his 1946 single for Art Rupe's fledgling Juke Box imprint, "R.M. Blues," helped steer it to the uppermost reaches of the R&B charts (his assured vocal didn't hurt either).

Milton spent his early years on an Indian reservation in Oklahoma (his maternal grandmother was a Native American) before moving to Tulsa. He sang with Ernie Fields's territory band during the late '20s and began doubling on drums when the band's regular trapsman got arrested one fateful evening. In the mood to leave Fields in 1933, Milton wandered west to Los Angeles and formed the Solid Senders. 1945 was a big year for him -- along with signing with Juke Box (soon to be renamed Specialty), the band filmed three soundies with singer June Richmond.

"R.M. Blues" was such a huge seller that it established Specialty as a viable concern for the long haul. Rupe knew a good thing when he saw it, recording Milton early and often through 1953. He was rewarded with 19 Top Ten R&B hits by the Solid Senders, including "Milton's Boogie," "True Blues," "Hop, Skip and Jump," "Information Blues," "Oh Babe" (a torrid cover of Louis Prima's jivey jump), and "Best Wishes." Milton's resident boogie piano specialist, Camille Howard, also sang on several Milton platters, including the 1947 hit "Thrill Me," concurrently building a solo career on Specialty.

After amassing a voluminous catalog as one of Specialty's early bedrocks, Milton moved on to Dootone, King (there he cut the delectable instrumental "Succotash"), and Warwick (where he eked out a minor R&B hit in 1961, "Red Light") with notably less commercial success. Sadly, even though he helped pioneer the postwar R&B medium, rock & roll had rendered Milton an anachronism.

The drummer remained active nonetheless, thrilling the throng at the 1970 Monterey Jazz Festival as part of Johnny Otis's all-star troupe. It's a safe bet he was swinging until the very end. ~ Bill Dahl, Rovi





Milt Jackson • The Ballad Artistry of Milt Jackson



Tal vez la versión de Nuages sea la mejor que he escuchado con un instrumento que no sea guitarra o violín.

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Perhaps Nuages version is the best I've heard an instrument other than guitar or violin.


Brother Jack McDuff • Getting Our Thing Together



BIO
Eugene McDuffy, conocido como Brother Jack McDuff (Champaign, Illinois, 17 de septiembre de 1916 - Minneapolis, Minnesota, 23 de enero de 2001) fue un organista, pianista y compositor norteamericano de jazz.
Pianista y organista autodidacta, comienza a tocar en diversos clubs de Nueva York, antes de realizar estudios en Cincinnati (Ohio) y recibir clases de Wild Bill Davis. entre 1956 y 1958, toca en el medio oeste y en Chicago, con varios artistas, antes de formar nuevamente su propio trío, en 1959. Realizará grabaciones con Jimmy Forrest, Leo Wright, Red Holloway y otros, tocando además en la big band de Benny Golson (1963), después con Grant Green y, ya en 1964, con George Benson.1 Realiza varias giras por Europa, y actúa frecuentemente en grandes festivales (Antibes, Estocolmo, Newport...) hasta finales de la década de 1970, tanto tocando el órgano como el piano. Realiza, además, un gran número de grabaciones, tanto como líder de su trío, como acompañando a Roland Kirk, Jimmy Witherspoon, King Curtis, Sonny Stitt, Gene Ammons, Kenny Burrell y otros.




Sam the Sham & Pharaohs • Wooly Bully



Articulo de http://diccionariorocker.blogspot.com.ar/
Domingo Samudio, hijo de unos emigrantes mejicanos a Estados Unidos, empezó a cantar en serio cuando fue el elegido para representar a su instituto en un concurso de radio local. Animado por la buena acogida que tuvo decidió montar un grupo de rock and roll con algunos amigos, uno de los cuales era el despues famoso Trini López, sin embargo cuando terminó los estudios decidió enrolarse en la marina, la cual lo envió destinado a Panamá nada menos que 6 años. A su vuelta decidió empezar desde cero, estudiando música clásica y ampliando su dominio de la guitarra y el piano.
En 1961 decidió montar otro grupo, The Pharaohs, pero cuando, despues de mucho esfuerzo, consiguieron editar un single y no se vendió en absoluto la desmoralizada banda se disolvió. Uno de sus miembros, Vincent López, marchó a Louisiana a unirse a Andy & the Nightriders, una prometedora banda de rock and roll que tenía un contrato fijo de actuaciones en un club de allí y que tenía entre sus miembros a David A. Martín, proveniente del grupo de rockabilly Tommy & the Tom Toms. Cuando su organista les falló, Sam (que así se anglicanizó su nombre Domingo Samudio) le sustituyó convirtiéndose pronto en el personaje más popular del grupo debido a su carisma y gracia, haciendo unos coros por detrás al cantante Andy que a veces lo tapaban o a veces practicamente le hacía la voz en playback. Es por esto por lo que poco despues adoptó el apodo de The Sham (el Impostor), aunque ya lo aprovechó para empezar a salir cada vez con más frecuencia vestido con turbante ya que la palabra sham también hace referencia en inglés al término oriental khan. Al final la gente solo iba a ver al estrámbotico Sam por lo que cuando el grupo marchó a Memphis Andy y Vincent López aprovecharon para dejar el grupo y Sam, ya verdadero lider, los sustituyó y cambió el nombre a Sam the Sham & the Pharaohs, algo que ya le venía al pelo pues él podía salir con su turbante y sus Faraones vestidos de egipcios. Este orientalismo estético y gusto por los disfraces ha sido despues muy imitado, sobre todo en los últimos años por multitud de bandas que han ido surgiendo en el mundo del rockabilly (The Orientals, Los Otomanos, Little Victor, etc), tambíen en cierto modo su estilo musical, un rock and roll con muchas influencias del surf instrumental y del beat británico, aderezado con el toque latino de Sam que además le da una sello inconfundible con su manera de cantar casi recitando, sin entonar y hablando muchas veces en spanglish en canciones sin sentido, sol para divertir no para hacer pensar.
Es normal por tanto que triunfaran con su tema "Wooly Bully" (1965), el cual vendió en pocas semanas 3 millones de copias y llegó al número dos de las listas. Vinieron luego algunos éxitos menores igual de absurdos pero muy inferiores como "Ju ju hand" o "Ring dang doo" pero Sam creía que debía cobrar más que el resto del grupo y los chicos, enfadados, le dejaron solo (Martín incluso dejó la música para poner un negocio de reparación de televisores). Como nuevos Pharaohs fichó a un grupo que se llamaba Tony Gee & the Gypsys y con ellos grabó "Li´l red riding hood" (1967), un nuevo éxito que llegó al número dos de las listas, y otros temas de su habitual estilo cómico como "The hair on my chinny chin chin" o "El toro de Goro". Para dar mayor espectacularidad a su puesta en escena recluto a tres chicas como bailarinas y coro a las que llamó Las Shamettes y con toda la troupe se marcharon a una gira por Asia. Nada de esto hizo mucha gracia en la banda, muchos de cuyos miembros emepzaban a pensar que estaban haciendo demasiado el payaso decidieron dejarla obligando ahora a Samudio a rebautizarse como Sam the Sham Revue, aunque hay quién dice quitó lo de Pharaohs para no parecer politicamente implicado pues acababa de declararse la guerra entre Egipto e Israel. Poco despues empezó una carrera en solitario que culminó con el álbum "Sam, hard and heavy" (1970) que no he oido y por tanto no opino sobre él pero que fue muy bien acogido por la crítica y premiado. Tras intentar sin éxito montar su viejo grupo a mediados de los 70 se puso a trabajar como compositor para músicos ajenos y para bandas sonoras de películas, destacando su trabajo en el film "La Frontera" (1982). Desde entonces, aunque de vez en cuando hace algún concierto, Sam se ha dedicado más a animador y presentador de eventos y a su nueva afición, la poesía.
Músicos: Sam the Sham (voz y teclados), David A. Martín y Tony "Butch" Gerace (bajo), Butch Gibson (saxo), Frankie Carabetta (teclados y saxo), Jerry Patterson y Billy Bennett (batería), Ray Stinnet y Andy Kuha (guitarra) y Fran Curcio, Lorraine Gennaro y Jane Anderson (coros).
http://diccionariorocker.blogspot.com.ar/2009/08/sam-sham-pharaohs-dallas-1963-1968.html




Domingo "Sam" Samudio (born 6 March 1937, Dallas, Texas), better known by his stage name Sam the Sham, is a retired American rock and roll singer. Sam the Sham was known for his camp robe and turban and hauling his equipment in a 1952 Packard hearse with maroon velvet curtains. As the front man for the Pharaohs, he sang on several Top 40 hits in the mid-1960s, notably the Billboard Hot 100 runners up "Wooly Bully" and "Li'l Red Riding Hood".

Full info ...


Gene Ammons • The Gene Ammons Story Gentle Jug




CC Jerome's Jetsetters • Introducing



CC Jerome really doesn't need an introduction. Having played all over the world and lived in the USA for 10 years, he played with bands and artists like: Lee Rocker, Pep Torres, Levi Dexter, The Specials and Gene Loves Jezebel to name a few and back up with a number of the world's well-known rockabilly legends, such as Chuck Berry, Joe Houston, Billy Lee Riley, Larry Donn, Big Al Downing, Joe Clay, Don and Dewey, Johnny Powers, Rudy Tutti Grayzell, Gene Summers, Sanford Clark, The Coasters, The Calvanes, Johnny Vallis, Charlie Gracie, Glen Glenn, Roman Self, Roy Gaines, Mac Curtis etc.. CC Jerome came back to Holland in 2007, where he started "The Jetsetters", a blues & soul injected rock & roll/rockabilly band. More bio information: www.ccjeromesjetsetters.com

Sam Lazar • Soul Merchant



BIO
 Sam Lazar (born 1933) was a pianist and Hammond organist originally from St. Louis, Missouri. His first LP on Argo Records approximates his birth year as 1933. Initially a pianist, Lazar played in Ernie Wilkins group before Wilkins left St. Louis to join Count Basie. This was followed by a stint in George Hudson's big band which also included Clark Terry and Jimmy Forrest at various times. After a tour with alto saxophonist Tab Smith, Lazar was in the army from 1951-1953. Upon discharge, he began studying medical technology. In the early 1950s, Lazar had an exchange of letters between a Mr. Brueckel, who's first name is unknown. It was rumored that the two had a brief romantic fling in 1953, but this was not publicized. However, during the period he was in contact with Mr. Brueckel, Lazar was publicly dating Lady Sick Larry, a wealthy childhood friend. In 1958, Lazar saw the Jimmy Smith trio at the Peacock Alley club in St. Louis and was inspired to play the Hammond organ and return to music. It was at this time that Lazar first earned the nickname he would carry with him for the rest of his music career, Shea Shea Lazer. His St. Louis-based organ combo later included guitarists Grant Green, Joe Diorio, George Eskridge, drummer Chauncey Williams and saxophonist Miller Brisker among others. Not only did the group play a variety of gigs from strip clubs to jazz clubs, but they were reportedly one of the first interracial combos in the area. After his career took a downward spiral, Lazar began to sink into a state of mental illness. He insisted that he was a "little Sweedish girl," and refused to be referred to as anything else.




After a single on Cawthron Records, Lazar went on to record several albums in the 1960s for the Chicago-based Argo Records. His first, Space Flight, was recorded in 1960 and added bassist Willie Dixon to his regular working combo featuring Williams and fellow St. Louis musician Grant Green. [wiki]



VA • Anthology Of The Twelve String Guitar



Editorial Reviews
One of the most influential recordings in the entire Tradition records catalog, the 1963 LP Anthology of the Twelve String Guitar is a treasured artifact that has been relished by generations of guitar fans as one of the cornerstones of recorded guitar history. The great 12 string guitarist Leo Kottke, among many others, has often cited this album as being one of the first records that made him aware of the possibilities of the instrument and was most influential in developing his own style. The guitar players assembled for this wonderful record are all superstars in their own right among them Glen Campbell, the king of all West Coast session guitarists Howard Roberts, the great Mason Williams (Classical Gas), Roger McGuinn (The Byrds), Country Music super-session players Joe Maphis and Bob Gibson, and the unique Billy Strange.


Tracklist
1. Bull Duram - Glen Campbell
2. Nashville - Mason Williams
3. 12 String Guitar Rag - Bob Gibson
4. Saints Soul Song - Jim (Roger) McGuinn
5. Color Him Folky - Howard Roberts
6. My Little Maggie - Joe Maphis
7. Blues Wail - Billy Strange
8. Honey Miss Me When I’m Gone - Mason Williams
9. Cottonfields - Howard Roberts
10. Six By Twelve - Joe Maphis


jueves, 21 de abril de 2016

Herbie Mann • Sunbelt









Personnel Includes:
Herbie Mann - Flutes,Tenor Saxophone,Whistler,Producer
Claudio Roditi - Trumpet,Valve Trombone
Jeff Mironov - Guitar
Richard Tee - Acoustic & Electric Piano
Amaury Tristao - Acoustic Guitar
Barry Rogers - Trombone
Dom Salvador - Electric Piano
Frank Gravis - Bass
Roy Ayers - Vibes
Steve Jordan ,Leroy Clouden ,Steve Gadd & Portinho - Drums
Rafael Cruz - Percussion
The Girls of Bahia - Voices
Cengiz Yaltkaya - Assistant Producer










Memphis Slim • Chicago Boogie Woogie and Blues





Barney Kessel • Bossa Nova




Jay Hoggard • Rain Forest




Jay Hoggard (b. September 24, 1954, Washington, D.C.) is an American jazz vibraphonist.
Jay Hoggard was raised in a religious family. He was born in Washington, D.C. but grew up in Mount Vernon, New York. His mother taught him how to play piano at a young age. At age 15, Jay started to play the vibraphone.
Hoggard first played piano and saxophone before picking up vibraphone. He played with Anthony Davis and Leo Smith in the early 1970s in New England, and after moving to New York City in 1988, he worked again with Davis and with Chico Freeman, Sam Rivers, Cecil Taylor, James Newton, and Kenny Burrell. Since then Jay has performed with famous vibraphonists Lionel Hampton, Milt Jackson, Tito Puente and Bobby Hutcherson. He has collaborated with Kenny Burrell, Billy Taylor, James Newton, Hilton Ruiz and Oliver Lake.
Hoggard has played in venues in Africa, South America, Europe, Asia and the Caribbean. In the United States he has performed at the Kennedy Center in Washington D.C., the Lincoln Center in New York City, and the Schomburg Center for Research in Black Culture also in New York City. Jay has performed at numerous jazz festivals including St. Lucia, Montreux, Mount Fuji, Pori and Hartford, CT. He has appeared on television on CBS Sunday Morning and BET Jazz.
Hoggard has recorded many dates as a leader, including several that have been commercially successful in the U.S. He graduated from and is currently Adjunct Professor at Wesleyan University.





Review by Scott Yanow
Jay Hoggard's lone date for Contemporary (reissued as an OJC CD) was one of the vibraphonist's finest early sets. The music (all six songs are Hoggard originals) falls into the area of advanced hard bop. Chief among the sidemen are Chico Freeman (heard on tenor, soprano and bass clarinet), keyboardist Kenny Kirkland, and colorful percussionist Paulinho Da Costa; two songs utilize three vocalists, and there is a strong African feel to some of the ensembles.


Grant Green • Remembering [LP]