jueves, 31 de marzo de 2016
01. Pink Panther Theme (Quincy Jones) (3:24)
02. Watermelon Man (Les McCann) (3:42)
03. Fever (Sarah Vaughan) (2:49)
04. Mercy, Mercy, Mercy (Willie Bobo) (2:37)
05. Work Song (Ray Brown All-Star Big Band) (5:19)
06. Cantaloupe Island (Kai Winding) (5:45)
07. Killer Joe (Art Farmer - Benny Golson Jazztet) (4:08)
08. The 'In' Crowd (Ramsey Lewis Trio) (5:54)
09. Lullaby Of Birdland (George Shearing) (3:13)
10. Mack The Knife (Ella Fitzgerald) (4:42)
11. Take Five (Dave Brubeck Quartet) (9:54)
12. Cute (Milt Buckner) (3:04)
13. Caravan (Wes Montgomery) (2:40)
14. Walk, Don't Run! (Johnny Smith) (3:20)
15. Bluesette (Toots Thielemans) (4:50)
16. A Night In Tunisia (Red Garland) (6:56)
El tecladista Ethan Holtzman oriundo de Los Angeles, de viaje por Camboya, se subyuga con el sonido de viejos temas de los sesentas de desconocidos y hasta anónimos grupos locales, lo que le da la idea de recrear dicho sonido en su pais natal. Fruto de ello es Dengue Fever, que aparte de tener una vocalista camboyana, nuestro amigo tecladista fiel al sonido interpreta los temas de la banda con el mítico órgano Farfisa y el Optigan, un teclado de fines de los 60 que utilizaba pistas pregrabadas.
Keyboardist Ethan Holtzman native of Los Angeles, travel Cambodia, subjugates with the sound of old songs from the sixties and even anonymous strangers local groups, which gives the idea of recreating that sound in his native country. The result of this is Dengue Fever, apart from having a Cambodian vocalist, keyboardist our faithful friend sound interprets the songs of the band with the legendary Farfisa organ and Optigan, keyboard late 60s who used prerecorded tracks.
Tiempo de Rag y Boogie, con esta pianista sumamente exitosa y poco conocida en paises de habla hispana, con una excelente seleción de rags y boogies.
Nacida en Tunapuna en Trinidad y Tobago en 1910 ó 1914 (es incierta su fecha de nacimiento), se fue a Trinidad en la década de 1940 y viajó a los Estados Unidos para estudiar con Alexander Borovsky y, en 1946, se trasladó a Londres , donde había ganado una beca en la Royal Academy of Music . Ella se convirtió en el primer pianista femenina que se le otorgó la más alta calificación de la Academia de música.
Mientras hacía sus estudios tocaba en clubes y teatros londinenses, fue descubierta por el empresario Bernard Delfont, con quien grabó su primeros discos logrando enorme éxito, que continuó ininterrumpidamente hasta bien entrada la década del 60. Ha sido la primer persona de raza negra en tener un puesto Nº 1 en el chart.
Bio completa en inglés: http://en.wikipedia.org/wiki/Winifred_Atwell
Rag Time and Boogie with this highly successful and little known in Spanish-speaking countries, with an excellent Selection of rags and boogies pianist.Born in Tunapuna in Trinidad and Tobago in 1910 or 1914 (it is uncertain date of birth), he went to Trinidad in the 1940s and traveled to the United States to study with Alexander Borovsky and in 1946 moved to London, where he had won a scholarship at the Royal Academy of Music. She became the first female pianist who was awarded the highest rating of the Academy of Music.While doing his studies played in clubs and London theaters, was discovered by businessman Bernard Delfont, with whom he recorded his first albums achieved huge success, which continued uninterrupted until well into the 60s has been the first black person to have one # 1 on the chart.
Bio en español: http://es.wikipedia.org/wiki/Terry_Gibbs
Personnel: Terry Gibbs (vibraphone); Barry Harris (piano); Sam Jones (bass); Alan Dawson (drums).
Recorded on July 10, 1974
Clarinet – Buddy DeFranco
Bass – Gene Wright
Drum – Bobby White
Guitar – Tal Farlow
Organ – Sonny Clark
Piano – Sonny Clark
Supervised By – Norman Granz
Regina Carter / Violin
Yacouba Sissoko / Kora
Adam Rogers / Guitar
Will Holshouser & Gary Versace / Accordion
Chris Lightcap & Mamadou Ba / Bass
Alvester Garnett / Drums & percussion
miércoles, 30 de marzo de 2016
El título del álbum es inexplicable ya que fue grabado en vivo en Gothenburg, Suecia.
The album title is inexplicable as it was recorded live in Gothenburg, Sweden.
Review by Scott Yanow
A Nice Day is a nice recording for multireedist Buddy Collette who plays alto, clarinet, flute and tenor during the three sessions heard on the CD reissue. Five of the ten selection's are Collette's originals and, although the title cut and "Fall Winds" (which was renamed "Desert Sands") are both better-known for the versions he recorded with the Chico Hamilton Quintet than for these renditions, the original runthroughs are also excellent. Collette is the main voice throughout this set of lightly swinging music although he gets support from the fine rhythm sections (which include either Don Friedman, Dick Shreve or Calvin Jackson on piano). Overall this set serves as a good all-around showcase for Buddy Collette's playing and writing talents.
Niacin is a neo-fusion instrumental trio featuring bassist Billy Sheehan, drummer Dennis Chambers, and keyboardist John Novello. Founded in 1996, the band's name comes from the timbral foundation of the Hammond B3 organ; vitamin B3 is also known as niacin.
While the members pursue solo and sideman projects, they have continued to record and tour as a unit.
more info: http://www.magnacarta.net/niacin/
Músico autodidacta, el contrabajista, Leroy Vinnegar comenzó a interesarse por la música tocando el piano en algunas jam session de su ciudad natal, en Indianápolis. En 1953 decide adoptar el contrabajo como instrumento habitual y se traslada a Los Ángeles donde se inicia como músico profesional acompañando en distintas sesiones de grabación a la flor y nata del jazz de la Costa Oeste: Stan Getz, Pete Candoli, Barney Kessell, etc.
En 1956 realizó su primera gira con el grupo del baterista, Shelly Manne, interviniendo en la grabación de un disco con la música del musical "My Fair Lady" que el extraordinario baterista grabó junto a André Previn. Leroy Vinnegar fue entre la década de los cincuenta y los sesenta uno de los contrabajistas mas solicitados en la Costa Oeste y su actividad le llevó a participar en programas televisivos, espectáculos teatrales, conciertos, giras y en numerosas grabaciones como jazzmen de otros músicos. Su cosecha discográfica está compartida con los grandes músicos del Oeste americano, y sólo hay unos pocos discos a su nombre, el mas importante de ellos, el que supuso su debut en 1957 para el sello Contemporary titulado: Leroy Walks!.
Leroy Vinnegar, fue tambien un excelente compositor y en ese sentido su participación en los festivales de jazz de Montreux, Monterey, o Concord siempre fue a un gran nivel. Conocido en el mundillo jazzistico como uno de los contrabajistas mas representativos del estilo denominado: walking bass, sus solos eran imaginativos, y dotados de una sonoridad grave extraordinaria.
Leroy Vinnegar (July 13, 1928 – August 3, 1999) was an American jazz bassist.
Born in Indianapolis, the self-taught Vinnegar established his reputation in Los Angeles during the 1950s and 1960s. His trademark was the rhythmic "walking" bass line, a steady series of ascending or descending notes, and it brought him the nickname "The Walker". Besides his jazz work, he also appeared on a number of soundtracks and pop albums, notably Van Morrison's 1972 album, Saint Dominic's Preview.
He recorded extensively as both a leader and sideman. He came to public attention in the 1950s as a result of recording with Lee Konitz, André Previn, Stan Getz, Shorty Rogers, Chet Baker, Shelly Manne, Joe Castro and Serge Chaloff. He played bass on Previn and Manne's My Fair Lady album, one of the most successful jazz records ever produced. He also performed on another of jazz's biggest hit albums, Eddie Harris and Les McCann's Swiss Movement, released in 1969. Vinnegar also performed at the famous Lighthouse in Hermosa Beach, California, and Diggers in East Los Angeles in the late 1950s with drummer/pianist Don Joham along with other musicians. He moved to Portland, Oregon in 1986. In 1995, the Oregon State Legislature honored him by proclaiming May 1 Leroy Vinnegar Day.
Vinnegar died of a heart attack, at the age of 71, on August 3, 1999, in a hospital in Portland. https://en.wikipedia.org/wiki/Leroy_Vinnegar
Tracklist (2 Lps On 1 Cd)
1 Blue Devil Blues (Stitt) 4:23
2 Home Free Blues (Stitt) 4:19
3 Blue Prelude (Jenkins, Bishop) 3:03
4 Frankie and Johnny (trad.) 5:28
5 Birth of the Blues (DeSylva, Brown, Henderson) 5:53
6 A Blues Offering (Stitt) 4:01
7 Hymnal Blues (Stitt) 6:03
8 Mornin’ after Blues (Stitt) 2:58
9 Blues for Lester (Stitt) 4:18
10 After You’ve Gone (Creamer, Layton) 3:42
11 Street of Dreams (Lewis, Young) 2:37
12 The Way You Look Tonight (Fields, Kern) 4:57
13 Presto (Stitt) 3:22
14 Tune Up (Davis) 4:02
15 I Got Rhythm (Gershwin, Gershwin) 3:03
16 What’s New ? (Haggart, Burke) 3:39
17 Subito (Stitt) 3:54
18 If I Had You (Campbell, Connelly, Shapiro) 4:06
19 I’ll Remember April (Raye, DePaul, Johnston) 4:33
[# 1-8] from "Sonny Stitt Blows The Blues" (Verve MG VS-6149 / Stereo)
Sonny Stitt - as & ts
Lou Levy - p
Leroy Vinnegar - b
Mel Lewis - dr
Recorded in Los Angeles ; December 2 [# 1 & 6], & 22 [# 2-5, 7-8], 1959
[# 9-19] from "The Hard Swing" (Verve MG VS-6038 / Stereo)
Sonny Stitt - as & ts
Amos Trice - p
George Morrow - b
Lennie McBrowne - dr
Recorded in New York ; February 9, 1959.
Sam had regular violin lessons since the age of 12 and at 14 became interested in keyboard instruments, the Hammond organ in particular. After a period of private jazz piano tuition with local teachers within the area of his native Rimini in Italy he joined the CPM (Centro Professione Musica) in Milan. Here he obtained a jazz piano diploma receiving tuition from the renowned pianist Franco D’andrea. During the same years he completed a university degree in music (DAMS) and he also attended the summer jazz clinics of Siena Jazz.
From the year 2000 Sam has lived in London. Here he studied with the British organ legend Mike Carr and obtained a First Class Honours Degree in jazz music from Middlesex University. He also had hammond organ lessons with Doctor Lonnie Smith in New York.
Very soon Sam became established in the London jazz scene. At the moment he is in regular demand as a jazz organist by many different musicians and has been performing in some of the most renowned jazz venues and international Jazz Festivals in London and UK: Jazz Cafe, The Crypt St Martin in Fields, Royal Festival Hall Foyer, National Theatre, London Jazz In The Streets, Coventry Jazz Festival, Southport Jazz Festival, Glasgow Jazz Festival.
During this period in the UK has played, amongst others, with Andy Sheppard, Dave O’Higgins, Clark Tracey, Jim Mullen (who played guitar with Brian Auger and Jimmy Smith), Dave Cliff, Colin Oxley, Butch Thomas (saxophonist with Jaco Pastorius and Sting), Tina May, Alan Barnes, Gareth Lokraine, Nigel Price ( James Taylor Quartet’s guitarist), Phill Lee (Jimmy Smith's regular guitarist for UK gigs) and recently with Cameron Pierre (Courtney Pine's guitarist).
The principal source of inspiration comes from Jimmy Smith, Melvine Rhine, Larry Young, Winton Kelly, Wes Montgomery ,Grant Green, Charlie Parker, Cannonball Adderley and Lou Donaldson. Sam has recently recorded with multi - awarded guitarist Colin Oxley and drummer Gideon Marcus in a newly formed Hammond trio called “Blue Groove”.
Muddy Waters, Sonny Boy Williamson, Slim Harpo, Howlin' Wolf, James Cotton, Alexis Korner, Toots Thielemans, Junior Mance ...
An anthology of this band from Uruguay, collecting the best of their discography comprised of four albums recorded between 1968-1972. Their sound, unique and special, is rooted on key elements of their times such as jazz, muzak, soul, bossa nova and "nightclub music" with a definite Uruguay flavor. The Sexteto Electronico Moderno was quite famous and they intermixed with the first beat bands in the Montevideo of the '60s. Their line-up was: keyboardist Armando Tirelli (whose album El Profeta also has some fame); drummer Juan Carlos Shepard (who also played on El Profeta); Danial Peña on sax, Juan M. Oliveira on guitar, Julio Seoane as bassist and Daniel Podesta playing electronic piano. This will be a revelation for fans of easy-listening and jazzy soul.
Saxo barítono de origen sueco, nos brinda uno de sus discos asociado en un par de temas con Chet Baker.
Violinist Regina Carter is considered the foremost jazz violinist of her generation – a designation which doesn’t quite paint the picture. As a result of her curiosity, passion, and quest for beauty brought to every stop taken on her full musical journey, she was awarded a MacArthur Fellowship (a “genius grant”). Those are more apparent than ever on her upcoming debut Southern Comfort (Sony Music Masterworks), in which she explores the folk music of the South. The album will be released on March 4, 2014 and coincide with an international tour.
Southern Comfort thematically connects Carter’s earlier albums I’ll Be Seeing You: A Sentimental Journey (2006), which features her mother’s favorite early jazz standards; and Reverse Thread (2010) which celebrates the tradition of African music re-imagined for violin, accordion, bass, drums and kora. On her new album she explores the folk tunes her paternal grandfather, a coalminer, would have heard as he toiled in Alabama – and the project expanded to include other folk tunes of the region.
Intent on making the past, present, Regina sought out distant relatives and books about the era in which her grandfather lived. From there, she went to the Library of Congress and the renowned collections of folklorists such as Alan Lomax and John Work III digging deep into their collected field recordings from Appalachia. On Southern Comfort, Regina interprets her own roots through a modern lens.
“When I would hear some of these field recordings, if I heard something that touched me I put it on the list,” said Carter. “I had maybe 50 tunes that I felt strongly about, and I finally forced myself to work more on those to stop myself from collecting more.”
The 11 tracks on Southern Comfort include Carter’s interpretations of Cajun fiddle music, early gospel and coal miner’s work songs in addition to some more contemporary tunes.
“In the Appalachians there were Scottish and Irish descendants, slaves and Native Americans. It was a cultural hodgepodge and the music resulting from it is intoxicating. This disc was to pay homage to my family,” said Carter, “but it turned out to be so much more.”
The musicians on this recording bring a different mixture of backgrounds to the project, including guitarists Adam Rogers and Marvin Sewell, bassists Chris Lightcap and Jesse Murphy, accordionist Will Holshouser and drummer Alvester Garnett, who also provided arrangements. Stefon Harris, Xavier Davis and Nate Smith also contributed arrangements, about which Carter expressed, “Each arranger brings out something musically that’s unique to them which speaks to me.”
On being signed to Sony Music Masterworks, Carter adds, “I’m so excited to work with a label that has such history; it’s the perfect place for this project. Moreover, it’s wonderful to be reunited with U.S. label head Chuck Mitchell. I’ve provided Southern Comfort – the nurturance and comfort Chuck and SONY have provided covers a realm far greater.” http://reginacarter.com/
martes, 29 de marzo de 2016
Review by Steve Huey
Grant Green's third album to be released, Grantstand teams the clear-toned guitarist with an unlikely backing group of musicians who rarely appeared with Blue Note otherwise: tenor saxophonist Yusef Lateef (who doubles on flute), organist Brother Jack McDuff, and drummer Al Harewood. Although Lateef was beginning to delve deeply into Eastern tonalities and instruments around the same time, his playing here is pretty straightforward and swinging, fitting the relaxed, bop-tinged soul-jazz that makes up most of the session. For his part, McDuff is mellower than his usual ferocious self, laying back and swinging with a blissful ease. Green contributes two bluesy originals, the nine-minute title track and the 15-minute "Blues in Maude's Flat," which are turned into loose, loping jams that rank as some of the best examples of Green's ability to work an extended groove. (The CD bonus track, "Green's Greenery," is in much the same vein, though not as long.) Elsewhere, Green leads a delicate, sensitive exploration of "My Funny Valentine" that ended up as his greatest standard performance to date, setting the stage for a great deal more work in this vein that was soon to be forthcoming (including his brilliant sessions with Sonny Clark). Still, the groove is what reigns supreme for most of the album; if you're looking for Green the soul-jazz groovemaster, Grantstand is an excellent place to find him.
Joe Roland (May 17, 1920 – October 12, 2009) is an American jazz vibraphonist.
Roland began as a clarinetist, attending the Institute of Musical Art (later known as the Juilliard School) from 1937 to 1939. He started on xylophone in 1940 and began playing vibraphone in the middle of the decade, playing in jazz clubs in New York City. Influenced by the nascent bebop movement, Roland put together his own ensembles late in the decade, and in the 1950s he played with Oscar Pettiford (1951), George Shearing (1951–53), Howard McGhee, and Artie Shaw and his Gramercy Five (1953–54), Freddie Redd (1955), Mat Mathews (1956), and Aaron Sachs (1956).
Roland recorded occasionally as a leader; he released on Rainbow in 1949, on Savoy (1950, 1954), Seeco (1953–54), and Bethlehem (1955).
In the early sixties Roland relocated from New York to Miami Florida. He was an influential part of a thriving jazz scene in South Florida for many years. During his 13 year "gig" at Monty Trainer's Bayshore Restaurant in Coconut Grove he was credited for having trained many young musicians from the University of Miami. He worked steadfastly throughout his life refining his art humbly in local clubs accompanied by bassists such as Lew Berryman and Mark Trail, and singers like Sandy Patton. His dedication to his "musicianship" remained the focus of his life. He died of natural causes at the age of 89 in Palm Beach County Florida. He was known to all as a "True and Pure Jazz Musician."
Roland's contributions can be appreciated in a quote from Peter Dempsy regarding Artie Shaw's Summit Ridge Drive album: "The Gramercy Five recordings of 1953 and 1954 document a brilliant phase in early modern jazz, manifested in the presence of pianist Hank Jones, guitarist Tal Farlow, bassist Tommy Potter and vibraphonist Joe Roland.
Howard Roberts was born in Phoenix, Arizona in 1929. He began playing guitar at age 8 and by age 15 was playing gigs in and around the Phoenix area. In 1950 (at age 20) Howard decided to move to Los Angeles, and through hard work and the invaluable assistance of fellow guitarist/arranger-composer Jack Marshall, Howard met and began playing with some of L.A.'s very best musicians, including Bobby Troup, Chico Hamilton and Barney Kessel. This led to a job with Bobby Troup and circa 1956 to a solo recording contract with Verve Records. At around that same time as he signed with Verve, Howard decided to concentrate on recording/studio work - work that he would do nearly non- stop until the early 1970's.
By Devon “Doc” Wendell
When I think of Chicago jazz guitar, I instantly think of Andy Brown. He’s been a veteran of the Chicago scene for over 13 years now. His new album Direct Call captures the soul and intimacy of Brown’s live weekly performances at Andy’s Jazz Club in the Windy City. The album features the same quartet that plays with Andy at Andy’s consisting of Jeremy Kahn, piano, Joe Policastro, bass, and Phil Gratteau on drums.
This album is what a studio jazz recording should be all about. It’s sincere, pure, and sounds exactly like a late night live set at a real jazz club. Brown and his band do tasty and dedicated covers of Johnny Hodges “The Jeep Is Jumpin'”, Hank Mobley’s “Funk In Deep Freeze”, Johnny Mandel’s “El Cajon” as well as the title track which was written by Django Reinhardt.
You can hear hints of legends like Wes Montgomery, Lenny Breau, and Joe Pass in Brown’s style but his sense of spacing and dynamics are extraordinarily unique. Jeremy Kahn’s piano accompaniment is swinging and precise. Kahn’s solo on the title track is poignant and masterful. The rhythm backing of Policastro and Gratteau is tight and wonderfully sparse.
The ballads really shine on this recording, especially on Jimmie Guinn’s “Relaxing” and Russ Columbo’s standard “Prisoner Of Love” which has the same feel to it as the version Lester Young did with Teddy Wilson on the classic Verve album Press And Teddy. Brown’s guitar lines and arpeggios are as fluid and lyrical as that of a master class jazz vocalist.The band’s take on Hoagy Carmichael’s “One Morning In May” is syncopated, thematic, and tender. You really feel the strong chemistry between Brown and his quartet on this number. It’s evident that these guys know each other’s styles intimately.
The uptempo “Catch Me” swings as hard as humanly possible. Gratteau’s bop flavored drumming is phenomenal and Kahn delivers his most imaginative piano solo on the album. On Jobim’s “Ela E’ Carioca”, Brown plays with the kind of breath and restraint of a true master. This is a soulfully stellar performance on all levels. Policastro’s bass solo is slick, melodic and sticks to the composition’s theme perfectly. This is truly an album highlight.
The album closes with the bluesy “Freak Of The Week” written by John Coates Jr .Brown really pays homage to Wes Montgomery here, playing those on of a kind octaves that Montgomery made so popular and the band cooks with sheer joy.
If you’re looking for a pure jazz album with no flash and nothing but great music, you must get a copy of Direct Call by The Andy Brown Quartet. This is the real deal.
1. The Jeep Is Jumpin'
2. Prisoner Of Love
3. El Cahon
4. Funk In Deep Freeze
5. Appel Direct (Direct Call)
7. One Morning In May
8. Catch Me
9. Ela É Carioca
10. Freak Of The Week
Review by Stephen Thomas Erlewine
As he delved deeper into commercial soul-jazz and jazz-funk, Lou Donaldson became better at it. While lacking the bite of his hard bop improvisations or the hard-swinging funk of Alligator Bogaloo, Midnight Creeper succeeds where its predecessor, Mr. Shing-A-Ling failed: it offers a thoroughly enjoyable set of grooving, funky soul-jazz. The five songs -- including two originals by Donaldson and one each by Lonnie Smith (who also plays organ on the record), Teddy Vann, and Harold Ousley -- aren't particularly distinguished, but the vibe is important, not the material. And the band -- Donaldson, Smith, trumpeter Blue Mitchell, guitarist George Benson, and drummer Leo Morris -- strikes the right note, turning in a fluid, friendly collection of bluesy funk vamps. Donaldson could frequently sound stilted on his commercial soul-jazz dates, but that's not the case with Midnight Creeper. He rarely was quite as loose on his late-'60s/early-'70s records as he is here, and that's what makes Midnight Creeper a keeper.
Leo Morris (aka Idris Muhammad)-drums
Lou Donaldson-alto saxophone,
1.Autumn Leaves Hot
3.A Child Is Born
4.All the Things You Are
5.Body and Soul
6.All of Me Hot
7.In a Sentimental Mood
9.Take the A-Train
12.Don't Get Around Much Anymore
13.Georgia on My Mind
15.Girl from Ipanema
16.How High the Moon
Review by Scott Yanow
Most of Herbie Mann's Atlantic sessions of the 1960s are among the flutist's best and most popular work. Mann and his regular group of 1963 (which includes vibraphonist Dave Pike, pianist Don Friedman, guitarist Attila Zoller, bassist Ben Tucker and drummer Bob Thomas with added percussionists Willie Bobo and Potato Valdez) are heard in spirited form on this set from the 1963 Newport Jazz Festival. There are two surprises, both having to do with Antonio Carlos Jobim tunes. The bossa nova hit "Desafinado" is taken in straight 4/4 time without the percussionists, which makes it sound like a new song. And three months after Stan Getz, Jobim and the Gilbertos recorded "The Girl From Ipanema" (but before it was even released), Mann can be heard playing an instrumental version of the song, here listed as "Garota De Ipanema." A catchy rendition of "Soft Winds," the bossa nova "Samba De Orfeu," and Ben Tucker's "Don't You Know" round out the well-played program.
lunes, 28 de marzo de 2016
Some rare non-Ellington material from Billy Strayhorn and Johnny Hodges -- both sessions recorded as part of a series done by producer Stanley Dance at the end of the 50s! The feel here is a almost a bit more open and less restrained than the usual Ellington groove -- with some standout longer tracks, plus a number of more familiar numbers crafted in that rich Strayhorn love of colors and tones -- all topped with beautiful solo work by Johnny Hodges.
James Faye "Roy" Hall (May 7, 1922 - March 3, 1984), also known by his pseudonym "Sunny David", was an American rockabilly pianist and songwriter. Hall was an uncredited co-writer of the rockabilly classic "Whole Lotta Shakin' Goin' On", a song recorded by Hall himself and later popularized by Jerry Lee Lewis. Although his writing claim was initially disputed, later reissues of the song credit Hall for his role in its conception.
Full Info ...
Jimmy Witherspoon was one of the smoothest blues singers to come along in the late 1940s, and his earthy yet elegant style was versatile enough for him to "cross over" into jazz and even rock (in 1971, he co-led an album with the great British blues-rock singer Eric Burdon). THE BLUES, THE WHOLE BLUES... was recorded in England and originally released in 1992.
Called “The hippest cat ever to Swing an accordion”, Art Van Damme was born in the small town of Norway, Michigan in 1920. The 40’s and 50’s saw the classically trained Van Damme revolutionize the way the accordion was played, removing it from its stereotyped role as a polka playmate; in 1947 Van Damme made the cover of the prestigious jazz magazine Downbeat and was voted “Top Accordionist” 10 years in a row. He starred on such popular American TV programs as “Today”, “The Dinah Shore Show”, and “The Tonight Show”, and toured Europe some 40 times. With his decision to combine guitar and vibes with accordion, Van Dam’s groups developed a unique sound early-on. His recordings with MPS were some of his best, given the company’s predilection of allowing the musicians a free hand. As one reviewer put it, Van Damme played “…right-hand runs with a velocity and lightness of touch that defied the presumed limitations of the instrument, consistently emphasizing the lyric contours of a melodic phrase rather than the lightning technical flourishes that led up to it.”
Este disco constituyó en su momento el regreso de un olvidado Muddy, que demostró que por sus venas corría sangre "azul" todavía. Por supuesto sin olvidar la inestimable participación de pedazos de músicos que lo acompañan.
This disc is at the time the return of a Muddy forgotten, which showed that through his veins ran "blue" blood still. Of course not forgetting the invaluable participation of the musicians that accompany it.
Muddy Waters - vocals, guitar
Johnny Winter - guitar
James Cotton - harp
Pinetop Perkins - piano
Bob Margolin - guitar
Charles Calmese - bass
Willie "Big Eyes" Smith - drums
March 1st, 1932: Leroy Washington was born in Palmetto, Louisiana. Washington lived in Opelousas, Louisiana, for most of his short life. A Blues singer and guitarist, Washington played and recorded Swamp Blues with the likes of J.D. Miller and Lonesome Sundown. His biggest hit was for Excello in 1958, when he recorded "Wild Cherry". Little else is known about Leroy Washington, who recorded several sessions between 1957 and 1961 for Jay Miller. He was recalled by Miller as perhaps his favorite blues guitarist. He only released a handful of sides, however, he had recorded a considerable legacy of material for Miller, which had lain unissued for decades. Washington died on June 29th, 1966 in Oakdale, Louisiana at the age of 34.
domingo, 27 de marzo de 2016
Herbie Mann - Flute
Tommy McCook - Sax
Mick Taylor - Guitar
Pat Rebillot - Keyboards
Gladstone Anderson - Piano
Hux Brown - Guitar
Radcliffe Bryan - Guitar
Rod Bryan - Guitar
Bobby Ellis - Trumpet
Jackie Jackson - Bass
Albert Lee - Guitar
Michael Richard - Drums
Winston Wright - Organ
Nacido el 3 de abril de 1936 en Filadelfia, cuna del órgano Hammond, James Harrell McGriff (de padres pianistas) comienza tocando el bajo y saxo para después probar con la batería, el vibráfono y el piano antes de ser impresionado por el órgano Hammond de la mano de Wild Bill Davis y Milt Buckner.
McGriff compra su primer Hammond B3 en torno a los 20 años y se encierra 6 meses en casa donde recibe clases particulares de su amigo de infancia, un tal Jimmy Smith, del propio Milt Buckner así como de Richard "Groove" Holmes que sería el principal maestro y probablemente su mayor influencia, aunque según el propio McGriff viene a decir: "...se habla de que me enseñaron esto y aquello pero mi influencia básica proviene del órgano de iglesia...".
Después de esos 6 meses McGriff ya estaba preparado para dar el salto a los clubes con un estilo particular en el que destaca su etapa como bajista con potentes patrones de bajo y un derroche de sentimiento en su mano derecha.
En sus primeros combos allá por 1959 el órgano Hammond de McGriff se ve acompañado por un saxofonista que abandonaría poco después este instrumento para dedicarse también en exclusiva al B3, era Charles Earland que aprendería el Hammond del propio McGriff. Jimmy McGriff ya era maestro, pero es en 1962, durante una actuación en New Jersey, cuando un cazatalentos del sello "Sue" queda impactado por el arreglo de McGriff en el clásico "I´ve Got a Woman" de Ray Charles y le ofrece su primer contrato discográfico.
Y en contraposición a sus declaraciones son tres discos de Jazz los que consolidan a McGriff en la década de los 70 como uno de los grandes de la historia del instrumento, serían: Stump Juice (1975), Red Beans (1976) y Outside Looking In (1978). Destacan también dos álbumes a dúo con su compañero y amigo Richard "Groove" Holmes: Giants of the Organ Come Together (1973) y Giants of the Organ in Concert (1974) para el sello Groove Merchant.
Tras este periodo de gran éxito llegaría la década de los 80 y el declive del órgano Hammond por la aparición de sintetizadores y una nueva generación que golpeaba fuerte y se alejaba cada vez más de la música tradicional americana. Pero McGriff se recicla y es de los primeros en combinar el clásico sonido Hammond con sintetizadores, principalmente en directos. Ya en los 90 McGriff también es pionero en dejar en casa el B3 sustituido en discos y directos por un Hammond XB3 haciendo uso de funciones MIDI.
Antes de dejarnos en mayo de 2008 nos regaló varios momentos mágicos como el álbum "McGriff's House Party" de 1999 junto con Dr.Lonnie Smith, o esta actuación del festival de Montreux, junto con su amigo de infancia, Jimmy Smith:
Personnel & Credits:
Kermit Moore Cello
Bill Salter Bass (Electric)
Jimmy Johnson, Jr. Drums
Lew Hanh Engineer, Remixing
Bill Jones Bass
The Sweet Inspirations Vocals (Background)
Yusef Lateef Oboe, Piano (Electric), Sax (Tenor), Bamboo Flute, Flute, Guitar, Piano
Kenny Barron Piano (Electric), Piano
Neal Boyer Chimes, Vibraphone, Percussion
Ladzi Cammara African Percussion
Bob Cunningham Bass
Eric Gale Guitar
Albert “Tootie” Heath Drums, Flute
Jimmy Johnson Drums
Ray Bryant Piano (Electric), Piano
Sam Jones Bass
Chuck Rainey Bass
sábado, 26 de marzo de 2016
Born Frans Bayetz, Rijkevorsel, Belgium, 1914
Died 25 April 2005, Bonheiden, Belgium
Leader of some of the wildest big band ensembles of the space age pop era, Francis Bay started honing his chops at the young age of seven, playing clarinet with local orchestras in his area. By fourteen, he was already writing his own compositions and soon after, began a lifetime captivation with jazz. He won first prize for clarinet performance at the Conservatoire of Malines (Mechelen) in 1930, and later added saxophone and trombone to his repertoire. In the late 1930s, he played with several of the more successful European swing bands, including Paul Godwin's and Boyd Bachman's. He continued to work professionally during World War Two, mostly with Belgian and Dutch dance bands.
In the late 1940s, he helped form an influential European big band, the Skymasters. He also arranged and composed music for Dutch and German films and played with groups throughout northern Europe. Finally, in 1954, he formed his own big band, the group with which he came to greatest fame. Within its first year of existence, the band won the Golden Gondola award at the International Music Fair in Venice. Two years later, in 1956, Bay was selected to be director for popular music at Vlaams Radio-Televisie (the official Flemish radio and television network in Belgium).
Although Bay's band was quite popular on radio in Europe, it was the lucky coincidence of the 1958 World's Fair being held in Brussels that brought him to the attention of American audiences.
Bay's band shared the World's Fair stage with numerous major American jazz and pop stars, including Benny Goodman, and Omega, a small American jazz label, licensed a slew of Bay's Belgian recordings for release in the U.S. Unlike many European bands, which offered loving but pale imitations of American bands, Bay's not only produced flawless duplicates of hits by Basie, Glenn Miller, Tommy Dorsey, and others, but staked out their own territory as well. On his Latin-flavored recordings, Bay sounds like he could go head-to-head with Perez Prado in a battle of bands.
In addition to his many Omega albums, Bay also provided the material for a number of albums released on Directional Sound. Credited to "John Evans"--the Americanized name of his piano player, Jean Evans--or "Don Catelli"--these are certainly the best of an attractive and well-produced (if shoddily annotated) series of glossy gatefolds clearly targeted at the same market as Enoch Light's Command albums.
As American listeners' interest in jazz in general and European jazz in particular waned in early 1960s, Bay's albums vanished from the U.S. racks. His work in Belgium continued, however. He composed, arranged, and conducted music for dozens of shows on VRT, including everything from game shows to Belgium's annual competition for its entrant to the Eurovision Song Contest. When he retired in 1979, however, he cut off all ties with the network, refusing to return in the late 1990s for VRT's 50th anniversary celebrations.
Bandleader, pianist, arranger, songwriter and vocalist Buddy Johnson was a major figure in R&B history, not just because of the longevity of his recording career (1939 – 1964) but also because of the sheer quality and versatility of his band. In the 1940s The Buddy Johnson Orchestra had a string of hits on Decca (many featuring vocalists Ella Johnson, Buddy’s sister, and Arthur Prysock) and was a huge live attraction in their New York base and in the Southern States. Like other top big bands of the era, their repertoire included dance tunes, boogies, blues and ballads. As the era of the big band faded in the late 1940s and early 1950s, Buddy managed to keep his band together, both on the road and in the studio.
In early 1953 Buddy signed for Mercury, revitalising his chart career and starting a new phase of success for the band which had already survived the transformation from swing to R&B and now found itself at the forefront of the rise of rock ‘n’ roll as it became part of the live shows promoted by Alan Freed and his New York rival Tommy “Doctor Jive” Smalls.
The precedent was set in 1953 when The Buddy Johnson Orchestra was part of the first of the really big R&B touring package shows – The Big Rhythm and Blues Show organised by the Moe Gale agency - which also included Ruth Brown, Wynonie Harris, The Clovers and Lester Young. The show drew huge audiences as it travelled through the Eastern States, The Midwest and The South. In Cleveland it drew 10,000 to a show hosted by Alan Freed who would use the band on his own rock ‘n’ roll package shows such as his Boston show of May 1955 which included Bo Diddley, Nappy Brown, The Five Keys, The Moonglows, Dinah Washington, Little Walter, Al Hibbler and Dakota Staton. As late as January 1959, with its hit making days long gone, the band was on the “Biggest Show of Shows” along with The Platters, Jimmy Clanton, Clyde McPhatter, The Crests, The Cadillacs, Bo Diddley and Duane Eddy.
In the same month Buddy’s contract with Mercury was not renewed and the band signed for Roulette but their only single release on the label met with indifference, for the days of that now largely forgotten genre, Big Band Rock ‘n’ Roll, were well and truly over. Before the end of 1959 Roulette released an LP titled “Go Ahead and Rock Rock Rock” credited to both Buddy and Ella. In the early 1960s deteriorating health brought Buddy’s retiral from the music scene. Ella also retired, to take care of Buddy who passed away in 1977, with Ella passing away in 2004.