martes, 31 de mayo de 2016

Jimmy McGriff • A Bag Full Of Soul




Lou Donaldson • Here 'Tis (RVG-edition)





Alto saxophonist Lou Donaldson is one of a slew of hornmen to emerge from the long shadow of Charlie Parker, one whose distinctive bluesy sensibility eventually became a leading voice in the soul jazz movement. Here 'Tis (recorded in 1961), Donaldson's 14th session as a leader for Blue Note, is a standout release in his catalogue, a high midpoint along a stylistic transition that began with 1958's Blues Walk and would crystallize with 1967's Alligator Bogaloo.

Here 'Tis boasts a stellar supporting cast of Grant Green (guitar), Baby Face Willette (organ) and Dave Bailey (drums) in a vibrant workout over four 12-bar blues tunes and a cover of the Gershwin's "A Foggy Day." Donaldson's playing here contains the best of bop and blues aesthetics; unhurried, fluent, expressive and eminently swinging, his ideas unfold with a seemingly effortless mix of heart and intelligence. As Robert Levin aptly describes it in the original liner notes, "If there is sometimes...a scent of the academy...there is also the vitality and conviction of insight."

Green, a fresh arrival on the New York scene at this point in his career, his talent in full flower, delivers solos that evince a masterful mix of space and density, stop and go. Willette is the emotional epicenter of the session, working the organ with a raw, undisciplined touch that pulls on the listener like a preacher's sermon, milking each phrase to its last emotive drop. While "A Foggy Day," Bird's "Cool Blues" and "Watusi Jump" are brisk swingers, showcasing the combo's driving verve, the title track and "Walk Wid Me" are moody dirges that would past muster with a down-home blues bar crowd.







Stephane Grappelli • Live At Corby Festival Hall



Stephane Grappelli recorded frequently during the last three decades of his life and previously unissued recordings like this 1975 concert at Corby Festival Hall have continued to turn up. On this occasion the violinist is accompanied by lead guitarist Diz Disley, rhythm guitarist Ike Isaacs and bassist David Moses. The set is fairly typical, concentrating on standards from the 1920s through the 1940s, starting with a chugging but brisk take of "I Can't Believe That You're in Love With Me." The marvelous duet by Grappelli and Disley of "Smoke Gets in Your Eyes," Grappelli's inventive treatment of "(Back Home Again In) Indiana" and the crowd-pleasing "Sweet Georgia Brown" are among the highlights. It is simply amazing that Stephane Grappelli never seemed to go on autopilot as he played a song for the hundredth (or possibly thousandth) time; this CD is a valuable addition to his already vast discography.


Jimmy Smith • Rockin' the Boat (RVG-edition)



Rockin' The Boat was one of organist Jimmy Smith's final sessions for Blue Note. Recorded in 1963, it featured Smith's regular band at the time, Quentin Warren on guitar and Donald Bailey on drums, augmented by the soulful Lou Donaldson on alto sax and John Patten on tambourine. Smith recorded many albums for Blue Note, all of them good, some of them great. Rockin' The Boat falls in the former category, as some of the songs are calypso ("Matilda, Matilda!") and spiritual ("Just A Closer Walk With Thee"). These numbers have a different pacing and beat than the down and dirty blues-based ones Smith excelled at. In addition, Smith and Donaldson, who were frequent collaborators, usually generated considerable heat when playing in the hard bop/soul jazz genre as witnessed by the tunes "Pork Chop" and "Please Send Me Someone To Love."





The sound quality of this CD is outstanding. It's another of Blue Note's Rudy Van Gelder releases using 24-bit resolution. While not earth shattering (try Back At The Chicken Shack, The Sermon, or Open House/Plain Talk), Rockin' The Boat is worth rediscovering. A good effort by Jimmy Smith is impressive by other artist's standards. It's wonderful music, one of those CDs that improves with each play. Listen and enjoy.


VA • Genius Of Boogie Woogie




lunes, 30 de mayo de 2016

Cal Tjader ‎• Several Shades of Jade



Review by Stewart Mason
One of the most unique albums of Cal Tjader's career, 1963's Several Shades of Jade is a collaboration with composer and arranger Lalo Schifrin that transposes the vibraphonist's musical travels from Latin America to the Far East. This is no more traditional Asian music than Tjader's similar albums from this period are traditional Latin American music, but the pair wisely avoids the standard clichés of Asian music (no smashing gongs after every musical phrase or melodies that sound like rejects from The Mikado). Instead, Schifrin frames Tjader's meditative vibraphone solos in arrangements that strike a cool balance between western kitsch and eastern exotica, never tipping too far in either direction. Although the follow-up album, Breeze From the East, is rightfully panned by just about everyone whose idea of Asian music doesn't begin and end with the Vapors' "Turning Japanese," Several Shades of Jade is actually an interesting experiment that succeeds more often than it fails.



Herb Ellis • Soft & Mellow



Review by Scott Yanow
Despite the title of this record by guitarist Herb Ellis, the songs are not all sleepy ballads. In fact, the opening number played by the quartet (which also includes pianist Ross Tompkins, bassist Monty Budwig and drummer Jake Hanna) is a rapid version of "Shine" and there is also an uptempo rendition of "Rosetta" to close the date. In between Ellis and his group perform five standards (including a few ballads) plus his original "Jeff's Bad Blues," dedicated to Concord head Carl Jefferson. An excellent all-round set of swinging music.


Ray Bryant • Ray Bryant Plays







Manu Katché • Manu Katché


Drummer Manu Katche blossomed as a contemporary jazz drummer and band leader, emerging in the mid-2000s after having played with his share of popular musicians. Born in Saint Maur Des Fossés, France on October 27, 1958, he studied classical piano at age seven in Paris, and at age 15 enrolled at the Conservatorie Nationale de Paris. He then became a session and concert drummer with a wide range of groups, but in the mid-'80s, Katche's stock rose considerably, thanks to his involvement with the touring and recording projects of Peter Gabriel and Sting.
A French debut CD It's About Time was followed by a string of engagements as a backup musician. The impressive roster of artists he has played with include Joni Mitchell, Gloria Estefan, Johnny Hallyday, Michael McDonald, Simple Minds, Afro Celt Sound System, Jeff Beck, Al DiMeola, Tears for Fears, Dire Straits, Jan Garbarek, Loreena McKennitt, Youssou N'Dour, Robbie Robertson, Joe Satriani, Tori Amos, Richard Wright, Julia Fordham, the Bee Gees, Joan Armatrading, Tracy Chapman, Bob James and Hilary James, Gipsy Kings, Anna Marie Jopek, Black Eyed Peas, Kyle Eastwood, and David Lanz. After issuing a demo for the Zildjian cymbal company in 1999, he joined the ECM stable of artists., releasing his breakout recording Neighbourhood, with help from labelmates Jan Garbarek, Tomasz Stanko, and Stanko bandmembers Marcin Wasilewski and Slawomir Kurkiewicz. Katche's ECM follow-up Playground came out in 2007 with assistance from saxophonist Trygve Seim and trumpeter Mathias Eick. Katche has also worked with popular Croatian singer Gibonni on his albums Mirakul (2001) and Unca Fibre (2006). From 2003 to 2007, Katche, producer Dove Attia, composer André Manoukian, and singer Marianne James comprised the judges panel for Nouvelle Star, the French Television version of American Idol. He has performed on film soundtracks Quand Les Etoiles, Le Demenagement, Mookies, Zone Franche, The Professional and For the Love of the Game. Since January 2008, he hosts the monthly program One Shot Not.





Legends of Acid Jazz ‎• Leon Spencer





Steve Allen & Terry Gibbs • Rhythm and Blues










Jack McDuff • Kisses







viernes, 27 de mayo de 2016

Wes Montgomery • Verve Jazz Sides





Booklet


Jackie Mittoo • The Keyboard King at Studio One


Jackie Mittoo (3 March 1948 – 16 December 1990) was a Jamaican keyboardist, songwriter and musical director. He was a member of The Skatalites and musical director of the Studio One record label.

He was born Donat Roy Mittoo in Browns Town, Saint Ann Parish, Jamaica, and began learning to play the piano when he was four under the tutelage of his grandmother.

In the 1960s he was a member of The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors and Sound Dimension. Mittoo's compositions in this period included "Darker Shade of Black", "Feel Like Jumping", and "Baby Why". He played with Lloyd "Matador" Daley in 1968 and 1969.

He emigrated to Toronto, Canada at the end of the 1960s. There he recorded three albums, Wishbone (Summus), Reggae Magic (CTL) and Let's Put It All Together (CTL). He also set up the Stine-Jac record label, as well as running a record store.

In 1970, his song "Peanie Wallie" was reworked into a song called "Duppy Conqueror" and recorded by The Wailers. Mittoo's song Wishbone was a hit in 1971. He performed in local Toronto lounges throughout the 1970s. Mittoo assisted Toronto-area reggae musicians, including Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James and Jason Wilson. Mittoo continued to record for Jamaican producers in the 1970s, mostly Bunny Lee. He co-wrote "Armagideon Time" (later recorded by The Clash) with Willi Williams, release in 1980.

In the 1980s, he often worked with Sugar Minott. In 1989, he briefly rejoined the Skatalites, but left when his health started to deteriorate. In 1989 and 1990 he recorded Wild Jockey for Lloyd Barnes’ Wackies label.

Mittoo entered a hospital on 12 December 1990 and died of cancer on 16 December at the age of 42. His funeral was held at the National Arena in Kingston, Jamaica, on 2 January 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond "Desi Roots" Young, Ruddy Thomas, Tommy Cowan, Clement "Coxsone" Dodd were among the attendees. A memorial concert was held around the same time, with performances by Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart and others.






Red Mitchell • Rejoice






Mat Mathews • Modern Art of Jazz



Artist Biography by Scott Yanow
Throughout his career, Mat Mathews fought an uphill battle to get the accordion accepted in bop-oriented jazz. He learned to play music during the Nazi occupation, and after the war ended, Mathews was inspired to play jazz when he heard a radio broadcast of Joe Mooney. He worked locally in Holland including most notably with the Millers from 1947-50. After moving to New York in 1952, he put together a quartet that for a time featured (and introduced) the young Herbie Mann on flute and tenor. Mathews' other sidemen included Art Farmer, Julius Watkins, Joe Puma, Oscar Pettiford, Percy Heath and Kenny Clarke. In addition to making records as a leader, Mathews also recorded with Carmen McRae from 1954-55. By the end of the decade he was mostly working as a studio musician, and in 1964 Mathews returned to the Netherlands. His importance to jazz greatly lessened as he has primarily worked in the studios as a player, arranger and producer, but Mathews' performances in the 1950s made a strong case for the accordion in jazz. Mathews recorded as a leader for the Dutch Van Wouw label (four titles in 1944), Brunswick (1953-54), Dawn (1956), Savoy (a 1957 date with four French horn players), Verve (live at Newport in 1957), JJM, Design and, back in the Netherlands, Ariola (1975).






http://matmathews.com/

Accordion –  Mat Mathews
Alto Saxophone – Gigi Gryce
Bass – Oscar Pettiford
Drums – Kenny Clarke
Flute – Herbie Mann
French Horn – Julius Watkins
Guitar – Joe Puma
Piano – Dick Katz
Trumpet – Art Farmer



Herbie Mann • Deep Pocket









Joe ''Fingers'' Carr • Honky Tonk Hits



 Although Lou Busch (not Bush, he changed the spelling) is best known for his honky-tonk piano recordings under his stage name, Joe "Fingers" Carr, his contributions to space age pop go well beyond that. He got his start early, leading his own band by the age of 12 and leaving home at 16 to work as a professional musician. He played with a number of sweet big bands--Clyde McCoy, Henry Busse, and George Olson--then took a short break to study at the Cincinnati Conservatory.

Joe 'Fingers' CarrAfter that, he went back to the sweet bands, this time joining one of the most successful of them, Hal Kemp's. Bush stayed with Kemp for most of the 1930s and married the first of his several wives, the band's girl singer, Janet Blair. After the band's lead arranger, John Scott Trotter, departed in early 1936, Bush and fellow band member Hal Mooney split most of the arranging duties. When Kemp died in from a car crash 1940, they moved to Los Angeles and started working as studio musicians, but World War Two came along and pulled Bush into the Army for a three-year stint.

When he returned to L.A. in 1945, he hooked up with Johnny Mercer's fledgling Capitol Records label and ended up working as an A&R executive. He continued to do occasional session work as a pianist, though, and provided the key ingredient in the 1949 Jo Stafford-Paul Weston hit, "Ragtime Cowboy Joe." In 1950, he sold the label on the idea of recording his ragtime playing, and he made up the name, Joe "Fingers" Carr, during his initial studio session. His first single, featuring his original tune, "Ivory Rag," became an international hit.

Although Capitol played up the nostalgic cariacature of Carr the honky tonk pianist, wearing derby hat, bowtie, vest, and suspenders, Bush tried not to let his recordings slip into mere novelty.

Carr's success spurred a revival of ragtime in the form of camped-up honky tonk.
* Born Louis Ferdinand Bush, 18 July 1910, Louisville, Kentucky
* Died 19 September 1979, Camarillo, California







Dr. Lonnie Smith • Flavors







Dave Pike • Let the Minstrels Play On



Vic Ash Quartet • Clarinet Virtuoso [EP]


Victor "Vic" Ash (born 9 March 1930, in East London), is an English jazz saxophonist and clarinetist.

Ash began playing professionally in 1951 when, together with Tubby Hayes, he joined the band of Kenny Baker, with whom he played until 1953. Following this Ash played with Vic Lewis (1953–56), then accompanied Hoagy Carmichael and Cab Calloway on tours of England.

He led his own ensemble and was a favorite in the Melody Maker fan polls of the 1950s; concurrently he had a radio program called Sunday Break, which discussed jazz and religion. In 1954, the Vic Ash Quartet recorded with US singer Maxine Sullivan in London. Ash toured the U.S. in 1957 and returned to play with Lewis in 1959. His ensemble was the only one representing British jazz at the Newport Jazz Festival that year.

Ash remained a mainstay of the British jazz scene for decades, playing in small and large ensembles including the BBC Big Band. He accompanied Frank Sinatra on tours in Europe and the Middle East from 1970 up until Sinatra's death. [WIKI]





Jimmy Smith • Home Cookin [Japan edition]










Señor Soul • Funky Favorites



Extracto de Señor Soul: "Miss Daisy on the groove"
... No fue Señor Soul sino otra de las muchas bandas de latin soul que pusieron banda sonora a las noches de discoteca de los adolescentes de finales de los sesenta, sin mayor trascendencia que la de ir de la barra a la pista de baile y de la pista de baile a la barra al ritmo de versiones funk de los éxitos soul y rock contemporáneos. En el periodo que va de 1967 a 1970, Señor Soul se dedicaba a continuar un camino emprendido como Creators, ignota banda de R&B especializada en versiones, adaptando su estilo de raíz en el blues y el jazz a los ritmos latinos que los músicos negros escuchaban en los guettos no segregados de la ciudad de Los Angeles. Después se dieron a conocer como los Romeos, pero como tampoco se comieron ni una rosca, y mientras más y más músicos entraban y salían de la formación, pasaron a llamarse Señor Soul y después Nightshift, completando un recorrido iniciático que no trascendería sino con la siguiente encarnación: War...

Fuente y artículo completo: http://musicadefondo.wordpress.com/2009/11/12/senor-soul-miss-daisy-on-the-groove/









Biography by Richie Unterberger
Senor Soul recorded some fair soul music, usually though not always instrumental, in 1967-70 with Latin and funk tinges. That's the kind of music that War took to the top of the charts in the 1970s, and the similarities between the two bands aren't a coincidence. War's Chuck Miller was in Senor Soul, and though for most of their recording career he seems to have been the only future War member involved, it also seems likely that War actually plays on the final Senor Soul single. That single, 1970's "Don't Lay Your Funky Trip on Me"/"I Ain't Got No Soul Today (What It Is, Y'All)," bears a writing credit nearly identical to the original lineup of War: Harold Brown, Howard Scott, B.B. Dickerson, Lonnie Jordan, Lee Oskar, and Chuck Miller. The sound of these vocal numbers, too, is quite similar to early War's material. Most of what Senor Soul did, however, on their sole LP and several 45s was instrumental, and in a funk-soul-jazz vein, heavy on covers of contemporary hits.


Jim Hall • Jazz Guitar





jueves, 26 de mayo de 2016

Zoot Sims • The Great Zoot Sims Down Home



Review by Scott Yanow
Tenor saxophonist Zoot Sims recorded on a regular basis as a leader for most
of 45 years, and virtually all of his many sessions are worth acquiring. Sims's Bethlehem date also gives one a look at the great pianist Dave McKenna in his early days, along with bassist George Tucker and drummer Dannie Richmond. Sims mostly explores standards from the swing era (including a rare version of "Bill Bailey") on this enjoyable and consistently swinging set.


Si Zentner • Desafinado



Isla Eckinger & Riner Scivally • Duets



SAMPLES ...




Euro Cinema • Ten-4



The group's raw jazz funk sound is rooted in late 60s organ funk as well as the anonymous "library music" soundtracks to 70s movies.





Akiko Tsuruga • Commencement



Procedente de Osaka, Japón, la organista y pianista, ha sido un pilar en la escena del jazz de Nueva York desde 2001. Esta joven y talentosa organista comenzó a tocar el órgano a la edad de tres años y lanzó su carrera en el jazz inmediatamente después de graduarse de la Escuela de Música de Osaka. Mientras vivía en Osaka, tuvo la oportunidad de tocar con numerosos músicos de renombre mundial de jazz de los Estados Unidos, tales como Roy Hargrove, Jeff “Tain” Watts, y Grady Tate, por nombrar sólo algunos. Grady Tate, en particular, la influenció en su decisión de convertirse en un músico profesional. Se le considera uno de sus mentores, y quizás el músico que más admira. Después de aterrizar en la meca del jazz, la ciudad de Nueva York, no pasó mucho tiempo para que Akiko dejara su marca, siendo reconocida por sus compañeros músicos, como uno de los mejores ejecutantes del órgano. Ha grabado varios CD, con muy buena crítica.




New York based Hammond B-3 organist Akiko Tsuruga (stage name Akiko), in her latest album uses powerhouse chops, good taste and impeccable sense of swing to remind us of everything we always loved about the organ-trio tradition.


Jutta Hipp • With Zoot Sims (RVG-edition)


 Jutta (se pronuncia "iuta" ) Hipp nació en Leipzig el 4 de Febrero de 1925 Jutta (se pronuncia "iuta" ) Hipp nació en Leipzig el 4 de Febrero de 1925 pero abandonó su ciudad natal en 1945, cuando las circunstancias de la Segunda Guerra se encargaban de separar gente alemana entre el este y el oeste.
Comenzó con el piano a los 9 años, estudió en la Academia de Artes de Leipzig y no tuvo inconvenientes de expresarse tocando tanto en circos como en clubes nocturnos.
Comenzó con el piano a los 9 años, estudió en la Academia de Artes de Leipzig y no tuvo inconvenientes de expresarse tocando tanto en circos como en clubes nocturnos.


Atraída por el jazz, formó en Munich su propio grupo y en 1951 un amigo tuvo la feliz idea de enviarle a Leonard Feather una cinta con grabaciones del combo.
En 1954, Leonard la fue a conocer, la escuchó y, ni corto ni perezoso, arregló los papeles para que su nuevo descubrimiento llegara a Nueva York legalmente, donde él mismo se encargaba de presentarla en cada actuación que realizaba en célebre club "Hickory House", donde comenzó a actuar en Marzo de 1956.
En 1958, algo hizo "click" en su cabeza y abandonó la carrera...abandonó también el hotel de Manhattan donde vivía ante la imposibilidad de pagar la renta, se mudó al barrio de Queens y comenzó a ganarse la vida como costurera.
Nunca regresó a su país... nunca se comunicó con nadie de su familia... para sus amistades, simplemente desapareció.
En la primavera de 2001, Thomas "Tom" Evered, Gerente General de Blue Note Records comenzó su búsqueda por una sencilla razón: se habían acumulado regalías a su favor por un monto de 40.000 dólares por reediciones japonesas de sus tres discos para el sello.
Cuando la encontraron, ya con 76 años, su vida era otra. En su casa no había ningún piano.


Alegó no sentirse bien ese día y hasta declinó una invitación para ir a almorzar. En cambio, sirvió café y pastel a sus invitados y le mostró una serie de cuadros y caricaturas realizadas por ella misma, su nueva afición.
Murió en Nueva York, el 7 de Abril de 2003.
Fue una notable pianista, fuertemente influenciada por Lennie Tristano y Horace Silver.




Full Bio ...


Hampton Hawes • All Night Session



Personnel
Hampton Hawes - p
Jim Hall - g
Red Mitchell - b
Buzz Freeman - dr





Lee Allen • Walkin' With Mr. Lee




Lee Allen (July 2, 1927 – October 18, 1994) was an American tenor saxophone player born in Pittsburg, Kansas.

A key figure in the New Orleans rock and roll scene of the 1950s, Allen recorded with many leading performers of the early rock and roll era. He was semi-retired from music by the late '60s, but in the late '70s, returned to music intermittently until the end of his life.

Bio completa / full bio:  http://en.wikipedia.org/wiki/Lee_Allen_(musician)


Mundell Lowe • Guitar Moods



Review by Scott Yanow
This is very much a chamber jazz set. Mundell Lowe plays "Our Waltz" as an unaccompanied guitar solo and his trio with bassist Trigger Alpert and drummer Ed Shaughnessy is joined by either Al Klink or Phil Bodner on various woodwinds during seven of the 11 other selections. The bass clarinet, flute, oboe, and English horn are quite atmospheric, adding to the beauty of the ballads. The brevity of the individual selections is understandable but it is unfortunate that this CD reissue is only 32 and a half minutes long, for what is here is quite memorable. Guitar Moods, which lives up to its name, is recommended anyway.

Kjell Ohman • The Hammond Connection



TRADUCCION AUTOMÁTICA DE LA WIKI
Kjell Öhman Portal : Jazz Kjell Öhman Ingemar (nacido el 3 de septiembre de 1943 ) es un sueco músico de jazz (B3 órgano Hammond, piano ), compositor y director musical (incluyendo por Allsång en Skansen 1994-2010). Ha tocado en más de 8.000 grabaciones. Ha participado en numerosos cooperación escandinava que Svend Asmussen Cuarteto en la década de 1970; de notables internacionales incluyen su juego de Lionel Hampton cumple Lars Erstrand (1991). En su propio "organilleros" jugaron Ulf Andersson saxo, Thomas Arnesen guitarra, Claes Janson voces, Tommy Johnson bajo y Douglas Westlund tambores (En vivo en el Monte de Piedad , 1991, 1993). El noruego Knut Riisnæs y Red Holloway contribuyó él Confessin 'the Blues (Géminis, 1992). Publicó La Conexión Hammond (Opus 3, 1994), con Rune Gustafsson guitarra, Arne Domnerus saxo, Leif Dahlberg tambores, y Mads Vinding bajo. En 1999 jugó un papel decisivo en la liberación de Sandviken Big Band (30 años). Su propio trío (con Sus Volver Roth Bass y Joakim Ekberg tambores) y el invitado Bobby Muéstranos , repartieron No puedo decir que no (2003). En 2004, él (con Alice Babs ) en el Festival de Jazz de Oslo con Homenaje a Duke Ellington . Su propio trío con Ulf Wakenius guitarra y conferencias, en el 2006 de vuelta en Oslo con puesta en escena En el espíritu de Oscar .



Kjell Ingemar Öhman (3 September 1943 – 5 November 2015) was a Swedish jazz musician. He worked as kapellmeister/arranger of music albums, and of TV programs, among them Notknäckarna, Allsång på Skansen (1994–2010), Hasse och hans vänner and Café Luleå.

Öhman appeared in more than 3000 albums and worked with musicians, among them The Telstars, Marcus Österdahl, Alice Babs, Georgie Fame, Charlie Norman, Svend Asmussen, Arne Domnérus, Simons, Ulf Wakenius, Rune Gustafsson, Hans Backenroth and Ulf Lundell.

In 2006 Öhman received the Jan Johansson Scholarship.


Brian Setzer • Rockabilly Riot All Original






martes, 24 de mayo de 2016

The Guitars Inc • "Invitation" & "Soft and Subtle" / Guitar players: Tommy Tedesco, Al Hendrickson, Howard Roberts, Bobby Gibbons & Bill Pitman



These two 1958 albums, “Invitation” and “Soft and Subtle,” brought together five of Hollywood’s finest guitarists—namely Tommy Tedesco, Al Hendrickson, Howard Roberts, Bobby Gibbons, and Bill Pitman—under the direction of Jack Marshall, and with the corporate name The Guitars, Inc. Five talented musicians, each an outstanding soloist in his own right, but all challenged and pleased with the possi- bilities of the group guitar sound. All five were in constant demand for recordings, radio, television and motion pictures, but they joined forces to combine this unique instrumentation with great musicianship and inventiveness, playing a careful selec- tion of material: the familiar and the obscure, the dreamy and the up-tempo, the swinging and the delicate. You are invited on a voyage of discovery to a new musi- cal realm where taste, subtlety, imagination and charm conspire to bring back the joy of listening to fine music.
Source : http://www.freshsoundrecords.com/guitars-inc/6391-invitation-soft-and-subtle-2-lps-on-1-cd.html

Jack Wilson Quartet • Ramblin'







George Thorogood & The Destroyers • Icon



Carles Benavent & Salvador Font • Mantequilla



Carles Benavent (Barcelona, 1 de marzo de 1954) es un músico español de flamenco y de jazz.

Carles Benavent es natural del barrio del Poble-sec en Barcelona. Bajista, aunque también dobla con la mandolina y la mandola, Benavent ha tocado con Paco de Lucía, Chick Corea y Miles Davis, y es habitual verle tocar con Jorge Pardo. Benavent que ha trabajado en los últimos años el llamado nuevo flamenco, especialmente desde su colaboración con Paco de Lucía, que dejó como muestra el impresionante "Live in America" (1993).

A los 13 años forma el grupo 'Crac' (que hace una mezcla de blues, jazz y rock, como otros muchos grupos de la época) con Salvador Font (batería) y Emili Baleriola (guitarra).
1971 - Los miembros de 'Crac' se incorporan a Máquina!, banda que marca un hito en la música española de la época.
1973 a 1974 - Alterna trabajos con grupos de jazz y música brasileña.
1975 - Funda, junto a Joan Albert Amargós (tec.), Salvador Font (bat.), Luigi Cabanach (guit.) y Lucky Guri (tec.) el grupo 'Música Urbana'. Después de dejar el grupo primero Guri y más tarde Cabanach, se incorporarían Jordi Bonell (guit.), Jaume Cortadellas (flauta travesera y flautín) y Matthew L. Simon (trompeta, fliscorno y onoven; éste último es el fliscorno en mi bemol). Con este plantel grabarían en RCA el disco "Iberia", donde ya se aprecia claramente la maestría del bajista.
1979 - Toca en diversas formaciones jazzísticas con músicos como Kitflus, el violinista Mantequilla (Salvador Font el padre), Tito Duarte y Max Sunyer, con el cual funda un trío juntamente con Salvador Niebla. Éste año se forma también un efímero grupo para actuaciones en directo: Funky-jazz 80, con Benavent, Vladimiro Bas y Kitflus entre otros músicos.
1980 - En este año entra a formar parte del grupo de Paco de Lucía, realizando giras por Europa, América y Japón, compartiendo escenario con Jorge Pardo, Rubem Dantas y Ramón de Algeciras entre otros.
1981 - A partir de ahora colabora en numerosas producciones discográficas flamencas: algunas de Camarón de la Isla y Paco de Lucía se cuentan entre las más conocidas.
1982 - Entra en contacto con Chick Corea, con el que graba dos álbumes y realiza dos giras por todo el mundo.
En los años 80 formó parte del grupo intermitente "Puente Aéreo", en el que se daban cita músicos afincados en Madrid y en Barcelona: Tito Duarte, Jorge Pardo, Joan Albert Amargós, Kitflus, Max Sunyer, Jordi Bonell, Pedro Ruy-Blas, Rubem Dantas, Salvador Font el hijo...
1983 - Graba su primer disco como solista, disco que también es editado en Alemania, Suiza y Austria. Debuta con su propia banda en el IV Festival de Jazz de Madrid, y forma grupo con Jorge Pardo, con el que graba dos discos.
1985 - Publica su primer disco junto a Joan Albert Amargós: "Dos de Copas". Junto a Jorge Pardo, participa en los festivales internacionales de Estambul y Cork.
1986 - Actúa en el festival de Grenoble con Jorge Pardo. Recibe el premio especial de la crítica otorgado por RNE / RTVE y la revista Quártica Jazz.
1987 a 1988 - Continúa realizando giras por todo el mundo con el sexteto de Paco de Lucía, y colabora con el violinista francés Didier Lockwood, y con la banda de Bernard Lubat en Francia.
1989 - Con el grupo Flamenco Fusión actúa en Nueva York con Michel Camilo y Paquito D'Rivera. Graba su segundo disco con Joan Albert Amargós ("Colors"), que cuenta con la colaboración de Didier Lockwood entre otros.
1990 - Es invitado, junto a Jorge Pardo, el pianista y últimamente también acordeonista Gil Goldstein, Don Alias y Alex Acuña, a dar un concierto especial en la TV Suiza (Schweizer Fernsehen); ese concierto da lugar a actuaciones de la banda en Nueva York en octubre del mismo año y a la grabación de un disco a nombre de Gil Goldstein ("Zebra Coast") para la compañía Blue Note. A partir de entonces, Gil Goldstein colabora habitualmente en los discos de Carles Benavent.
1991 - Es invitado a tocar en un concierto especial en homenaje a Gil Evans con Miles Davis y Quincy Jones en el Festival de Jazz de Montreux. Ese concierto también queda registrado en un álbum: "Live in Montreux".
1992 - Se presenta en el Town Hall de Nueva York junto a Jorge Pardo, invitados por el New Music Seminar. En julio del mismo año participan en el proyecto alemán Jazzpaña con la big band de la WDR de Colonia, con arreglos y dirección de Ariff Mardin y Vince Mendoza.
1994: Es galardonado por la Generalidad de Cataluña como mejor músico de jazz del año.
1995: Edita su cuarto disco como solista ("Agüita que corre"). El 4 de abril de ese año sufre un grave accidente de coche que le tendrá alejado de los escenarios durante un año.
1996: Justo al cumplirse un año del accidente, comienza una gira por europa con Paco de Lucía y reaparece con su grupo en julio del mismo año, actuando en el Festival de Jazz de Getxo y en Barcelona, donde también graba su quinto disco ("Fénix"), en el que interviene, además de sus colaboradores habituales, Othello Molineaux, que toca el steel drum, bidón de metal de Trinidad, y algún instrumento parecido.
1998/99: Forma el trío 'Pardo, Benavent, Di Geraldo', (con el que sigue trabajando actualmente, se graba una de las actuaciones del trío ("El concierto de Sevilla") en diciembre de 1999.
2000: Gira en enero por Inglaterra con el "Homenaje de cumpleaños a Don Alias" con el mismo Don Alias, Alex Acuña, Giovanni Hidalgo, Steve Barrios, Michael Brecker, Randy Brecker y Gil Goldstein.
2002: Edita su séptimo disco ("Aigua"), galardonado como el mejor disco de jazz del año por los 'Premios de la Música'
2003: Forma otro trío con Jordi Bonell y Roger Blavia. Es invitado, junto a Jorge Pardo, Tino Di Geraldo y Gil Goldstein a participar en el Festival de Jazz de Vitoria, en el que tocan con Pat Metheny.
2004: Vuelve a trabajar con Chick Corea juntamente con Jorge Pardo, Rubem Dantas y Tommy Brechtlein: hacen giras por Europa y Estados Unidos con el nombre de Chick Corea & Touchstone. En septiembre del mismo año, actúa en Barcelona con sus "Benavent 3 Trios": uno de esos tríos es con Jordi Bonell y Roger Blavia; otro, con Gil Golstein y Jordi Rossy; y el otro, con Jorge Pardo y Tino di Geraldo... y de nuevo la colaboración especial de Othello Molineaux. Graba con Jorge y Tino un nuevo disco: "Sin Precedentes".
2005: Graba con Chick Corea, Steve Gadd, Vinnie Colaiuta, Hubert Laws, Airto Moreira, Hossam Ramzy y Tim Garland el disco The Ultimate Adventure, de la Chick Corea & "Touchstone Band, con la cual sigue haciendo giras por los Estados Unidos, Europa y América Latina.
2009: Colabora en el nuevo disco del guitarrista italiano Flavio Sala, titulado De La Buena Onda.
2011: Colabora en el disco Ondines ballen del arpista catalán Josep-Maria Ribelles, en el tema Vent de novembre.


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Salvador Font MANTEQUILLA

info en catalán ...

Salvador Font "Mantequilla", saxofonista de referencia en la historia del jazz español, reconvertido en violinista después de algunos problemas respiratorios y que se estableció en Mallorca a finales de los 60.


Brother Jack McDuff • Live!



Disco en vivo con mucha energía y feeling.

Eugene McDuffy, más conocido como "Brother" Jack McDuff, fue uno de los principales exponentes del soul-jazz de finales de 1950.

Impuesto por Jimmy Smith, el órgano Hammond B-3, acompañado por guitarra eléctrica, batería y ocasionalmente saxo tenor, se convirtió en el corazón del estilo de soul-jazz y, ya entrada la década de 1960, también fue de uso generalizado en el jazz convencional y en la música pop, siendo McDuff fue uno de los artistas más exitosos en su "aplicación".


En 1963, con dos presentaciones en vivo obtuvo el definitivo reconocimiento como maestro del estilo.
Uno de los conciertos ocurrió en el Front Room de Newark en Junio de 1963, y el otro cuatro meses después en el Jazz Workshop de San Francisco. Ambos tuvieron su disco propio para el sello Prestige y, en 1994, ambos fueron reunidos en forma de disco compacto.
Allí estuvo acompañado por una formación que él le llamaba "The Heatin’ System" y que era considerada como la de mayor renombre del género del momento: Red Holloway y Harold Vick en saxo tenor y flauta, Joe Dukes a la batería y un joven George Benson en guitarra, antes de convertirse en la estrella de la fórmula "soul-pop" en la década de 1970.





"Brother" Jack McDuff (September 17, 1926 – January 23, 2001) was an American jazz organist and organ trio bandleader who was most prominent during the hard bop and soul jazz era of the 1960s, often performing with an organ trio. He is also credited with giving guitarist George Benson his first break.

Born Eugene McDuffy in Champaign, Illinois, McDuff began playing bass, appearing in Joe Farrell's group. Encouraged by Willis Jackson in whose band he also played bass in the late 1950s, McDuff moved to the organ and began to attract the attention of Prestige Records while still with Jackson's group. McDuff soon became a bandleader, leading groups featuring a young George Benson, Red Holloway on saxophone and Joe Dukes on drums.

McDuff recorded many classic albums on Prestige including his debut solo Brother Jack in 1960, The Honeydripper (1961), with tenor saxophonist Jimmy Forrest and guitarist Grant Green, Brother Jack Meets The Boss (1962), featuring Gene Ammons, and Screamin’ (1962).

After his tenure at Prestige, McDuff joined the Atlantic label[1] for a brief period and then in the 1970s recorded for Blue Note. To Seek a New Home (1970) was recorded in England with a line-up featuring blues shouter Jimmy Witherspoon and some of Britain's top jazz musicians of the day, including Terry Smith on guitar and Dick Morrissey on tenor sax.

The decreasing interest in jazz and blues during the late 1970s and 1980s meant that many jazz musicians went through a lean time and it wasn't until the late 1980s, with The Re-Entry, recorded for the Muse label in 1988, that McDuff once again began a successful period of recordings, initially for Muse, then on the Concord Jazz label from 1991. George Benson appeared on his mentor’s 1992 Colour Me Blue album.

Despite health problems, McDuff continued working and recording throughout the 1980s and 1990s, and toured Japan with Atsuko Hashimoto in 2000. "Captain" Jack McDuff, as he later became known, died of heart failure at the age of 74 in Minneapolis, Minnesota.


Joe Pass • For Django



Review by Scott Yanow
Long considered a classic, guitarist Joe Pass' fourth date as a leader finds him performing music that was composed by Django Reinhardt, was part of his repertoire, or is one of two more recent tributes (John Lewis' "Django" and Pass' "For Django"). Pass is joined by the rhythm guitar of John Pisano, bassist Jim Hughart, and drummer Colin Bailey; the quartet would reunite in the 1980s. Although Pass was actually more strongly influenced by Charlie Christian than by Reinhardt and he had already formed his own style, he has no difficulty fitting into the music. Highlights include "Rosetta," "Nuages," and "Limehouse Blues."