jueves, 29 de septiembre de 2016
Chuck Wayne's participation in some of the earliest bebop recordings have lead many to conclude that he was purely a bop-style guitar player. Yet on the recordings he made in the mid-1940s, first with the Billy Eckstine Band and later with Dizzy Gillespie, his swing-oriented guitar collides with the "new music" being played by the more modern musicians on the set. It was with George Shearing that Wayne had his greatest success, making a major contribution to the Shearing sound. This particular album reissues two sets cut by Wayne during the 1950s. The first, covering tracks 1-4 and 7-10, is from 1953 sessions with his Quartet featuring Zoot Sims and Brew Moore; the second session, made the following year with the John Mehegan Quartet, comprises the other four tunes. There are some standards along with seven originals, including five by Wayne. Words that can best be used to describe the latter are "innocuous," "pleasant," "nice background music." These arrangements could be heard in a hundred lounges and small clubs throughout the country during the years when this album was made. While there is virtually no inventiveness going on, the playing is entertaining. One quality that comes through with the Wayne guitar is its hornlike sound, which adds a dimension to his playing and is especially complementary when either Sims or Moore is soloing, as on "While My Lady Sleeps," "Side Walks of Cuba" and "Uncus." One exception to the ordinariness of the material is the arrangement of the Victor Young/Ned Washington masterpiece, "Stella by Starlight," where John Mehegan's piano and Wayne's guitar engage in interplay which comes close to being avant-garde. Several of the players at these sessions were from the upper echelons of jazz; it's regrettable they were not offered more interesting or challenging music to perform.
Dave Nathan. http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jcfixqygldke
martes, 27 de septiembre de 2016
Tommy Gumina was one of the few brave souls to follow Art Van Damme's lead and explore the jazz accordion. Gumina is best remembered for his innovative collaborations with clarinetist Buddy DeFranco on their quartet recordings of the early 1960s. Gumina joined Harry James' scaled-down band in 1951 and toured with James for the next two years. He then struck out as a soloist, recording several albums for Decca. In 1960, he joined with DeFranco to form a quartet that played both standards and original compositions by each. Although the group put out albums on Decca and Mercury, they had little commercial success, so by 1964, the two headed for greener pastures: DeFranco to lead the New Glenn Miller Orchestra, and Gumina to work in design and marketing for a major accordion maker.
In 1968, Gumina founded Polytone Musical Instruments, which specializes in manufacturing and selling amplifiers designed for professional musicians. The name came from one of the albums he cut with DeFranco. As a side venture, he recorded and released several albums, including one with DeFranco and three with a Polytone endorser, jazz guitarist Joe Pass. Unfortunately, these albums are virtually impossible to find, most of the copies having gone straight from Gumina to a small circle of customers and friends. http://www.spaceagepop.com/gumina.htm
Review by Scott Yanow
Vibraphonist Cal Tjader is in typically fine form on this live set from 1968. His quintet at the time featured Armand Perazza on congas and pianist Joe Kloess and his repertoire ranged from Afro-Cuban jazz to occasional straightahead tunes. Six of the eight selections on this date are originals by band members or Gary McFarland. Although Tjader had been playing this style of music for 15 years by this time, he still was quite creative and enthusiastic, and is heard throughout in excellent form.
Raphael Wressnig, based in Austria but frequently on the road, is not your ordinary B-3 organ player. He’s actually one of a kind: a young master of the imposing, large instrument who is expansive in his breadth of expertise. He’s technically fluent in the blues, in jazz, in soul, and in funk, and he concocts exciting mixed-genre music from his fervid imagination. Versatile Wressnig doesn’t flaunt his virtuosic talent for the sake of spectacle but rather backs up his every movement on the keyboards, the drawbar and the bass pedal boards with a fierce emotional commitment. Influenced by royal predecessors like Jimmy Smith, Shirley Scott, Booker T. Jones and Joe Zawinul, Wressnig has taken his music throughout Europe and all over the world, from North Africa and Asia to the Middle East to the United States, Brazil, Chile, Mexico, and the Caribbean. This self-effacing musician, a native of Graz in southeast Austria, has recorded at least 16 feature albums and appeared as a guest on about 30 others. In 2013, 2015 & 2016, he was honored with a nomination for best organ player of the year in Downbeat Magazine.
domingo, 25 de septiembre de 2016
Review by Scott Yanow
The group that Eddie "Lockjaw" Davis led with organist Shirley Scott during the latter half of the 1950s was quite accessible and did a great deal to popularize the organ band in jazz. This CD reissue features the duo joined by bassist George Duvivier, drummer Arthur Edgehill and the obscure trombonist Steve Pulliam for a typically swinging set of basic originals and standards. Highlights include a hard-swinging "Intermission Riff" and "Our Delight."
Edward Davis nació el 2 de marzo de 1922, en Nueva York. Músico autodidacta, comenzó su carrera profesional en Harlem ocho meses después de la compra de su primer saxofón y a finales de los años 30 ya trabajaba regularmente en la Clark Monroe's Uptown House. A pesar de la estrecha relación que mantendría con el bebop unos años más tarde, su estilo estaba firmemente arraigado en el blues y el swing. De hecho, sus primeras interpretaciones muestran una afinidad con el duro estilo de tocar el saxo tenor de la escuela tejana. A principios de los años 40, además de liderar sus propios pequeños grupos, Davis trabaja con grandes bandas lideradas por Cootie Williams, Lucky Millinder, Andy Kirk y Louis Armstrong.
En 1952, Davis comienza a trabajar con la banda de Count Basie, teniendo un papel protagonista en muchas de sus formaciones. "En un momento en que la banda de Basie necesitaba una enorme personalidad en sus filas", señala la Illustrated Encyclopedia of Jazz, "Jaws asumió ese papel, y los temas en los que aparecen sus solos, 'Flight of the Foo Birds' y 'After Supper' ( The Atomic Mr. Basie), resaltan por su vigor y entusiasmo ". Tal como comentaría el crítico Leonard Feather en Los Angeles Times, "La banda de Count Basie era virtualmente una escuela para solistas ... que produjo algunos de los sonidos individuales en el jazz más duraderos". Su relación con la banda de Count Basie se prolongaría a lo largo de los años, ya que volvería a incorporarse a la banda en los 60 y, más tarde, a principios de los 70. Con Basie, Davis muestra una amplia gama musical, lo que le permite salir de cualquier situación tocando a su aire. Además, su forma de interpretar las baladas, influenciada por Ben Webster, florece y desarrolla una inventiva y un tono inspirados por el legendario Coleman Hawkins. "Davis aporta a la banda de Basie vigor y tenacidad, un magnífico envoltorio para el mecanismo de precisión que es la sección rítmica de Basie".
Su debut discográfico, Modern Jazz Expression, tiene lugar en 1955. Davis también obtuvo un alto reconocimiento en sus actuaciones como líder de un quinteto de jazz con raices en el blues, en el que la estructura típica de los grupos con órgano se veía modificada al prescindir de la guitarra y sustituirla por el bajo, lo que dotaba a su música de una mayor flexibilidad rítmica. El grupo lo componen Shirley Scott al órgano, George Duvivier al bajo, Arthur Edgehill a la batería y Jerome Richardson al saxo y la flauta. El debut discográfico del grupo, "Eddie 'Lockjaw' Davis Cookbook Volumen 1", fue seguido por "Smokin'", dos volúmenes más de la serie Cookbook, y "Jaws" (grabado sin Richardson), todos ellos grabados en 1958. "Jaws In Orbit", con el trombonista Steve Pulliam, aparece en 1959, el mismo año en que Davis grabó el aclamado "Gentle Jaws", un álbum que también incluye una sesión con el trío del pianista Red Garland, el bajista Sam Jones y el baterista Taylor Arthur.
La grabación de "Trane Whistle" en 1960, acompañado de una big band y con arreglos de Oliver Nelson y Ernie Wilkins, le permite obtener mayor reconocimiento. Un año más tarde publica "Afro-Jaws", una incursión en cuarteto en la música latina que cuenta con la presencia de Ray Barrtetto, así como con una sección de trompetas, con Clark Terry a la cabeza, en dos de los temas.
En la década de los 60 se produce su asociación con el saxofonista Johnny Griffin, dando lugar a una decena de excelentes discos donde se mezclan mainstream y bebop, y en los que, como combates de boxeo, ambos saxofonistas desarrollan incruentas batallas musicales. Ambos tenores eran de diferente temperamento, tanto musical como emocionalmente (Davis interpreta con el ardor que aprendió con Basie y era conocido por su carácter atento, irónico y reservado, mientras que Griffin, que había tocado con Lionel Hampton, Art Blakey y Thelonius Monk, era extrovertido y jovial), pero sus ideas se complementaban y hacía que ambos mejoraran. Como Davis explicaría a J. Robert Bragonier en su web 52 Street Jazz: "Lo que estamos haciendo es presentar, uno al lado del otro, dos estilos diferentes de tocar el tenor - una comparación, no un concurso". Entre sus grabaciones destacan "Tough Tenors", "Battle Stations" (1960), "Griff & Lock" y "Blues Up and Down" (1961).
Davis siguió grabando durante la década de los 70, realizando "Straight Ahead" en 1976 con el trío de Tommy Flanagan y "Montreux 77" grabado el año siguiente con un cuarteto en el que figuraban Oscar Peterson en el piano, Ray Brown en el bajo, y Jimmie Smith en la batería. Ambos álbumes recibieron elogios por parte de los críticos. En sus últimos años, Davis trabajó a menudo con el trompetista Harry 'Sweets' Edison. Además de realizar grabaciones en estudio, iban juntos de gira durante meses, cogiendo músicos locales para completar el grupo. Davis mantuvo su actividad musical hasta el momento de su muerte, acaecida como consecuencia de un cáncer el 3 de noviembre de 1986, en el hospital de Culver City, California.
Existen varias versiones sobre la forma en que Eddie "Lockjaw" Davis obtuvo su apodo. Algunos sostienen que adoptó el mote en una de sus primeras sesiones de grabación, mientras buscaba títulos para sus composiciones; "Lockjaw", en consecuencia, se convirtió no sólo en el nombre de un tema, sino también en una parte importante de sí mismo. Otros apuntan a la costumbre de Davis de apretar su saxo tenor con la boca como la razón por la cual surgió su apodo. Pero independientemente de la causa, Davis se convirtió para muchos en la quintaesencia del saxofonista de jazz straight-ahead. Su sonido (agresivo, con un gran tono y bluesístico, pero también capaz de una gran sensibilidad) hizo de él un músico muy imitado. Es uno de los pocos intérpretes que han desarrollado un sonido personal inconfundible. Eddie 'Lockjaw' Davis, fue uno de los grandes instrumentistas del saxo tenor en el jazz y poseía un sonido inconfundible amén de un espléndido dominio del blues.
Artist Biography by Scott Yanow
Possessor of a cutting and immediately identifiable tough tenor tone, Eddie "Lockjaw" Davis could hold his own in a saxophone battle with anyone. Early on, he picked up experience playing with the bands of Cootie Williams (1942-1944), Lucky Millinder, Andy Kirk (1945-1946), and Louis Armstrong. He began heading his own groups from 1946 and Davis' earliest recordings as a leader tended to be explosive R&B affairs with plenty of screaming from his horn; he matched wits successfully with Fats Navarro on one session. Davis was with Count Basie's Orchestra on several occasional (including 1952-1953, 1957, and 1964-1973) and teamed up with Shirley Scott's trio during 1955-1960. During 1960-1962, he collaborated in some exciting performances and recordings with Johnny Griffin, a fellow tenor who was just as combative as Davis. After temporarily retiring to become a booking agent (1963-1964), Davis rejoined Basie. In his later years, Lockjaw often recorded with Harry "Sweets" Edison and he remained a busy soloist up until his death. Through the decades, he recorded as a leader for many labels, including Savoy, Apollo, Roost, King, Roulette, Prestige/Jazzland/Moodsville, RCA, Storyville, MPS, Black & Blue, Spotlite, SteepleChase, Pablo, Muse, and Enja.
viernes, 23 de septiembre de 2016
The Islanders were an American group which included Frank Metis (accordion) and Randy Starr (guitar), in addition to using special sound effects by Ralph F. Curtiss.
They are most noted for their 1959 hit single, "The Enchanted Sea", which reached number 15 on the Billboard Hot 100 chart.
None of their subsequent singles for Mayflower were successful. An LP The Enchanted Sound of The Islanders was released by Mayflower Records in 1960. An independent, limited edition CD was produced in 2016 with the 12 songs from the original LP in stereo, plus a bonus track, "Forbidden Island" in mono on the Scion imprint.
Randy Starr, whose original name was Warren Nadel, was a guitar-playing, songwriting dentist from the Bronx. He also performed as a solo singer for a number of record labels, as well as penning songs for other artists, including "Kissin' Cousins" with Fred Wise, for Elvis Presley.
Organist Brian Charette takes us on a tour-de-force of the "Once & Future" history of the Hammond B-3 with his fourth album for Posi-Tone! Organ buffs and casual listeners will be delighted to tune in and turn on this groovy and hard-hitting date. The record features an exciting program of musical selections from a wide range of styles, from the funky and familiar to the soulful and original. While the focus and crux of the session rests squarely upon the shoulders of Mr. Charette and his B-3 organ, the strong showings of guitarist Will Bernard and drummer Steve Fidyk also provide melodic highlights and consistently exhibit the kind of strong rhythmic support that always keeps the session in the pocket. Charette literally wrote the book on the B-3, and his new album "Once & Future" certainly succeeds again and again as a straight forward collection of performances that jazz enthusiasts will enjoy time after time after time.
Gravy Train is an album by jazz saxophonist Lou Donaldson recorded for the Blue Note label in 1961 and performed by Donaldson with Herman Foster, Ben Tucker, Dave Bailey, and Alec Dorsey.
jueves, 22 de septiembre de 2016
lunes, 19 de septiembre de 2016
sábado, 17 de septiembre de 2016
With his instrumental hit "Honky Tonk" in February 1956, Bill Doggett (born William Ballard Doggett) created one of rock's greatest instrumental tracks. Although it generated scores of offers to perform in rock & roll clubs throughout the United States, Doggett remained tied to the jazz and organ-based R&B that he had performed since the 1930s. Continuing to record for the Cincinnati-based King label until 1960, he went on to record for Warner Brothers, Columbia, ABC-Paramount and Sue. His last session came as a member and producer of an all-star jazz/R&B group, Bluesiana Hurricane in 1995. Born on the north side of Philadelphia, Doggett struggled with poverty as a youngster. Although he initially dreamed of playing the trumpet, his family was unable to afford lessons. Persuaded by his mother (a church pianist), to try keyboards instead, he quickly mastered the instrument. Hailed as a child prodigy by his 13th birthday, he formed his first band, the Five Majors, at the age of 15. Performing with the Jimmy Gorman Band, the pit orchestra at the Nixon Grand Theater, while still in high school, Doggett assumed leadership of the group in 1938. The experience was brief, however, as Doggett sold the orchestra to Lucky Millinder, with whom he continued to work off and on for the next four years. He made his recording debut on Millinder's tracks, "Little Old Lady From Baltimore" and "All Aboard" in 1939. Although he formed a short-lived orchestra with Benny Goodman's arranger, Jimmy Mundy, in late 1939, Doggett continued to work primarily as a sideman. Playing piano and arranging for the Ink Spots from 1942 until 1944, he went on to arrange tunes for Count Basie's band and tour and/or record with Coleman Hawkins, Johnny Otis, Wynonie Harris, Ella Fitzgerald and Lionel Hampton. Replacing Wild Bill Davis in Louis Jordan's band, in 1947, he appeared on the influential tunes, "Saturday Night Fish Fry" and "Blue Light Boogie." He made his debut as an organist during June 1951 recording sessions with Ella Fitzgerald. Debuting his own organ-led combo at New York nightclub, the Baby Grand, in June 1952, Doggett recorded more than a dozen singles before striking gold with "Honky Tonk" four years later. A longtime resident of Long Island, New York, Doggett died on November 13, 1996, three days after suffering a heart attack. ~ Craig Harris
viernes, 16 de septiembre de 2016
El grupo nace en Septiembre de 2012 con la llegada de Maureen Choi a España. “Es la nueva gran voz del violín jazz” ha escrito Rodney Whitaker (contrabajista de jazz de prestigio internacional, Mack Avenue Records) de esta violinista norteamericana de origen coreano.
Con una formación clásica y de jazz que le permite dominar con maestría el violín, Maureen propone con sus composiciones un mestizaje fundamentado en el jazz americano, la música latinoamericana y la música clásica europea al que ella denomina Latin jazz de cámara.
En este proyecto musical, tiene como compañeros habituales a:
Daniel García Diego – pianista de jazz y director musical del exitoso “Hoy no me puedo levantar”.
Mario Carrillo – contrabajista y arreglista madrileño formado en Estados Unidos.
Michael Olivera – batería cubano, de los más solicitados en la escena jazzística de Madrid a quien en esta ocasión sustituye Guillermo McGill
Desde su creación, este cuarteto ha tocado en festivales como el XXIX Festival de Jazz de Madrid, Festival de Jazz de Talavera 2014, Festival “Ellas Crean” 2013, el CLAZZ Berlanga Continental Latin Jazz y en los clubes de jazz más importantes de la capital como el Café Central, Bogui Jazz, Café Populart, Sala BarCo o Sala Clamores.
En Julio de 2013, obtiene el 1er Premio en el I Certamen Internacional de Jóvenes Músicos de Jazz “Ciudad de Talavera”.
Acaba de grabar su nuevo disco “Ida y Vuelta”, en el que colaboran grandes figuras como Pepe Rivero o Javier Colina.
Called the “next great voice on the jazz violin” by legendary jazz bassist Rodney Whitaker, violinist Maureen Choi has an eclectic interest in music, ranging from Bach to jazz to Michael Jackson.
A graduate of Michigan State University, Ms. Choi has won numerous competitions and has performed extensively in classical and jazz genres throughout the United States, Europe, Australia and Asia. In addition to working with Whitaker, Maureen has performed with hip-hop artist Kanye West, and also plays Latin music with various bands. While living in Minneapolis, she performed frequently with Salsabrosa and Charanga Tropical. She is currently based in Boston, soon to graduate from the Berklee College of Music, and is currently working on a Latin project with Leo Tatis, Victor Mendoza and a classical album with her pianist Michele Cooker.
Ms.Choi's idea for the album is not at all "traditional" for jazz. Her idea for her solo in "Caravan" was to compose a solo like a Sarasate violin concerto. Her solo in "Donna Lee" was played spiccato (off the string) and while she can demonstrate virtuosic violin technique, she can also make you want to slow dance to a waltz (traditionally played in 4/4 time) in "in a Sentimental Mood". "At Last" and " Feelin' Good" are tunes that illustrates how she can "sing" through her instrument. Her voice on the violin displays her great solid violin training and her lyrical and melodic ways to improvise.
Ms. Choi maintains close ties to her home in Michigan where she works with classical and jazz artists in the Detroit Metropolitan area.
On September 29, 1982 blues singer Tail Dragger recorded nine songs with Johnny B. Moore and Jesse Lee Williams, guitars; Eddie 'Jewtown' Burks, harmonica; Willie Kent, bass; Larry Taylor, drums. Unfortunately producer Iron Jaw Harris didn't live long enough to see the album issued. Jimmy Dawkins, operating his Leric label, made an arrangement with Tail Dragger to release the 45 My Head Is Bald backed with So Ezee featuring overdubbed piano by Lafayette Leake. The remainder of the session sat in Tail Dragger's home for thirty years. Until now.
Artist Biography by Scott Yanow
Gerald Wiggins was a highly flexible pianist quite comfortable in swing or bop settings, but he was at his best when performing with his longtime trio, a group that also included bassist Andy Simpkins and drummer Paul Humphrey. Wiggins' swinging and consistently witty style, typically filled with catchy riffs, was at times reminiscent of Erroll Garner and Art Tatum, but generally quite distinctive.
"The Wig" started with piano lessons when he was four, switching from classical music to jazz as a teenager. He doubled on bass while attending New York City's High School of Music & Art and worked for a time in the early '40s as a piano accompanist for Stepin Fetchit. Wiggins played with Les Hite, and in 1943 toured with the big bands of Louis Armstrong and Benny Carter. While in the military (1944-1946), he often played in local jazz clubs in Seattle. After his discharge, he settled permanently in the Los Angeles area. A popular accompanist for singers, Wiggins worked with Lena Horne (touring with her from 1950-1951), Helen Humes, Ella Mae Morse, Eartha Kitt, Nat King Cole, Kay Starr, Lou Rawls, Ernie Andrews, Linda Hopkins, and Joe Williams, among others. Wiggins was also employed as a vocal coach at Hollywood film studios and had the opportunity to work with Marilyn Monroe.
In the Los Angeles area, Wiggins led trios from the 1950s onward, becoming a consistent fixture in local clubs. He also played piano with the Frank Capp Juggernaut and worked with fellow Concord artists like Scott Hamilton. Through the years, Wiggins led sessions for Swing and Vogue (both in 1950), Ember, Crown, Tampa, Specialty, Motif, Mode, Challenge, Hi-Fi, Contemporary (1961), Black & Blue, and, in the 1990s, Concord. His son J.J. Wiggins is a fine bassist. Gerald Wiggins died in Los Angeles in July of 2008; he was 86 years old.
jueves, 15 de septiembre de 2016
Review by Scott Yanow
Although recorded in sessions in 1962 and 1965, this set of Richard Rodgers tunes by the Dave Brubeck Quartet has a strong unity about it due to the consistent performances of the veteran group. With altoist Paul Desmond and the pianist-leader contributing some fine solos (and bassist Eugene Wright and drummer Joe Morello excellent in support), The Rodgers songs are treated with respect and swing. This comparatively gentle version of "My Favorite Things" would never be mistaken for John Coltrane's.
miércoles, 14 de septiembre de 2016
viernes, 9 de septiembre de 2016
Actually nicknamed after his instrument, Johnny "Hammond" Smith was perhaps one of the more underrated soul-jazz organists of the style's heyday. Born John Robert Smith in Louisville, KY, on December 16, 1933, Smith began learning piano as a child, idolizing Bud Powell and Art Tatum early on. After moving to Cleveland, Smith heard jazz organ pioneer Wild Bill Davis and decided to switch instruments; he made his professional debut on the organ in 1958, around the same time he was working as an accompanist for vocalist Nancy Wilson. In 1959, he began recording as a leader for Prestige, an association that would last through 1970 and produce highlights like That Good Feelin', Talk That Talk, Black Coffee, Open House, Ebb Tide, and Soul Talk, among others. As time passed, Smith's style got progressively funkier, and in 1971, he shortened his name to Johnny Hammond and moved to producer Creed Taylor's CTI label family. Hammond recorded five jazz-funk albums over the next three years, including Breakout, Wild Horses/Rock Steady, and the Mizell Brothers-helmed Gambler's Life. In 1975, Hammond moved to Milestone and recorded the culmination of his move into jazz-funk, Gears, another collaboration with the Mizell Brothers that was reviled by purists and canonized by acid jazz fans. After a few more sessions for Milestone, Smith largely retired from jazz, settling in Southern California and investing in real estate. He began recording sporadically again in the '90s, but was stricken with cancer and died on June 4, 1997. ~ Steve Huey
Jazz yes ... Piano? ////// Sí Jazz .... Piano?
Milt Buckner, Richard Groove Holmes, Baby Face Willette, Larry Young, Bill Doggett, Richard Groove Holmes, Booker T and the Mgs, Jimmy Smith ...
Review by Scott Yanow
From 1963-1967, pianist Monty Alexander played regularly at Jilly's in New York City, a popular hangout where Frank Sinatra would occasionally drop in and, on very rare occasions, sing a song or two. This trio set with bassist John Patitucci and drummer Troy Davis gives Alexander an opportunity to pay tribute to both Jilly's and Sinatra. Performing 13 of the many hundreds of songs associated with the singer, Alexander plays melodic and swinging versions of such tunes as "I've Got You Under My Skin," "Just One of Those Things," "Fly Me to the Moon," "Come Fly with Me," and "Here's That Rainy Day," among others. The songs are mostly pretty familiar, and Alexander does not stretch himself all that much (the only real departure is his haunting unaccompanied melodica solo on "Strangers in the Night"), but his renditions are quite enjoyable and accessible.
Langhorns is an instrumental surf music band from Lund, Sweden.The band is strongly influenced by surf music and Latin music.
Some of their music has been used on Nickelodeon's cartoon SpongeBob SquarePants and on the TV series Sex and the City. They are also featured in the Swedish horror film Frostbiten.
jueves, 8 de septiembre de 2016
Pianist Monty Alexander had first appeared on a Milt Jackson record in 1969. Soul Fusion songs Eight years later the great vibraphonist used Alexander's trio (which included bassist John Clayton and drummer Jeff Hamilton, future big-band co-leaders) for this spirited Pablo session that was subsequently reissued on CD through Original Jazz Classics. Soul Fusion album for sale Much of the material is obscure (including Jackson's three originals), with Stevie Wonder's "Isn't She Lovely" being the only standard. Soul Fusion CD music The music, however, is as straight-ahead as one would expect from these fine musicians, and can easily be recommended to their fans. ~ Scott Yanow
miércoles, 7 de septiembre de 2016
The most detailed CD exploration yet into the early 1960s rise of Jazz organists featuring the greatest exponents of the genre: Jimmy Smith, Jimmy McGriff, Brother Jack McDuff, Booker T and many others. Includes the defining hits like "Walk On The Wild Side", "I Got A Woman" and of course "Green Onion". One of the greatest things about this most popular sub-genre of jazz is how fresh most of the records still sound over fifty years after they were recorded. Many of these songs were covered by British bands during the blues boom and the genre was an important element in the emerging Mod movement.
Jimmy Smith, Bill Doggett, Hank Marr, Larry Young, Brother Jack McDuff, Richard ''Groove'' Holmes, Shirley Scott, Lou Donaldson, Baby Face Willette, Booker T. & The MG's ...
Leslie Jonhson, conocido como Lazy Lester (Torras, Luisiana, 20 de junio de 1933)2 es un cantante y armonicista de swamp blues, con una trayectoria de más de medio siglo. En sus comienzos colaboró como músico de sesión en algunos trabajos de Slim Harpo, Lightnin' Slim y Katie Webster.
Más allá de su capacidad vocal, Lester probablemente sea recordado como autor de algunos clásicos del género, como: "I'm a Lover Not a Fighter", "I Hear You Knockin", "Sugar-Coated Love" y "Bloodstains on the Wall". Temas suyos han sido interpretados, entre otros, por The Kinks, Freddy Fender, Dwight Yoakam, Dave Edmunds, Raful Neal, Anson Funderburgh y The Fabulous Thunderbirds.
En su vuelta a los escenarios a finales de los años 1980, grabó nuevo material junto a músicos como Mike Buck, Sue Foley, Gene Taylor, Kenny Neal, Lucky Peterson y Jimmie Vaughan.
Actualmente sigue en gira e interpretando sus canciones, recibiendo honores por su condición de ser una leyenda viviente del blues.
Lazy Lester (born Leslie Johnson, June 20, 1933) is an American blues musician, who sings, and plays the harmonica and guitar. His career spans the 1950s to the 2010s.
Best known for regional hits recorded with Ernie Young's Nashville, Tennessee based Excello label, Lester also contributed to songs recorded by Excello label-mates including Slim Harpo, Lightnin' Slim, and Katie Webster. His songs have been covered by (among others) The Kinks, The Flamin' Groovies, Freddy Fender, Dwight Yoakam, Dave Edmunds, Raful Neal, Anson Funderburgh, and The Fabulous Thunderbirds. In the comeback stage of his career (since the late 1980s) he has recorded new albums backed by Mike Buck, Sue Foley, Gene Taylor, Kenny Neal, Lucky Peterson, and Jimmie Vaughan.
Review by Cub Koda
The last time Lester released an album was 1988's Harp & Soul on Alligator, an uneven affair. This 1999 effort for Antone's is a vast improvement with producer Derek O'Brien providing linchpin guitar support and fronting a band that includes stellar contributions from Mike Buck on drums and Sarah Brown on bass. Although the intervening years have added a bit of rust to Lester's vocal chops, the added graininess just enhances the performances of old chestnuts like "Strange Things Happening," "If You Think I've Lost You," "Irene," "I'm a Lover, Not a Fighter," "I Need Money," and "The Sun Is Shining." The classic Excello is called on for most of the album but the big surprise comes with two solo performances by Lester, singing and playing guitar on Lightnin' Slim's "Nothing but the Devil" and Lonesome Sundown's "My Home Is a Prison." His most cohesive album since his first for Excello.
Review by Bruce Eder
This debut album by the Ventures is surprisingly good, considering that it was recorded in a huge rush during an era when all concerned couldn't help but know that rock & roll albums (apart from those by Elvis Presley) generally didn't sell very well; indeed, the fact that this is so good speaks volumes about the class and talent of the group at this early point in their history. With a sudden and totally unexpected number two national hit in "Walk, Don't Run" and a burgeoning demand for live performances, the quartet went in and recorded the best 11 tracks they knew to get a long player together, all done in such a hurry that the members themselves couldn't stay around long enough to be photographed for the cover (those are stand-ins). The result is surprisingly sophisticated in its use of stereo (then still relatively unusual in rock & roll, stereo LPs only debuted three years earlier and were largely confined to classical recordings), dividing the sound of the band quite neatly on two sides, thus giving LP purchasers a treat that owners of the single "Walk, Don't Run" would miss -- not only the sound separation that was so prized by audiophiles of the era, but crisp presentation of each instrument, dividing the two guitars very neatly. Thus, the casual listener could play with the speaker settings and balances, and the serious fans could get in close on the actual playing. The material is a mix of originals and hits drawn from every category, including earlier rock & roll instrumentals ("Raunchy"), R&B "Night Train," and even film music ("My Own True Love [Tara's Theme]") -- one can just make out the familiar Max Steiner Gone with the Wind motif on the latter, and it is a fairly inventive approach to an old musical chestnut, rebuilding it from the ground up. The material all has a lean jauntiness, most unexpectedly "Night Train," which sounds closer in spirit to Chet Atkins than to Buddy Morrow or King Curtis. The originals were no filler, either, "The McCoy" being a hot piece of surf guitar showcasing all concerned.
Este álbum debut de The Ventures es sorprendentemente bueno, teniendo en cuenta que fue grabado en una prisa enorme durante una época en la que todos los interesados, no podía dejar de saber que los discos de rock and roll (aparte de las de Elvis Presley) por lo general no se vendió muy bien; En efecto, el hecho de que este es tan bueno dice mucho de la clase y el talento del grupo en este momento temprano de su historia. Con un golpe nacional número súbita y totalmente inesperado dos en "Walk, Do not Run" y una creciente demanda de actuaciones en directo, el cuarteto entró y registró los mejores 11 temas que conocían para conseguir un jugador largo juntos, todo hecho en tales prisa que los propios miembros no podían permanecer el tiempo suficiente para ser fotografiados para la portada (esos son sustitutos). El resultado es sorprendentemente sofisticados en el uso de equipo de música (entonces todavía relativamente poco común en el rock and roll, LPs estéreo sólo se estrenó tres años antes y se limita en gran medida a las grabaciones clásicas), dividiendo el sonido de la banda muy claramente en dos lados, dando así LP compradores un convite que los propietarios del sencillo "Walk, Do not Run" se perdería - no sólo la separación de sonido que era tan apreciado por los amantes de la música de la época, pero la presentación nítida de cada instrumento, que divide las dos guitarras muy cuidadosamente. Por lo tanto, el oyente casual podría jugar con los ajustes de los altavoces y contrapesos, y los aficionados serios podría conseguir en estrecha en el juego real. El material es una mezcla de originales y golpes procedentes de todas las categorías, incluyendo instrumentales anteriores del rock and roll ( "Raunchy"), R & B "Night Train", e incluso música de la película ( "My Own True Love [Tema de Tara]") - uno puede distinguir lo familiar Max Steiner lo que el viento motivo de esta última, y es un enfoque bastante inventiva a un viejo tema musical, reconstruirlo desde cero. todo el material tiene una jauntiness magra, la mayoría de forma inesperada "Night Train", que suena más cerca en espíritu a Chet Atkins que a Buddy Morrow o King Curtis. Los originales eran sin relleno, ya sea, "El McCoy" ser un pedazo caliente de la guitarra de surf mostrando todos los interesados.
Four great tenor-saxs share this álbum.
Julián DASH : His ñame cannot be parted from the one of Erskine HAWKINS Orchestra, the star which he was for more than 15 years. Warm, mellow, glamorous sound, extreme musicianship, easy swing, his solos are fully good-natured and fluent. He is a very agreable-to-listen-to musician. In his four selections recorded in 1951, he is surrounded by some of his compa- nions from Erskine HAWKINS Band : more particularly Haywood HENRY (baritone), Lee STANFIELD (sb), Sonny PAYNE (drums). Freddy JEFFERSON is the pianist on the first two titles.
Al SEARS : He is a quite original talent. He created a very peculiar language which alternates with success the bluntest staccato phrases with the most subtle phrases and their long melodic expansions. Inside his solos, the simple contrast of rhythm, sound volume and unscheduled schemes creates a harassing swing.
He knows masterly how to use growl and to give to some periods of his im- provisations some wild hues that are not without any charms. «Long ago» and «Searsy» have been recorded in 1945, where as the two other titles of the fifties feature him playing with power strougly schemed lines. The iden- tity of the outstanding guitar player of «so glad» is (unfortunately) unknown .
Eddie CHAMBLEE : was revealed to the amateurs during his staying in Lionel HAMPTON's Big Band in 1955, but he had recorded before many a disk under his own name. Like Al SEARS, whom he looks like a little, he likes to make variate the intensity, the structure and the volume of his musical phrasing. His great masterhood of growl, his blues feeling, his vitality make of him a first-rank tenor-sax, although the opportunities to listen to him are, alas, too scarce.
Ben WEBSTER : on the opposite, has been claimed for many years as one of the giants of his horn. His gigantic qualities as well as his presence in bands as renowned as the ones of Bennie MOTEN, Fletcher HENDERSON, Andy KIRK, Cab CALLOWAY, Duke ELLINGTON,... explain his noto- riousness. This Coleman HAWKINS alumnus with his rightly famous sound is certainly a soloist of an exceptional musicianship.
Supported here by a combo directed by Benny CARTER he gives us a sample of the various sides of his talent : mellow and warmful in the bailad «You're too beautiful» swinging and broken loose on his favorite «Cotton Tail», he stands out as a solid blues preacher in «Time out for blues». / Virgile Degand
lunes, 5 de septiembre de 2016
This Swedish band seems to be the first to do justice to surf instrumentals, while their countrymen focus on California beach music a la the Beach Boys and Jan & Dean. This advance disc is loaded with very strong originals that conjure images of the outdoors, and covers that are uniquely arranged and performed. In this day of too many covers of tunes like Penetration, it's nice to find original reinventions that are at once reverent to the source and identifiably new. Much of the guitar work here is nearly liquid, not reverbed surf, but fluidly flowing, with notes almost blending one to another. I'm impressed.
Langhorns started playing in the summer of 1995 as a result of the band members irresistible urge to do at least something right with their lives.
The original members were Michael Sellers, guitar and Martin Berglund,
bass guitar. After a couple of rehearsals they decided it was time to do what many rock musicians find the hardest - to find a drummer that not only could play the drums, but was a nice guy also. They ended up with a compromise - Rikard Swardh.
After playing surf-instrumentals at various clubs and parties Langhorns went into the legendary studio "Studion" two days summer 1997, assisted by producer Magnus Borjesson and technician Martin Hennel. This resulted in the debut "Langhorns", released feb 28 - 1998 on Bad Taste Records. It was followed up by gigs all around Sweden (ok, southern Sweden) and in June the band played at Hultsfredsfestivalen.
Since the release people are slowly but surely realizing the thrill of listening to the CD - stuffed with good vibrations and both old and new waves.
The second album "Club Gabardino" was completed during spring 1999 and
is now available for demanding music lovers around the Globe. "Club Gabardino" recorded May 16-18 this time produced by Michael Sellers and Martin Hennel features a new approach to the genre, best described as "Latino Pimp Twang".
It contains 13 original tracks and one cover and you will be surprised to hear that the sound of Langhorns now has reached totally new dimensions. The original dry reverbed delay sound that used to be the trademark of the band is now spiced up with a sweaty horn section and teasing wah wah guitars.
domingo, 4 de septiembre de 2016
Berndt Erik Egerbladh (May 1, 1932 – March 2, 2004) was a Swedish jazz pianist, composer and television personality.
Egerbladh was born in Transtrand. He grew up in Umeå and performed in local jazz and dance orchestras. He graduated as a teacher in 1954 and 1959, worked as such 1955–1967 and completed his education as a TV producer in 1969.
He was a producer at Swedish Radio's Channel 4 för Västerbotten 1967–1969, at Channel 2 television 1969–1985 and worked for SVT as a producer also hosting programs such as Två och en flygel (Two and a Grand Piano). He also published books, Remembering the 1940s and Remembering the 1950s, named for two TV series so titled along with one remembering the 1960s. He wrote the autobiographgical "... och så tog Berndt bladet från munnen" (... and Then Berndt Spoke Out).
From 1985 he ran his own record companies "Green Records" and "Berndt Egerbladh produktion AB". Egerbladh also wrote, arranged and performed on Doris Svensson's record Did You Give the World Some Love Today Baby in 1970.
Han was the son of Ossian Egerbladh and Amy Egerbladh née Johansson (1900–1964) and an uncle of Birgitta Egerbladh. Berndt Egerbladh married Gund-Britt Gunnarsson in 1955 and had daughters Monica and Ewa.
He died in Sollentuna, Sweden.