lunes, 31 de octubre de 2016

Stephane Grappelli & David Grisman • Live



Stephane Grappelli/David Grisman Live is album by musicians David Grisman and Stephane Grappelli, released in 1981. It was recorded live on September 20, 1979 at Berklee center, Boston except for "Satin Doll", which was recorded on September 7, 1979 at the Great American Music Hall, San Francisco.


Quarteto Novo • Quarteto Novo



Quarteto Novo foi uma banda de música instrumental formada em 1966, em São Paulo - SP, Brasil.
Originalmente chamado de Trio Novo, o grupo era composto por Theo de Barros (contrabaixo e violão); Heraldo do Monte (viola e guitarra); e Airto Moreira (bateria e percussão). O conjunto foi criado para acompanhar o cantor e compositor Geraldo Vandré em apresentações e gravações, e fizeram uma turnê no Brasil apoiando Vandré no seu álbum de 1968 Canto Geral.
Com a entrada do flautista Hermeto Pascoal, o trio passou a se chamar Quarteto Novo. Em 1967 o conjunto grava o seu único LP: Quarteto Novo. Neste mesmo ano, acompanhou Edu Lobo e Marília Medalha da apresentação da música Ponteio, que venceu o 3º Festival de Música Popular Brasileira. O conjunto se dissolveu em 1969, e o LP foi reeditado em 1973.
O nordeste do Brasil é conhecido por seu estilo regional da música baião. O álbum foi instrumental em trazer baião para um público nacional e internacional. O estilo não foi muito conhecido fora do Brasil, mas o álbum tem influenciado uma série de compositores populares nos Estados Unidos, Reino Unido e Europa, que teve músicas de sucesso usando vários elementos de estilo baião.
A música do Quarteto continua muito instigante mesmo nos dias atuais, pela exuberância dos arranjos e das sonoridades que eles alcançaram.

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Quarteto Novo was a group formed in São Paulo, Brazil in 1966 which released one landmark instrumental album and launched the careers of some of the band's members. The eponymous 1967 album has been influential in jazz and pop music.
Originally named Trio Novo, the group consisted of Theo de Barros (bass and guitar); Heraldo do Monte (Viola caipira and guitar) and Airto Moreira (percussion). The group was created to accompany singer/songwriter Geraldo Vandré in concert and on recordings. With the arrival of flutist Hermeto Pascoal, the group was renamed Quarteto Novo. In 1967 the group recorded their only album, Quarteto Novo (Odeon Records).
In that same year, the band backed Edu Lobo on the live performance of Ponteio, which won "Best Song" at the 3rd Festival de Música Popular Brasileira (MPB). Quarteto Novo's album won the prize for "Best Televised Recording by a Musical Group" (Troféu Imprensa) in 1967 and the Troféu Roquette Pinto.
The band toured Brazil backing Vandré on his 1968 album Canto Geral. The group disbanded in 1969. EMI Music Brasil released a CD in 2002 and a vinyl LP reissue in 2003, and EMI a European CD in 2008.
All the band members come from the northeastern part of Brazil which is known for its regional baião music style, except Airto Moreira, who is from the south of Brazil. The album was instrumental in bringing baião to a national and then international audience. Although the style is not well-known outside Brazil, the album has influenced a host of popular songwriters in America, the U.K., and Europe who had various hit songs using elements of baião style.




Monty Alexander • Monty Meets Sly And Robbie



Review by Rick Anderson
Jazz purists may turn up the nose at this jazz-reggae summit meeting, but that's their loss. It's not that they wouldn't have the right to be suspicious -- experiments in jazz-reggae fusion do not have a distinguished history. But the combination of Jamaican-born jazz pianist Monty Alexander and reggae godfathers Sly Dunbar and Robbie Shakespeare works beautifully here for a number of reasons: first of all, Alexander is a gifted melodist with an unerring sense of groove (not always a given with jazz players), and second of all, Sly and Robbie emancipated themselves long ago from reggae's rhythmic strictures, so there's lots of variety on this album. The grooves are never less than bone deep: on "Monty's Groove," Shakespeare's minimalist bassline and Dunbar's funky drumming propel Alexander into inspired (if a bit restrained) flights of improvisation, and "People Make the World Go 'Round" is a slow, dark dancehall workout that gives Alexander's piano lots of open space to work with. "Hot Milk," the album's closer, is a touching tribute to the late reggae organist Jackie Mittoo, on which Alexander plays mournful melodica over a modified rocksteady beat. There are times when you might wish Alexander would cut loose and wail a bit more, but this album is a delight from beginning to end.


Count Basie • Basie Meets Bond



Review by Ken Dryden
This campy LP from the 1960s features the Count Basie Orchestra playing ten themes from four early James Bond movies, with arrangements by either Chico O'Farrill or George Williams. While it seems doubtful that Basie added any of this music to his regular band repertoire, his band does its best to do justice to the arrangements. The somewhat monotonous "007" is converted into a dramatic calypso, while "The Golden Horn" is straight-ahead swing and might surprise someone who hadn't seen the film From Russia with Love. But most Basie fans will want to know how the band handled the best-known themes. "Goldfinger" is given a low-key but swinging treatment that has a fine solo by Eddie "Lockjaw" Davis, while the foot-patting treatment of "Thunderball" focuses on Marshall Royal's soulful alto sax and a typically sparse Basie solo. Basie devotees who have a fondness for the earliest James Bond films (Dr. No, From Russia with Love, Goldfinger, and Thunderball) might find this surprising LP worth the investment].

Note: Expect a musician constantly surpass itself is nonsense. Count took a break and let us take it as such, although the result is not expected, I think it is a good album Basie, with a repertoire that is not used to interpret.

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Nota: Esperar que un músico se supere a sí mismo constantemente es un despropósito. Count se tomó un recreo y tomémoslo como tal, si bien el resultado no es lo esperable, considero que es un buen disco de Basie, con un repertorio que no acostumbra a interpretar.


viernes, 28 de octubre de 2016

Red Norvo Combo • Vibes A la Red



Lazy Lester • You Better Listen



Jay Miller was the leading swamp blues producer. From the mid-fifties to the late '60s, his recordings were standing for the inimitable sound of the Excello masters. The Excello sides possessed matchless coolness that could not be reproduced outside of Louisiana. Until now ... Lazy Lester's late work was recorded in Notodden, Norway (Europe's secret blues capitol) with local guys. The band really knows how to play behind Lester, how to keep pace with his way of singing and playing. Furthermore, the recordings are containing this certain Southern flair and smell one would only expect in an old studio in Crowley, Louisiana. And, last not least, Lester is in good shape. A great, great album. Highly recommended to all fans of the real deal, Southern style.


Ron Levy's Wild Kingdom • Wild Kingdom



Review by Michael Erlewine
Ten tunes with an all-star cast including Ronnie Earl (guitar), Kim Wilson (harmonica), Greg Piccolo (sax), Wayne Bennett (guitar), and other excellent players. Plenty of fine guitar, keyboards, harmonica, and uptempo blues music.

jueves, 27 de octubre de 2016

Chuck Higgins • Yak A Dak



Charles Williams Higgins (April 17, 1924 – September 14, 1999) was an American saxophonist. Higgins, who was noted for mixing elements of Latin Jazz with Blues, recorded in Los Angeles during the mid-fifties, notably for the Specialty, Combo and Doo-Tone labels, and is best remembered for the song "Pachuko Hop".
Higgins relocated from his birthplace of Gary, Indiana to Los Angeles in his teens, where he played trumpet and went to school at the Los Angeles Conservatory. Later switching to saxophone, he penned the single "Pachuko Hop" (1952), which became popular among American Latinos on the West Coast. The "Pachuko Hop" single's B-side, "Motorhead Baby", was the inspiration for the nickname of musician Motorhead Sherwood, who played with Frank Zappa.[2] The song "Pachuko Hop" is also referenced in the lyrics to the songs "Jelly Roll Gum Drop" on Zappa's album Cruising with Ruben & the Jets (1968) and "Debra Kadabra" by Frank Zappa and Captain Beefheart on their collaborative album Bongo Fury (1975). Zappa listed Chuck Higgins as a reference in his influence list accompanying his album Freak Out! (1966). The 1955 single, "Wetback Hop", became the subject of controversy because of the use of the derogatory term for Mexicans in the title. It was an attempt to associate the listener with the earlier success of "Pachuko Hop", which refers to Mexican zoot suiters of the 1940s. The song appears on the 1996 Rocket Sixty-Nine release Jump Shot!.
Higgins also played as a sideman with Charlie Parker and The Orioles, among others, and Johnny "Guitar" Watson played in Higgins's band for a short time. He recorded for Aladdin Records, Caddy Records, Lucky Records, Specialty Records, and Dootone Records, achieving regional success into the 1960s. In the middle of the 1960s he left active performance to become a teacher, though in the 1970s he recorded a few songs in the disco style. Later that decade and into the 1980s he returned to 1950s-style R&B, touring California clubs as well as England. Some of Higgins's back catalogue was released on reissue labels in the 1990s and 2000s. From Wikipedia


Michel Hausser Quartet & Bobby Jaspar • Vibes + Flute



Michel Hausser is a French vibraphonist and jazz accordionist. He played bebop with lines directly inherited from those of Milt Jackson.
Learned piano by his father, he became a professional musician in 1947 in Strasbourg where he was appointed professor at the Academy Accordion Oscar Dhiebolt. In 1949 he formed his first band with which he toured Europe and North Africa. Three years later he moved to the Latin Quarter in Paris, the musical heart of the capital. He gives concerts with violinist Stéphane Grappelli and jazz club The cat fishing. In 1954, he met Milt Jackson he sees as the greatest American vibraphonist.
In 1958, Michel Hausser is designated by critics 1st European vibraphonist. The author considers the Bill Coleman with Geo Daly and Dany Doriz as one of the top three French vibraphone this period and whose style is inspired by that of Milt Jackson1. He made his first recordings with American stars. In 1967, he became Chairman of the Branch Trade Union of Musicians Jazz and Variety France.
In 1969, Michel Hausser returns in Alsace. It creates the Academy Accordion Michel Hausser in Munster and Colmar. It is final member of the SACEM with over 200 works reported, including several film scores.
He runs for 20 years with his Jazz Trio Werner Brum on bass and Bernard Hertrich on guitar and Michel Hausser Regio Jazz Group, a septet made up of soloists French, German and Swiss.
Michel Hausser created in 1988 the Munster Jazz Festival for which he was artistic director until 2008.


Medeski Scofield Martin & Wood • Juice



Adrienne Fenemor's Kiwi Blue • Blues Jam



Blues Jam is an impressive follow up to Adrienne’s recent instrumental release, Mo’ Puddin’ that quickly climbed the jazz charts.
What sets Blues Jam apart from other albums is the unique combination of a female led, organ/vocal trio. Blues Jam is a showcase of Adrienne’s captivating vocals combined with the propulsive energy of an organ trio. The blend of Marvin’s virtuosity on guitar, Brian’s dynamic drumming, locking in with Adrienne’s left hand bass and innovative bluesy soloing, has come together to create refreshing new versions of songs in the spirit of BB King, Ray Charles, Billie Holiday and others.
Adrienne Fenemor, jazz organist, vocalist, composer and band leader was born and raised in Nelson, New Zealand. Some of her earliest influences started when she was just 4, listening to her dad as he practiced and performed on his organ. After discovering Oscar Peterson at the age of 13, Adrienne knew she was destined and determined to be a great jazz musician.
Adrienne, currently based in New York City since 2009, can be found performing in iconic venues such as Showman’s Jazz Club, BB Kings Blues Club and The Red Rooster. Her insuppressible goal is to entertain audiences around the world with the unique sound that she has captured on this new album.


The Ventures • Another Smash



lunes, 24 de octubre de 2016

Oscar Peterson • The Oscar Peterson Trio Plays



Of all Oscar's Peterson's great recordings -- and there are many -- this has a special flavor. It is Oscar being intimate, as in a lounge setting, and commanding the material as if the world was listening. Imagine yourself having a night on the town in 1964, laughing and feeling good, and as luck would have it you and your friends have the rare privelege to be in a club where the young Oscar Peterson and his trio are playing and having a good time. That's the feeling, the mood, of the whole set. A party, with great music and good times. At once blazing with unrestrained, joyful energy an at the same time sensitive and filled with emotion, Oscar shows his oceans-wide range and Everest-high skill. The party starts with Oscar's piece The Strut, which does exactly that. Then he embellishes Let's Fall in Love and Satin Doll with the greatest of ease, taste and wit, followed by the toe-tapping Little Right Foot. He soars through the rest of the material in similar style, and ends with an infectiously rhythmic take on You Stepped Out of a Dream.


Herb Ellis • Three Guitars In Bossa Nova Time

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Review by Michael G. Nastos
The title Three Guitars in Bossa Nova Time is misleading in that only two guitars in any instance play the material, while tenor saxophonist Bob Enevoldsen is more important to the overall sound of the music than any other performer. In the main, Herb Ellis and Laurindo Almeida take charge on most of the songs, certainly all bossa novas and light sambas, accompanied by the pianist Donn Trenner (who worked on television with Steve Allen), bassist Bob Bertaux, lesser-known percussionists Bob Neel or Chico Guerrero, the more famous Milt Holland, and guitarist Johnny Gray on three tracks in place of Almeida. All of these selections are familiar, whether as Brazilian songs or Latinized mainstream jazz, while Ellis is upfront in the mix and definitely the leader. While one guitar is initially off the beat on "You Stepped Out of a Dream," Ellis and Almeida are merged together with Enevoldsen in fuller proportions during the fine take of "But Beautiful" with some good solo step-outs, and play in harmonically inventive tones for the very nice "Bossa Nova Samba." Enevoldsen, a multi-instrumentalist known more for playing the trombone, is as cool and smooth as Stan Getz on the melody of the Carnival beat-driven "Leave It to Me," and the spare, careful "Bossa Nova #2." Gray joins Ellis for the more jazz-oriented pieces, including the simple, laid-back "Sweet Dreams," the more commanding "Low Society Blues," where things with the entire combo really come together, and the famous Ray Brown evergreen "Gravy Waltz," made richly harmonic and memorable unto itself. "Detour Ahead" is turned into a bossa and is well done here, but the swinging version might be preferable to those who know this classic song well. On the other hand, the outstanding "I Told Ya' I Love Ya', Now Get Out" is a better adaptation with call and response squawking between Enevoldsen and Ellis perfectly depicting a couple's spat. This interesting 1963 prelude session from Ellis and Almeida together marked the beginnings of a tuneful and spicy partnership, and is a worthwhile addition and longstanding buried treasure in the discography of all participants.


Red Garland • Red Garland's Piano



Red Garland's third session as a leader finds the distinctive pianist investigating eight standards (including "Please Send Me Someone to Love," "Stompin' at the Savoy," "If I Were a Bell," and "Almost Like Being in Love") with his distinctive chord voicings, melodic but creative ideas, and solid sense of swing. Joined by bassist Paul Chambers and drummer Art Taylor, Garland plays up to his usual consistent level, making this an easily recommended disc for straight-ahead fans.


The Guitar Choir • New Jazz Sound of Showboat



Review by Scott Yanow
Arranger Johnny Carisi (best known for composing and arranging "Israel" for the Miles Davis Birth of the Cool sessions) rarely recorded as a leader. Other than seven titles from 1956 reissued as part of a Bluebird CD, and a half-album for Impulse in 1961 that he shared with Cecil Taylor, this obscure LP was Carisi's only other recording project at the head of the group. Certainly the most unusual of his records, this out-of-print LP features five guitarists (including Barry Galbraith and Jimmy Raney), a bassist, and a drummer plus one horn soloist (either trumpeter Carisi, altoist Phil Woods or valve trombonist Bob Brookmeyer) performing ten songs from Show Boat. Four of the melodies ("I Might Fall Back on You," "I Have the Room Above Her," "Life Upon the Wicked Stage" and "It Still Suits Me") are quite obscure and were actually added to later versions of the show (or to the movie). The other six numbers (which include "Make Believe," "Can't Help Lovin' That Man" and "Ol' Man River") are much more familiar. The interpretations are essentially cool jazz, respectful of the themes yet still creative in subtle ways. An interesting set, but this album (not yet reissued on CD) will be difficult to find.

more info ...


domingo, 23 de octubre de 2016

Grant Green • Live At The Lighthouse



Live album featuring a performance recorded at the Lighthouse Club in Hermosa Beach, California in 1972 and released on the Blue Note label.

Review by Steve Huey
Some of Grant Green's hottest moments as a jazz-funk bandleader came on his live records of the era, which were filled with extended, smoking grooves and gritty ensemble interplay. Live at the Lighthouse makes a fine companion piece to the excellent Alive!, though there are some subtle differences which give the album its own distinct flavor. For starters, the average track length is even greater, with four of the six jams clocking in at over 12 minutes. That makes it easy to get lost in the grooves as the musicians ride and work them over. What's more, the rhythmic foundation of the group is noticeably altered. Live at the Lighthouse is one of the few Green albums of the period not to feature loose-limbed funky drummer Idris Muhammad, and his spare, booming sound and direct James Brown inspiration give way to the busy, bubbling, frequently up-tempo polyrhythms of drummer Greg Williams and extra percussionist Bobbye Porter Hall. They push the rest of the group to cook up a storm on tracks like "Windjammer" (which is taken at a madly up-tempo pace compared to the version on Green Is Beautiful), Donald Byrd's modal piece "Fancy Free" (which features some of Green's best soloing of the date), and organist Shelton Laster's soulful original "Flood in Franklin Park." Laster winds up as probably the most impassioned soloist, breaking out of the pocket for some spiralling, hard-swinging flights. For his part, Green works the grooves with the ease of a soul-jazz veteran used to the concept. The results make Live at the Lighthouse one of his best, most organic jazz-funk outings.


Big Jay McNeely • Big J In 3D



Review by Stephen Cook
Tenor saxophonist Big Jay McNeely swings and honks his way through 12 classic Federal sides from 1952-1954. Joined by brother Robert on baritone, McNeely and his combo work a well-worn jump blues groove on gospel-imbued scorchers like "Hot Cinders" and "The Goof." Equally adept at torrid and moderate tempos, McNeely also shows off his Illinois Jacquet-inspired chops with a dizzying array of bleats, screeches, and guttural smears, even throwing in some svelte lines when appropriate. And while cuts like "Ice Water" presage the coming of rock & roll, classy swingers such as "Hardtack" offer a unique blend of R&B and jazz adorned with bongo accompaniment. And then there's "3-D," the centerpiece of the set and one of the most blistering of R&B instrumentals. Even amidst the almost pneumatic rhythm, McNeely masterfully wails above the band, not missing a beat during his irrepressible call-and-response workout with the other horn players. Whether blowing teenage brains out at LA's Shrine Auditorium or with classic records like this, Big Jay McNeely always backed up the hysteria with loads of good music.


Joe Venuti - Stephane Grappelli • The Best of the Jazz Violins



Review by Scott Yanow
This LRC budget release includes two unrelated sessions from a pair of the greatest jazz violinists: Joe Venuti and Stephane Grappelli. Venuti is heard in 1971 with pianist Lou Stein and a pair of Italian musicians (bassist Marco Ratti and drummer Gil Cuppini) performing "The Hot Canary" (a novelty piece) and six familiar standards including "Sweet Georgia Brown" and "Tea for Two." Grappelli is caught in 1975 jamming his "Sysmo," Bud Powell's "Parisian Thoroughfare," and five older songs in a quartet with guitarist Jimmy Shirley, pianist Johnny Guarnieri, and bassist Slam Stewart. No real surprises occur, but the violinists are in fine form. These two sessions are a bit rare and worth searching for by fans of swing violinists.


Toots Thielemans • Toots



Review by Ken Dryden
Like all too many dates led by jazz musicians for Command, this Toots Thielemans record is handicapped by rather run of the mill uninspiring arrangements, on this occasion by Jack Andrews. Fortunately, the considerable talent on this session means that at least some of the solos by Thielemans and his associates (including Dick Hyman, Gene Bertoncini, Bucky Pizzarelli, and Herbie Hancock, among others) makes the session hold up better than most of those done for the label. Thielemans is particularly aggressive on harmonica on "I Can't Get Started" and switches to a country-flavored approach on guitar for the old folk tune "O Susannah." The tracks with organ, rather than piano, haven't held up as well, though Thielemans' consistently high level of playing make this hard to find LP worth acquiring.

sábado, 22 de octubre de 2016

J.B. Lenoir • Natural Man



Review by Cub Koda
This collection of J.B. Lenoir's mid-'50s tenure at the label -- originally issued in the '70s -- duplicates two songs from the Parrot collection (a label which Chess later acquired), but the rest of it is more than worth the effort to seek out. The rocking "Don't Touch My Head," the topical "Eisenhower Blues" and the sexually ambiguous, chaotic and cool title track are but a few of the magical highlights aboard. Either this or the Parrot sides will do in a pinch, but after hearing this, you won't be able to imagine being without either one.


Stephane Grappelli • Opportunity



This is very much, in ‘football-speak’, a disc of two halves. The first six tracks are Grappelli originals and all recorded in 1973. The remainder are compositions by pianist Gérard Gustin and were set down in Nice six years later. Grappelli was clearly in relaxed, semi-classical mood when writing his six; there’s a sense of coasting, to be frank, that his fruity vibrato (much wider than one normally hears) doesn’t do much to disguise. There’s a semi-demi quotation from You’re Getting To Be A Habit With Me in his tune Emotion but apart from Sewing’s dependably swinging bass on Gerba there’s little to detain the enthusiast, much less the more casual listener.
The later date comes from a time when Grappelli was enjoying renewed celebrity with his international quintet. Gustin’s tunes and arrangements are more straight ahead with bop tinges. There’s a tighter sense of balance and the session sounds more keyed up altogether. Gustin has the time to stretch out and solo on Country Club in a way he couldn’t six years earlier and there’s bluesy swing to Kent where Cavallaro kicks the front line with his best playing of the date. Grappelli responds with utter sang froid and considerable wit.
In the end though neither date is sufficiently galvanizing or imaginative and at thirty five minutes this is pretty short measure. More for completists. Jonathan Woolf


Ansgar Specht ‎• Some Favourite Songs



http://www.ansgarspecht.de/biografie/


viernes, 21 de octubre de 2016

Bill Evans Trio • Moon Beams



Moonbeams was the first recording Bill Evans made after the death of his musical right arm, bassist Scott LaFaro. Indeed, in LaFaro, Evans found a counterpart rather than a sideman, and the music they made together over four albums showed it. Bassist Chuck Israels from Cecil Taylor and Bud Powell's bands took his place in the band with Evans and drummer Paul Motian and Evans recorded the only possible response to the loss of LaFaro -- an album of ballads. The irony on this recording is that, despite material that was so natural for Evans to play, particularly with his trademark impressionistic sound collage style, is that other than as a sideman almost ten years before, he has never been more assertive than on Moonbeams. It is as if, with the death of LaFaro, Evans' safety net was gone and he had to lead the trio alone. And he does first and foremost by abandoning the impressionism in favor of a more rhythmic and muscular approach to harmony. The set opens with an Evans original, "RE: Person I Knew," a modal study that looks back to his days he spent with Miles Davis. There is perhaps the signature jazz rendition of "Stairway to the Stars," with its loping yet halting melody line and solo that is heightened by Motian's gorgeous brush accents in the bridge section. Other selections are so well paced and sequenced the record feels like a dream, with the lovely stuttering arpeggios that fall in "If You Could See Me Now," and the cascading interplay between Evan's chords and Israel's punctuation in "It Might As Well Be Spring," a tune Evans played for the rest of his life. The set concludes with a waltz in "Very Early," that is played at that proper tempo with great taste and delicate elegance throughout, there is no temptation by the rhythm section to charge it up or to elongate the harmonic architecture by means of juggling intervals. Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader.

Earl Bostic • The Best Of





miércoles, 19 de octubre de 2016

Mike Jones Trio • Roaring



By DAN BILAWSKY
The musical legacy of The Roaring Twenties is alive and kicking. For his second date on the Capri imprint, pianist Mike Jones decided to pull together a collection of Jazz Age nuggets and drop into the studio for a nonchalant session with bassist Katie Thiroux and drummer Matt Witek—a blue-chip rhythm duo whose musical stock has steadily been on the rise in the past few years. Jones had never recorded with the pair before, there were no rehearsals, and everything, save for one number, was said and done in one take. You'd just never know that from listening. This trio gels in all the right ways as it swings its way through a winning program of classics.
While every track on Roaring is tied together through time and age, there's more variation here than you might expect. Quite often it simply comes through the way the tempo and swing feel are chosen and calibrated. On one track these three might be working a cool and hip angle ("Yes Sir, That's My Baby"), on another they might be speeding down the thoroughfare ("I Can't Believe You're In Love With Me"), and on a third they may slowly glide along ("Am I Blue"). All three of those examples swing, but they do so in very different ways. Add to that some other numbers in completely different realms—a reflective solo piano saloon song ("What'll I Do"), a peppy take on the Latin sound from another time ("I'll See You In Cuba")—and you have more than enough variety to satisfy the ears.
Jones is a pianist with many gifts, both technical and interpretive in nature, but he never takes to preening through his piano work. He simply enjoys sitting behind the instrument and giving a song a spin. He can prance, pounce, and deliver a blinding flurry across the keys as well as anyone, but he's not using artifice as a sales tool. He's playing music, and he's just as likely to charm with a small gesture as he is to impress with a grand artistic stroke. Thiroux and Witek, likewise, are all about the sound and the songs. They stand tall and speak for a form of the music that's sorely missed in today's too clever by half jazz atmosphere. While Roaring doesn't represent anything strikingly new or different, it's certainly noteworthy. It perfectly zones in on the spirit of jazz, serving all the while as a strong tribute to a much-loved period.


J.B. Lenoir • Fine Blues



Lionel Hampton • Vintage Hampton



The Roy Meriwether Trio • Soup & Onions - Soul Cookin' By



Roy D. Meriwether, the one-time child prodigy and life-long jazz piano virtuoso, was born in Dayton on February 24, 1943. After Roy crawled up on the piano bench when he was 3 years old and played his first song, much to the amazement of his family, Roy has been amazing audiences ever since—in jazz clubs, concert halls, and jazz festivals across the country. By age 4, Roy was playing every hotel in Dayton, played at Dayton’s Memorial Hall for the General Motors convention, and made the down payment for the family’s first Cadillac. He started playing for a 22-voice choir at the age of 7.
Renowned jazz critic Arnold Shaw once described Roy as a “two-fisted pianist who in this day of right-handed wizards has the sound of a champion, with thunder in his left hand and lightning in his right.” Roy has had an amazing career with 25 albums to date, including dozens of originals and a 21-song musical, Black Snow. That musical, partly sponsored by a grant from the National Endowment for the Arts, which is a musical interpretation of African-American history, was performed live, April 10-11, 1976, at Memorial Hall in commemoration of the American Bicentennial. The world-class performance included the Howard Roberts Chorale and the Dayton Contemporary Dance Company (another Dayton Original). Another proud moment in Roy’s life-long composing achievements was penmanship of the Thomas Edison State College (Trenton, New Jersey) Alma Mater in 1984.
Roy has received numerous awards including the Jamaica Queens New York Jazz Community Award, the New York Manhattan Association of Cabaret Award (MAC Award), and has been considered for a Grammy nomination. In March of 1999, Roy received a Lifetime Achievement to Music Award. Now at 70 years of age, Roy recently returned to his hometown of Dayton to perform at Gilly’s Jazz, a long-time local favorite and another Dayton Original. From all accounts, Roy brought down the packed house, leaving those lucky enough to attend a night to remember. Some of Roy’s greatest performances have been forever captured on video and are available on his YouTube channel. Now living in New York City, Roy continually elicits standing ovations from his audiences. This Dayton Original’s sound is unmistakable and his music is timeless! http://daytonoriginals.org/2013/04/24/roy-meriwether/


Living Jazz • The Fool On The Hill



Nota: Ripeado de calidad regular  /  Note: Ripping regular quality


martes, 18 de octubre de 2016

Grant Green • Shades Of Green



Seth Kibel • No Words (Instrumental Jazz and Klezmer by Seth Kibel)



Original compositions in a variety of styles, including swing, gypsy jazz, and klezmer, featuring Seth Kibel on clarinet, saxophone, and flute.


Barbara Dennerlein ‎• My Moments



Organ-jazz like you never experienced before! An exciting solo performance on two organs - the soulful Hammond organ and the mighty pipe organ. Swinging, bluesy, funky and more! Enjoy Barbara's unique world of pipes and tonewheels.


The Ventures • Dance With The Ventures



Organ Freeman • Organ Freeman



You can’t help but grin when you hear that a band is named Organ Freeman. That grin turns into an all-out smile when you listen to their music, a soulful-yet-peppy blend of instrumental jazz fusion that takes no prisoners. It’s some serious toe-tapping jives, fueled by the trio hard at work: guitarist Erik Carlson, drummer Rob Humphreys and organist Trevor Steer. Full article...


Mike LeDonne • That Feelin'



Mike LeDonne's splendid Groover Quartet has earned a cozy groove for itself, somewhere between fresh from the oven and the halcyon days of organ combos led by Jimmy Smith, Charles Earland, Jimmy McGriff, Richard "Groove" Holmes, Shirley Scott, Don Patterson and others. While embracing their essential groundwork on the one hand, LeDonne moves steadily forward with the other, lending a more contemporary voice to what has been a popular staple of the jazz repertoire for well over half a century.
Far from alone in this pursuit, LeDonne is aided and abetted by a trio of eloquent trend-setters: long-time colleagues Eric Alexander on tenor sax, guitarist Peter Bernstein and drummer Joe Farnsworth. They are enhanced along the way by another modernist, alto saxophonist Vincent Herring, who adds warmth and color to "I'd Never Change a Thing About You," bassist Ray Brown's piquant "Gravy Blues" and LeDonne's fast-paced salute to alto saxophonist Lou Donaldson, "Sweet Papa Lou." Speaking of "I'd Never Change a Thing," the first of LeDonne's three original compositions, the charming wire-to-wire gallop was written for his daughter, Mary, who has multiple disabilities and for whom LeDonne founded the non-profit Disability Pride NYC.
LeDonne and Co. (sans Alexander) are at their soulful best on the lone standard, Mack Gordon / Harry Warren's "At Last," a gorgeous ballad first heard in the 1942 film Orchestra Wives. "At Last" is followed by LeDonne's well-sculpted arrangement of the pop song "This Will Be an Everlasting Love" and the fast-moving finale, "A Lot of Livin' to Do," from the Broadway musical Bye Bye Birdie. Alexander hammers that one out of the park, a feat he duplicates on every turn at bat. The title song, another LeDonne original, is an ambling blues taken from the classic organ trio playbook with Alexander's razor-sharp tenor cutting straight to the chase.
The relaxed groove prevails on LeDonne's arrangement of "La La Means I Love You," a pop hit for the Delfonics in 1968, before giving way to the livelier cadences of trumpeter Donald Byrd's "Fly Little Bird Fly" (another tour de force for LeDonne and Alexander). Regardless of mood or tempo, LeDonne's quartet, which has been a working group for some years now, is emphatically secure and firmly in the pocket. Farnsworth's timekeeping is unerring, Bernstein excels whether comping or soloing, and as for LeDonne and Alexander, their ardor is amplified by exceptional technique. Herring's assertive cameos are icing on an already appetizing cake. ~by Jack Bowers


viernes, 14 de octubre de 2016

Sergio Mendes & Brasil 66 • Equinox



Review by Richard S. Ginell
Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim -- he was one of the first to discover and record "Triste" and "Wave" -- he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights). Lani Hall's star was just rising at this time, and it is her cool, clear voice that haunts the memory most often. Like its predecessor, Equinox is exceedingly brief in duration, yet not a motion is wasted.




Booker T. & the MG's • Uptight



UpTight is a soundtrack album by Southern soul band Booker T. & the M.G.'s for the film of the same title.
The album's highlights include "Time Is Tight," the single version of which became a US Top 10 hit (the second biggest of their career) and a signature song for the band. The version of "Time Is Tight" included on the Up Tight soundtrack album is an alternate recording, which differs from the single version in several respects: it is in stereo, it is played at a faster tempo, it runs almost two minutes longer (4'55"), and it includes both an extended introduction and an instrumental "breakdown" (beginning around 3'30"), neither of which are in the single version. "Johnny, I Love You" (the B-side of "Time Is Tight") features a rare vocal by keyboardist Booker T. Jones. Judy Clay provides vocals on "Children, Don't Get Weary."
The album was recorded at Stax Records' studios by Ron Capone, produced by Jones, and was overdubbed and mixed at Ardent Studios by Steve Cropper and Terry Manning.
The album charted at number 98 on the Billboard 200 album chart and number 7 on the Billboard R&B albums chart.

Review by Steve Kurutz
Through the score of Booker T. Jones, the soundtrack to the 1968 Jules Dassin movie Uptight reflects the story of a young black man living in the ghetto during the turbulent time after the assassination of Martin Luther King, Jr. Containing the hit single "Time Is Tight," the soundtrack moves from soft and contemplative ("Children, Don't Get Weary") to driving and urgent ("Run Tank Run"). Though not one of Booker T. & the MG's' better albums, Uptight does contain the always exemplary musicianship that the MG's brought to their records, and it predates both the Superfly and Shaft soundtracks by three years.


The Ventures • Special Olders



non-commercial compiled / compilado no comercial


martes, 11 de octubre de 2016

Johnny Smith • Johnny Smith And His New Quartet



Review by Dave Nathan
Before he threw in the towel and willingly walked away from the clutches of the recording industry in 1960, Johnny Smith recorded an impressive roster of albums for Teddy Reig's Roost label. One of these, The New Johnny Smith Quartet, recorded in 1956, was billed as maiden set for Smith's new, small group. That was almost correct. This was the first time around for vibes player Johnny Rae and drummer John Lee. But bass player George Roumanis had already recorded with Smith. Prior to his Smith tenure, Rae was instrumental in shaping the distinctive George Shearing Quintet sound. This bandleader was especially well known for tasteful playing, the clean quality of his sound, and his skillful voicing of melody with chords. And this album does nothing to detract from that reputation. Even on the up-tempo pieces like "Pawn Ticket" and "'S Wonderful" Smith's technique remains clean without slurring. His playing also can take on classical overtones, like on "Montage" and "It Never Entered My Mind." Smith was not a stranger to the classical genre. His last minute abduction by conductor Dimitri Mitropoulos to play solo guitar on Arnold Schoenberg's "Serenade" is one of music's legends. On the slower numbers this quartet resembles the stentorian sounds of the Modern Jazz Quartet at times. Johnny Smith left behind about 25 LPs with the Roost label. A great project for Mosaic Records would be to get a license for these albums for one of their excellent compilations, this time featuring the fine guitar of Johnny Smith.

Full Bio: http://www.jazzguitar.be/johnny-smith.html


Count Basie • Lester Leaps In




lunes, 10 de octubre de 2016

Grant Green • Live At Club Mozambique



Review by Thom Jurek
Live at Club Mozambique was, according to Bob Belden's liner notes, rumored to exist for decades in Blue Note's Grant Green discography, but was never released. His explanation as to why is satisfactory -- Green's star had waned considerably -- and makes some sense, but the label had 15 unissued albums by the guitarist by 1971. This date recorded at the famed Detroit jazz club (Green was living in the city at the time) is the second such set of grooves to be issued from the club floor -- Lonnie Smith's was the first. The band consists of Idris Muhammad, Ronnie Foster, Houston Person, and the all but unknown Clarence Thomas, and the two tenor saxophonists (Thomas also played soprano here) laid out heavy, deep funk on the tunes that were chosen. Foster and Muhammad were symbiotic as a rhythm section. Foster's grooving under-the-cover basslines matched the soul groove style of Muhammad. They locked onto Green and couldn't be shaken loose. Obviously created for an inner-city audience and the jukebox crowd, this set was recorded a scant five months after Alive!, but bites a lot harder. The tunes include a simmering read of the Clarence Carter vehicle "Patches" with Green stretching the melody to the breaking point, and the horn section fills egg him on. "One More Chance" was written by the Corporation (the Mizell Brothers) and recorded by the Jackson 5. It's got that soulful ballad sweetness just over the top of some sparkling chops -- Thomas' soprano here is a perfect foil to both Green and Person. Green's reliance on those low strings for his melody is special; it's meaty and stays in the pocket, allowing for more ensemble interplay -- though his solo is a thing to behold, all knotty yet still full of warmth and vigor. When he starts twinning with Foster near its end, the joy just bleeds from the speakers. The read of "Walk on By" is soulful without being overly ornate. Thomas' "Farid" and the opener, "Jan Jan," written by M. Davis (not Miles), are for the hard jazz fans here. The horn charts are tight and elaborate in their fashion, and Green pulls out the stops layering blues, jazz, and soulful funkiness into each of his lines. And to hear this rhythm section simmer and pop is glorious. Highly recommended.


Monty Alexander • Impressions in Blue



Review by Matt Collar
From jazz-influenced classical pieces to world music rhythms and American popular song, pianist Monty Alexander seems to cover all his musical interests on Impressions in Blue. Backed by the talented rhythm section of bassist Hassan J.J. Wiggins Shakur and drummer Mark Taylor, Alexander tackles such epic compositions as Gershwin's "Rhapsody in Blue" and Rodrigo's "En Aranjuez Con Tu Amor." He also takes on Ellington's "Creole Love Call" and Mercer's "I'm an Old Cowhand" with much success. It is his original tunes, however, that hold the most revelation, with "Eleuthra," a breezy, Latin-style number influenced by the Bahamas, bringing to mind the iconic '60s sound of Michel Legrand.

Al Hirt • Music To Watch Girls By



viernes, 7 de octubre de 2016

Eddie Chamblee • The Rockin' And Walkin' Rhythm Of Eddie Chamblee



Edwin Leon Chamblee (24 February 1920 – 1 May 1999), known as Eddie "Long Gone" Chamblee, was an American tenor and alto saxophonist, and occasional vocalist, who played jazz and R&B.
He was born in Atlanta, Georgia, and grew up in Chicago where he began learning the saxophone at the age of 12. After leaving Wendell Phillips High School, he studied law at Chicago State University, playing in clubs in the evenings and at weekends. He played in US Army bands between 1941 and 1946. After leaving the army, he joined Miracle Records. He played on Sonny Thompson's hit record "Long Gone" in 1948, and on its follow-up, "Late Freight", credited to the Sonny Thompson Quintet featuring Eddie Chamblee. Both records reached no. 1 on the national Billboard R&B chart. Two follow-up records, "Blue Dreams" and "Back Street", also made the R&B chart in 1949.
From 1947, he led his own band in Chicago clubs, as well as continuing to record with Thompson and on other sessions in Chicago, including The Four Blazes' no. 1 R&B hit "Mary Jo" in 1952. In 1954 he joined Lionel Hampton's band for two years, touring in Europe, before returning to lead his own group in Chicago. He accompanied both Amos Milburn and Lowell Fulson on some of their recordings, and then worked as accompanist to Dinah Washington on many of her successful recordings in the late 1950s and early 1960s. The two performed vocal duets in a style similar to that later adopted by Washington with Brook Benton, and were briefly married; he was her fifth husband. Chamblee also recorded for the Mercury and EmArcy labels, and with his own group in the early 1960s for the Roulette and Prestige labels.
In the 1970s he rejoined Hampton for tours of Europe, where he also played with Milt Buckner, and he recorded for the French Black & Blue label. He also performed with the Count Basie Orchestra in 1982, and from the 1980s until his death with the Harlem Blues and Jazz Band, as well as in clubs in New York City.
He died in New York in 1999 at the age of 79.





Quino • Historias De Quino




Bill Doggett ‎• The Doggett Beat For Happy Feet