miércoles, 30 de noviembre de 2016
Organist Jimmy Smith has a reunion on this CD with his 30 plus-year associates tenor saxophonist Stanley Turrentine and guitarist Kenny Burrell along with drummer Grady Tate. Together they play spirited and creative versions of standards and blues. The highpoints include "Midnight Special," a swinging "Main Stem," Tate's warm vocal on "My Funny Valentine" and a lengthy rendition of "Quiet Nights." Suffice it to say that this all-star date reaches its potential and is easily recommended to fans of straightahead jazz.~Scott Yanow
Fourmost captures the collaborative efforts of drummer Grady Tate, tenor saxman Stanley Turrentine, long-time Smith guitarist Kenny Burrell and the master organist himself, as they groove through a sizzling live set. Recorded in 1990 at Fat Tuesday's in New York City, the show overflows with the kind of evocative, free-flowing yet tightly disciplined artistry one has come to expect from Smith. The soul that drips off tracks like "Midnight Special" and Burrell's own "Soulful Brothers," as filtered through Smith's mind-bending hand/foot work at the Hammond, Turrentine's pure, personal tone, and Burrell's swinging melodic lines, is enough to make a convert of just about anyone.
Even tired standards such as "Summertime" and "My Funny Valentine," as well as the two Ellington treatments ("Main Stem" and "Things Ain't What They Used To Be"), are resuscitated with new tempos, moods, and above all, blazing leads all around. The record's highlight may be "Quiet Night of Quiet Stars," a textured bossa nova jam that has Smith shouting "Oh, my God!" by the tune's end. With playing like this, there's a good chance listeners will be echoing Smith's sentiments.
Recorded live at Fat Tuesday's, New York, New York on November 16 & 17, 1990. Includes liner notes by Bill Cosby, Andrew Whist and Steve Blickstein.
Ulrik Neumann (23 October 1918 – 28 June 1994) was a Danish film actor and musician. He appeared in 19 films between 1940 and 1966. Ulrik Neumann was an accomplished guitar player. From 1959 to 1961 he was a member of the trio Swe-Danes with the Swedish singer Alice Babs and the Danish jazz violinist Svend Asmussen. He was born in Copenhagen, Denmark and died in Malmö, Sweden. He was the father of guitarist Mikael Neumann and singer Ulla Neumann.
It's not easy to be the son of a famous musician, especially when that musician was the pinnacle of a genre. But C.J. Chenier, son of the great Clifton Chenier (the King of Zydeco), does a great job of following in his father's footsteps. He rocks up the zydeco a little more, and spreads the field a little wider, covering Tom Waits and Curtis Mayfield, as well connecting the short space between zydeco and blues with versions of "Baby Please Don't Go" and John Lee Hooker's "Dusty Road." There's a nod to history in a Boozoo Chavis classic, "Paper in My Shoe," and fiery versions of two songs by Clifton Chenier, where he exorcizes his ghost even as he pays homage. There are three of his own compositions, where he shows himself very much in the zydeco historical line, but on this album, at least, it's about the songs as much as the dance music, laying out his territory and establishing himself in his own right, away from the famous shadow. He's an excellent instrumentalist, one who knows how to use the accordion to the best effect in the music, and he has a crack band (including a guitar player who takes some sizzling, concise solos). Even on disc he works up a sweat -- live he must be quite something. This is an album that fully establishes him as a mature artist, with plenty to say, and the expression to say it. ~Chris Nickson
viernes, 25 de noviembre de 2016
Roland Shaw was a British conductor and arranger. After WWII he hit a gold mine when he began arranging cover versions for the newly popular spy genre. His arrangments are nealy always energetic and thoughtful, even if they don't exactly reproduce the "original versions" of TV or film themes.
miércoles, 23 de noviembre de 2016
The second album of Bustan Abraham, is another step foreword along Bustan's artistic journey.
Many attempts have been made by musicians to create a synthesis between Eastern and Western cultures. Generally the result is that either the Western or Eastern form dominates while the other is merely used for ornamentation. For the past several years Bustan Abraham has met this challenge and has succeeded in pioneering a unique form of instrumental music which combines elements of both these Eastern and Western forms without sacrificing the musical integrity of either.
Bustan (Hebrew and Arabic meaning, "garden of fruits and essences," in this case the garden of Abraham, father of Isaac and Ishmail) was founded in 1991 by Avshalom Farjun. It comprises seven distinguished Israeli musicians, both Jews and Arabs, who have combined their musical experience as composers, soloists and heads of musical ensembles to create original music on a very high international level.
The musical backgrounds of Bustan Abraham's members are very rich and represent an astonishing variety of musical cultures including classical Arabic music, classical European music, jazz, Turkish, Persian and Indian music, flamenco and American folk music.
The instruments played are unusually diverse. Middle Eastern instruments include the oud (Arab lute), qanoun (oriental zither) and a range of percussion instruments such as durbakkeh, daff, zarb and bandir frame drums to name only a few. These are joined by Western instruments including transverse flute, classical and flamenco guitar, contrabass, electric bass, and 5-string banjo. In addition the violin is utilized in both Middle Eastern as well as Western forms of playing. Also represented is an astonishing array of international percussion instruments too numerous to mention! The successful integration of this combination of instruments has never before been presented on the concert stage. The music which embodies this rich diversity is entirely original and was composed and arranged in a cooperative effort by all members of the group.
Bustan aspires to create a new musical form, which speaks to both Eastern and Western audiences, and to pave the way for other joint creative efforts between Arabs and Jews. The group has become a symbol of uncompromising instrumental composition, which has created a new standard of originality in Israeli music, and world music in general, and has received rave reviews to that effect from audiences and critics alike.
Bustan have toured extensively throughout the world between 1992 & 2003 it's powerful stage performance have been always greeted with standing ovations by audiences.
martes, 22 de noviembre de 2016
lunes, 21 de noviembre de 2016
Musty Rusty is an album by jazz saxophonist Lou Donaldson recorded
for the Cadet label in 1965 and performed by Donaldson with Bill Hardman,
Billy Gardner, Grant Green, and Ben Dixon.
The Rusty Scott Organ Group plays original material and organ standards and is fronted by Hammond B3 organist Rusty Scott of Boston, Massachusetts. The band's music is based on jazz, blues, boogaloo, and funk and features the B3 sound from the 50s and 60s that is associated with Hammond organ legends Jimmy Smith, Don Patterson, Dr. Lonnie Smith, and Brother Jack McDuff.
I Am the Blues is the sixth studio Chicago blues album released in 1970 by the well-known bluesman Willie Dixon. It is also the title of Dixon's autobiography, edited by Don Snowden.
The album features songs written by Dixon and originally performed by other artists for Chess Records.
sábado, 19 de noviembre de 2016
viernes, 18 de noviembre de 2016
A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades. After growing up in New England, he moved to Chicago, where he played in all types of situations before settling in to a long stint as the leader of the house trio at the London House (1957-1969). Higgins moved back to Massachusetts in 1970 and went on to freelance, often accompanying his wife, vocalist Meredith D'Ambrosio, and appearing at jazz parties and festivals. Eddie Higgins has led sessions of his own for Replica (1958), Vee-Jay (1960), Atlantic, and Sunnyside; back in 1960, he recorded as a sideman for Vee-Jay with Lee Morgan and Wayne Shorter.
Review by Matt Collar
A project long in the making, Across the Tracks finds tenor saxophonist Scott Hamilton pairing with journeyman blues guitarist Duke Robillard for a set of burnished lesser-known standards, ballads, and blues. As Rhode Island natives, Hamilton and Robillard crossed paths early on in their careers, with the younger Hamilton drawing inspiration for his own straight-ahead jazz from Robillard's brand of vintage swing, blues, and R&B. Subsequently, Hamilton cut out a niche for himself in the '70s playing swinging acoustic standards and ballads while many jazz musicians were focused on the electric fusion sound. Although the pair have recorded together over the years, Across the Tracks is the first full-length album they've done together. Joining them here are such longtime bandmates as drummer Chuck Riggs, baritone saxophonist Doug James, and Pittsburgh native organist Gene Ludwig. Recorded by the legendary Rudy Van Gelder at the famous Van Gelder Studios in Englewood, NJ, Across the Tracks is easily the bluesiest album Hamilton has done in his career and a warm, earthy vibe permeates the whole proceedings.
With his take-no-prisoners slide guitar style derived from Elmore James and a primal, driving approach to the blues, J.B. Hutto was a fixture in the Chicago clubs in the 1950s and 1960s, where he was often paired with the similar-sounding Hound Dog Taylor. This set, which was recorded at Mother Blues on Wells Street in Chicago's Old Town section on December 17, 1966 (the final seven tracks come from a second session held on December 19 and 20, 1972, at Sound Studios), is typical of Hutto's barn-burning style, with ragged, explosive slide runs curling around his raw, nearly incomprehensible vocals (not that the Hawk's meaning was ever unclear), and the end effect is bit like having a bulldozer blast through your head. Among the highlights here are the opener, "Evening Train," "Hawk's Rock" (an instrumental that is about as subtle as Hutto ever got), the monster "Hip Shakin'" (the version here was used on his album Hawk Squat), "Precious Stone," and "Young Hawk's Crawl," although the whole disc is of a piece, a full-throttle charge through some vintage Chicago guitar blues, and since Hutto never strayed from his ragged and gut-bucket approach to things, this set makes as fine an introduction to his slide fireworks as any. (Steve Leggett)
jueves, 17 de noviembre de 2016
Review by Thom Jurek
Over the last 16 years, Leeds' instrumental funk quartet the New Mastersounds have amassed a sizeable catalog: Ten studio albums, two live dates, two remix collections, and a compilation. Their records are so consistent in carrying the torch for driving, jazzy, retro funk, that it can be daunting to know where to start with them. The Nashville Session provides an answer to that quandary -- with a catch.
At the end of a 2015 tour, the band entered Nashville's analog-centric Welcome to 1979 studio. In front of an invited audience they performed ten tracks from their catalog, as well as a cover of Grant Green's arrangement of James Brown's "In the Middle." The single-session evening was multi-tracked live to one-inch tape. Immediately following, the recording was mixed down to quarter-inch stereo and cut direct to vinyl lacquers. And therein lies the catch: There are 1,000 copies on wax. Period. No other formats. It's not a gimmick. And the evidence is in the record's sound. Instruments bleed through the channels into one another to provide a level of immediacy and even clarity unmatched by their other offerings.
Musically, The Nashville Session finds the New Mastersounds tighter than ever, and at a creative peak. Improvisational elements from previous versions of these tunes have become hardwired into the charts, leaving room for new directions. As a result, while the funk never takes a back seat, and jazz elements come to the fore -- check Joe Tatton's organ solo and Pete Shand's bass breakdowns in opener "One Note Brown" -- Eddie Roberts' chunky guitar vamp in "Burnt Back" draws a straight line through Muscle Shoals, NOLA groove, and Blue Note soul-jazz. "The Minx," with its mix of wah-wah lead guitar, rave-up bassline, Simon Allen's cracking rim-shot breaks, and swelling organ, makes it the spikiest, meanest tune in the set. The verse-chorus-verse structure in "102%" bridges the Meters' "Cissy Strut" to Jimmy McGriff's "Keep Loose." Roberts proves his mettle on the Green chart in the James Brown cover. His unshakeable rhythmic invention is matched only by his precision. Single-string leads sting and bite; they get twinned and build on one another while Shand's bassline sidles up underneath with juicy fills, and Allen's drums punch through the bottom while Tatton's B-3 bubbles and then soars.
The Nashville Session is abundant in groove quotient. At under an hour, it's the perfect length for a listening session or to kick off a party. If you find yourself sitting still while it's playing, it may be well past time to get your pulse checked.
miércoles, 16 de noviembre de 2016
Special guests Elvin Bishop and Steve Miller joined Chenier for an excellent outing blending blues and rock influences with zydeco. Chenier's vocals were tough and convincing, while Bishop and Miller, along with saxophonist Jon Hart, were outstanding. ~Ron Wynn
martes, 15 de noviembre de 2016
Review by Myles Boisen
Here's another must for sax instrumental buffs, with rare wax by Texas tenor Clifford Scott and balladeer Lynn Hope. You and a few million others heard Scott on Bill Doggett's classic "Honky Tonk"; here he is joined by organist Hank Marr, Charles Brown on piano, and other session cookers for five solid shufflin' sides. Lynn Hope is a different character -- a Muslim who admired the record-selling style of Earl Bostic, and in turn influenced a generation of ska hornsmen. In contrast to his lush romantic sound on "Stardust," "Tenderly," "Ghost of a Chance," etc., there's the bar-walkin' "Shockin'," jazzy "Juicy," swaggering "Little Landslide," and exotic "Sands of the Sahara." There are 20 tooters total and little duplication with Hope's Saxophonograph material.
Like all the other discs in Collectables' exhaustive reissue of Brian Setzer & the Tom Cats' material, High School Confidential is an entertaining collection of high-energy rockabilly and rock & roll, highlighted by covers of "Ubangi Stomp," "Round and Round," "High School Confidential," "Hallellujah, I Love Her So," and "Summertime Blues," as well as several solid, workmanlike originals. ~Stephen Thomas Erlewine
This 26-track single-disc retrospective may not have every last alternate take extant on it, but you'll never need a better compilation mirroring Hogan's stay at the label. "Trouble At Home Blues," "I'm Gonna Quit You Pretty Baby" and "Here They Are Again" are just about as low down as Louisiana swamp blues gets and Jay Miller's studio sorcery is clearly on hand. ~ Rovi Staff
Every song is a blast. The info booklet introduced me to this amazing singer. The songs are fun to listen to and sing along with. If you are not in a good mood sitting down with this CD will soothe your soul and make you happy. Buy it and have a blast, you will not be sorry. ~ Michael Beck
domingo, 13 de noviembre de 2016
Bustan Abraham was an Israeli band playing mostly instrumental music, which existed between 1991 and 2003. Its name means "Abraham’s garden"; the reference to the common ancestor of both Jewish and Islamic traditions intending to imply a unifying theme. The band was called a pioneer in the realm of world music.
'Moog Maximus' see the welcome return of The Bongolian, AKA multi-instrumentalist and Big Boss Man front man Nasser Bouzida. His fifth album under the Bongolian moniker continues the musical journey where 2011’s 'Bongos For Beatniks' left off, taking us through the fractures of time like fellow traveller H. G. Wells. Nasser has now landed in ancient Rome, armed with a bank of Moog synthesisers over a bed of heavy grooves in a wildly eclectic fusion of Funk Soul Hammond Beat Jazz and a Sci-Fi Boogaloo.
Back in 2001, Nasser Bouzida disappeared into his studio and created a solo set of recordings which resulted in the birth of his alter ego The Bongolian. Drawing on influences of Funk, Latin, Soul and Jazz, Nasser produced an inspired selection of recordings blending elements of grinding percussion and heavy Bongo rhythms. The eponymous debut 'The Bongolian' was released early in
Back in 2001, Nasser Bouzida disappeared into his studio and created a solo set of recordings which resulted in the birth of his alter ego The Bongolian. Drawing on influences of Funk, Latin, Soul and Jazz, Nasser produced an inspired selection of recordings blending elements of grinding percussion and heavy Bongo rhythms. The eponymous debut 'The Bongolian' was released early in 2002 to much critical acclaim, and followed up by the albums 'Blueprint', 'Outer Bongolia' and 'Bongos For Beatniks'. The albums have become record box essentials for DJs, finding a wide appeal from Dance and Hip-Hop to Rare Groove and Funk 45s fans.
Nasser has also assembled a high calibre five piece live band with which The Bongolian have toured USA, UK and Europe.
Nasser Bouzida's most recent release was with Big Boss Man whose 4th album 'Last Man On Earth' which received strong support at BBC 6 Music (Cerys Mathews, Craig Charles, Gideon Coe, Nemone) with the band touring Europe extensively since it’s release. The Bongolian also collaborated with Fay Hallam for the album 'Lost In Sound' (Fay Hallam & The Bongolian).
At the Hickory House is a two volume live album by German-born jazz pianist Jutta Hipp featuring performances recorded in 1956 and released on the Blue Note label as BLP 1515 and BLP 1516.
Review by Stephen Thomas Erlewine
At the Hickory House is a thoroughly appealing collection of lightly swinging small-combo jazz that draws equally from hard bop and soul-jazz. There's a soulful lilt to Jutta Hipp's playing that keeps it engaging and enjoyable. The rhythm section of Peter Ind (bass) and Ed Thigpen (drums) largely stay out of the way, letting Hipp dictate the tempo and mood of the pieces, and she has a knack for creating infectious, swinging interpretations of jazz and pop standards that are enjoyable and easy to listen to. Vol. 1 contains such staples as "Dear Old Stockholm," "Billie's Bounce," "Mad About the Boy," "Ain't Misbehavin'" and "These Foolish Things," all of which are performed with verve and style, making the record a wonderful little gem.
sábado, 12 de noviembre de 2016
viernes, 11 de noviembre de 2016
Hot Club de Norvège is a string Jazz quartet from Norway, established in 1979, by guitar player Jon Larsen with childhood friends Per Frydenlund and Svein Aarbostad (b/poetry).
As a child prodigy, keyboardist and organist Lucky Peterson's exploits were legendary. The stories grew even more widespread as he became a teen and stints with Little Milton and Bobby "Blue" Bland only added to his fame. But Peterson's records have not always justified or reaffirmed his reputation. That is not the case with the cuts on this 1984 set, recently reissued by Evidence. The spiraling solos, excellent bridges, turnbacks, pedal maneuvers, and soulful accompaniment are executed with a relaxed edge and confident precision. If you have wondered whether Lucky Peterson deserves the hype and major label bonanza, these songs are the real deal. ~ Ron Wynn
Fool's Paradise is a 2006 album recorded by "The Head Cat", a collaboration between Lemmy of Motörhead, Slim Jim Phantom (of The Stray Cats), and Danny B. Harvey. It features covers of mostly classic 1950s songs. It is re-release of their first album "Lemmy, Slim Jim & Danny B" recorded in September 1999. This re-release doesn't include 3 songs from original release, it have different cover and track list is in different order.
While there is nothing groundbreaking in this recording, the 1950s songs that are chosen (penned by likes of Buddy Holly and members of his group) are played "commendably", keeping close to the original versions with restraint.The album received less praise from other critics.(~Wiki)
Head Cat was formed after recording the Elvis Presley tribute album Swing Cats, A Special Tribute to Elvis in 2000 to which the future band-mates all contributed. After recordings were finished they stayed at the studio and Lemmy picked up an acoustic guitar and started playing some of his old favorite songs by Johnny Cash, Buddy Holly and Eddie Cochran. The rest of they guys knew them all and joined in. The name of the band was created by combining the names Motörhead, The Stray Cats and 13 Cats, which resulted in The Head Cat, similar to what Lemmy did in 1980 with Headgirl, a collaboration between Motörhead and Girlschool. In 2006 the band released their first studio album, Fool's Paradise, which included cover songs from artists such as Buddy Holly, Carl Perkins, Jimmy Reed, T-Bone Walker, Lloyd Price, Elvis Presley and Johnny Cash. On the recordings Lemmy played acoustic guitar but on live performances Lemmy uses his signature Rickenbacker bass saying "I'm just not that good on guitar".
Few musicians are as synonymous with heavy metal as Motorhead's Lemmy Kilmister. But long time fans know that ol' Lemmy has tackled other styles over the years, including British Invasion pop (as part of the Rockin' Vicars) and space rock (as part of Hawkwind). Additionally, Lemmy has covered a few country and/or rockabilly tunes over the years, including a metallic version of "Stand By Your Man," Carl Perkins' "Matchbox," and Johnny Cash's "Big River." So it shouldn't come as a surprise that in the early 21st century, Lemmy launched a rockabilly side project, the Head Cat. Taking a break from his beloved Rickenbacker bass, Lemmy handles vocals (which resemble little of the throaty growl of his Motorhead work), acoustic guitar, and harmonica duties, and is joined by ex-Stray Cats drummer Slim Jim Phantom and lead guitarist/bassist/keyboardist Danny B. Harvey. As evidenced by their 2006 debut, Fool's Paradise, the trio is one rockin' good time -- a much needed antidote to the computer/software enhanced state of popular music. Expectedly, this isn't going to melt your speakers upon first listen like Ace of Spades did all those years ago. That said, it's certainly a worthwhile listen for die-hard fans to hear Lemmy tackle covers of some of his favorite standards -- "Not Fade Away," "Well All Right," as well as the two aforementioned tracks, "Big River" and "Matchbox." (~Greg Prato)
Big frowns all around to the marketing people at Rock-A-Billy Records for placing that "file under" command on the disc. Of course it may result in purchases from Lemmy fans, but it is a quick buck that closes off a larger audience than it approaches, and Fool's Paradise deserves a status above novelty. There are plenty of young Rock-A-Billy fans who would never think of scanning the Motorhead department for their fix. Also, there are a tremendous amount of "Baby Boomers", plus those born in the 50s and 60s who are devoted listeners of pre-hippie rock, which is the world of Rock-A-Billy, although my parents, who grew up on it, wouldn't know what the hell I was talking about using that moniker. Why "file under Motorhead"? Why not send this album to stations that play music from the 50s, 60s, and 70s, and challenge them to play new music that pays tribute to the decades they endorse, so the many people who believe the music they like was replaced with rap, dance, and metal, comprehend that it's still alive and kicking? It is clear those questions were not fleshed out by those marketing Fool's Paradise once "file under" appeared on the disc. Lemmy fans are diehards who do not need easy access. They would sniff him out in a sea of Roxette discs. Apparently the members of this all star group, featuring the aforementioned Lemmy, Slim Jim Phantom, drummer from Stray Cats, and Danny Harvey, guitarist from 13 Cats, are most enamored with Buddy Holly. There is not an original piece on the disc, and nine of the fifteen tracks are Holly tunes. With Lemmy on vocals, the title track, "Fool's Paradise", has a very Kinks-like sound, especially when the harmonies kick in. Often times, covers seem to lose their spirit in the hands of other artists, but "Fool's Paradise", when performed by The Head Cat, is as lively as it was a half-century earlier. Lemmy Kilmister is not quite the vocal match people would automatically envision when thinking Buddy Holly, but he really does a fine job delivering his songs, especially during the jungle toms of "Not Fade Away", and the acoustic rhythm of "Crying, Waiting, Hoping". The grizzled texture is more melodic than most Motorhead fans would imagine possible. Out of the Buddy Holly tracks, only "Take Your Time", and "Learning the Game", seem like stretches vocally. The six non-Holly tracks pay tribute to the artists at Sun Records, and its founder Sam Phillips. There are four blues songs featured from the likes of Jimmy Reed, T-Bone Walker, Lloyd Price, and Carl Perkins, plus two early rock standards from Elvis and Johnny Cash. The Head Cat does a phenomenal job with Cash's "Big River". The "Man in Black" has such a signature sound and approach that, even though he is covered often, it is difficult to deliver with a great degree of authenticity. The moment "Big River" is heard though, those who have little background on Cash, possibly only seeing the movie, will immediately recognize the source for this selection. Two of the strongest songs end the album, as "Big River" is followed by Perkins' "Matchbox", which is rocked out a bit thanks to the guitar work of Danny Harvey, who makes it a little more honkey tonk than blues. "Matchbox" is the song you'd picture playing during a huge barroom brawl. The trio, known as The Head Cat, is very impressive, especially considering the short time they dedicated to this project. Given their backgrounds, talent is a given, but just because ability is present, providing listenable music is not a guarantee (see Damnocracy). If you are a fan of Rock-A-Billy music, which is so deeply rooted in all of today's sounds, Fool's Paradise, by The Head Cat, will not be a disappointment. It might even leave each listener imagining what possibilities could exist with original material from this band. At the very least, it should provide modern listeners with a window into a rock world which is worth traveling back five decades to experience.(~Patrick Muldowney; rocknworld.com)
While Lemmy Kilmister was best known as an innovator in heavy metal with his over the top band Motörhead, he was around to witness the early days of rock & roll. The Head Cat was a side project that allowed Lemmy to indulge his passion for rockabilly and first-era rock. The Head Cat featured Lemmy on bass, guitars, and vocals; Slim Jim Phantom of the Stray Cats on drums and vocals; and Danny B. Harvey of the Rockats and the Lonesome Spurs on guitar, bass, and keys. The trio came together when Lemmy was invited to contribute guitar and vocals for the 2000 album A Special Tribute to Elvis by Phantom and Harvey's group the Swing Cats. After cutting a version of "Good Rockin' Tonight," Lemmy picked up a guitar and began jamming on some classic Eddie Cochran tunes. Phantom and Harvey quickly joined in, and the three felt the chemistry was right and they should cut an album of their own. In 2000, the trio recorded Lemmy, Slim Jim & Danny B, which was released by the German label Steamhammer; it was reissued in a different sequence and with new artwork in 2006 by Cleopatra Records under the title Fool's Paradise. The band played occasional live dates when their schedules permitted, and a 2004 show in Los Angeles was released in a special DVD/LP package, 2006's Rockin' the Cat Club: Live from the Sunset Strip. In 2011, the Head Cat brought out a second studio album, Walk the Walk...Talk the Talk. While the debut album consisted entirely of vintage rock & roll covers, Walk the Walk featured a pair of original numbers along with ten rockabilly, blues, and country chestnuts. The Head Cat continued to play occasional club and festival dates until early 2015, when Lemmy's failing health began to interfere with his performance schedule. The Head Cat were scheduled to perform as part of a Lemmy birthday show on December 13, 2015, but Kilmister was too ill to participate. He died on December 28, ending the trio's memorable run.
Zwingenberger was born in Hamburg, Germany, and enjoyed eleven years of conventional piano training. In 1973 he listened to recordings of boogie-woogie pianists Albert Ammons, Meade "Lux" Lewis, and Pete Johnson. He soon joined piano playing partners Hans-Georg Moeller, Vince Weber and Martin Pyrker, and word about the four friends began to spread. In 1974, he played at the First International Blues-and-Boogie Woogie Festival of the West German Radio Station in Cologne which was followed by Hans Maitner's annual festival Stars of Boogie Woogie in Vienna.
By 1975, Zwingenberger received his first recording contract, issuing such solo recordings as Boogie Woogie Breakdown, Power House Boogie, and Boogie Woogie Live, as well as lending his talents to recordings by such artists as Lionel Hampton, Jay McShann, Big Joe Turner, Lloyd Glenn, Joe Newman, Sippie Wallace, Mama Yancey, Champion Jack Dupree, Sammy Price, Ray Bryant, Charlie Watts, Bill Wyman, Vince Weber, and the Mojo Blues Band, among others. In addition to issuing other solo recordings, Zwingenberger continues to tour all over the world. He has also authored several publications about blues/boogie-woogie music and musicians as well as Boogie Woogie: Piano Solo, a book of 12 of his compositions, exactly transcribed.
Being a railfan since early childhood, he is also known for his photographs of steam locomotives, including some taken from within the machinery itself. Zwingenberger established a non-profit foundation within the German Foundation for the Protection of Historical Monuments which donates for the preservation of monuments on rails, including the world's fastest operational steam locomotive, the German DR 18 201.
In spring 2009, coordinated by young pianist Ben Waters from the UK, Zwingenberger renewed his relationship with Charlie Watts, drummer of The Rolling Stones. Together with bassist Dave Green, they played joint concerts billed as The ABC&D of Boogie Woogie. In June 2012 they released their first joint album The ABC&D of Boogie Woogie - live in Paris and presented it in New York by playing concerts at Lincoln Center and The Iridium Jazz Club.
Review by Richard S. Ginell
As specifically indicated by the album's title, the title tune's bluesy cast, and Sweet Lou Donaldson's own determined liner notes, this CD aims to strike a blow for soul-jazz, a once-popular, then-maligned idiom newly returned from exile. That it does -- with no frills, no apologies, and an idiomatic supporting cast. For Donaldson, it was a return to the style that lit up inner-city jukeboxes for him in the 1960s, and though his alto sax lacks some of the majesty that he could summon forth, his bop-flavored technique remained in fine shape in his mid-sixties. It was also a reunion with Donaldson's occasional organist Dr. Lonnie Smith, who contributes plenty of understated savvy to his solos and bass pedal underpinning. Peter Bernstein is the crisp, tasteful guitarist and Bernard Purdie remains the genre's premier timekeeper, assisted by conguero Ralph Dorsey. Together, they work over a series of standards ("Harlem Nocturne," "I Had the Craziest Dream"), some vintage bop (Charlie Parker's "Marmaduke"), and a few Donaldson compositions. "Whiskey Drinkin' Woman," a humorous slow blues featuring Donaldson's high-pitched, good-natured vocals, became a popular feature of his stage act into the next century. With all of these ingredients in place, the CD achieves a comfortable level of competence without really grabbing hold of a groove and riding it the way Donaldson could in his Blue Note days. Also, the sound is a little dry.