PW: egroj

domingo, 22 de octubre de 2017

Martin Denny ‎• Exotic Percussion

Martin Denny (n. en Nueva York el 10 de abril de 1911 – f. en Honolulu el 2 de marzo de 2005) fue un músico estadounidense, intérprete de piano y compositor, mejor conocido como el "padre de la música exótica". Su trayectoria artística se prolongó hasta la década de 1980, viajó por casi todo el mundo, popularizando su estilo musical el cual estaba enriquecido por percusiones especiales (exóticas, al menos para el escucha norteamericano) y arreglos imaginativos para canciones populares de su época. Dichos temas fueron el inicio de la llamada Cultura Tiki. De las filas de su agrupación surgieron dos geniales instrumentalistas con una acentuada influencia de Denny: Julius Wechter de Baja Marimba Band y el notable percusionista y músico Arthur Lyman.
Bio completa ...


Martin Denny (April 10, 1911 ‒ March 2, 2005) was an American piano-player and composer best known as the "father of exotica."[1] In a long career that saw him performing well into the 1980s, he toured the world popularizing his brand of lounge music which included exotic percussion, imaginative rearrangements of popular songs, and original songs that celebrated Tiki culture.
Complete bio ...

Lenny Dee ‎• Golden Organ Memories, vol 1

Martin Taylor • Spirit of Django

Martin Taylor (acoustic guitar); Alec Dankworth (guitar, double bass, percussion); John Goldie (acoustic guitar); Jack Emblow (accordion); Dave O'Higgins (saxophone); James Taylor (drums).

Dave Phillips • The Best Of

Cal Tjader • Sweeter Than Sweetness - Summer Passion

Saffire - The Uppity Blues Women • Cleaning House

VA • Six Million Dollar Groove

Buddy Rich – It’s Crazy (World Pacific)
Wynder K Frog – Jumping Jack Flash (UA)
Bobby Christian – Boogaloo (Ovation)
Roy Meriwether Trio – Jesus Christ Superstar (Notes of Gold)
Moe Koffman – James Brown’s Bag (Jubilee)
Odell Brown & the Organizers – No More Water In the Well (Cadet)
Johnny Lytle – The Snapper (Tuba)
Freddy Robinson – The Coming Atlantis (World Pacific Jazz)
Wilbert Longmire – Scarborough Fair/Canticle (World Pacific Jazz)
Ernie Wilkins Big Band – Funky Broadway (Mainstream)
Little Richie Varola – Who’s Afraid of Virginia Woolf (Verve)
Freddie McCoy – Beans and Rice (Prestige)
Brother Jack McDuff – I Can’t Be Satisfied (Atlantic)
Jimmy Smith – Sugar Sugar (MGM)
Herbie Mann – Bitch (Atlantic)

Selection by / Compilado por:

sábado, 21 de octubre de 2017

Charlie Feathers & Mac Curtis • Rockabilly Kings

Charlie Feathers: Aunque en su momento no fue reconocido, como padre del rockabilly, hay que decir que fue compositor de gran parte de canciones que dieron fama a otros cantantes, entre ellos por ejemplo Elvis Presley.


Mac Curtis: Born in Fort Worth, Texas, Curtis began playing guitar at the age of 12, entering local talent competitions. He moved to Weatherford in 1954, and while there he formed a band with two classmates, Jim and Ken Galbraith. They played at school events, but during one of the events, their show was shut down due to sexually suggestive on-stage movements. Instead, the group played locally, and in 1955 they were offered a deal with King Records, who released their debut single, "If I Had Me a Woman". Soon after Alan Freed heard the group and invited them to play on his Christmas radio special in 1956. He returned to Weatherford to finish school in 1957, and then became a disc jockey in Seoul, Korea after joining the military. Upon his return in 1960, he continued work as a DJ in the South, and released a few albums; his 1968 release, The Sunshine Man, hit #35 on the U.S. Country albums chart. As rockabilly grew in popularity in the 1970s, he began recording with Ray Campi and signed to European label Rollin Rock; his career took off there in the 1980s and 1990s. He was later elected to the Rockabilly Hall of Fame.

Herbie Mann • Opalescence

Ultra-Lounge Vol. 1 • Mondo Exotica

From Amazon:
This is the one Ultra Lounge CD that sees the most play in my CD rotation. It sets the tone for any activity, be it just staring into the trees through my living room window or driving to work on a day when I don't feel well. I always find it hard to critique Ultra Lounge CDs song by song, since I tend to analyze a lounge CD more by its overall feel than by how one particular song makes me react. But this one is really a great place to start the Ultra Lounge collection, partly because it's the first one in the series and partly because it includes some artists that you should get to know independent of the Ultra Lounge compilations: Martin Denny and Les Baxter. These guys really stand out among lounge artists, and their styles are very unique. Overall the collection, for those not familiar with the "exotica" genre, documents lounge's attempt to "go global". This mostly involved lifting themes and ideas from tropical or island music, and the result was a sub-genre that I find delightful! It is more evocative than a lot of other lounge music and is an essential if you own a pool or give a lot of cocktail parties.

jueves, 19 de octubre de 2017

Dick Hyman • The Way You Look Tonight

A very versatile virtuoso, Dick Hyman once recorded an album on which he played "A Child Is Born" in the styles of 11 different pianists, from Scott Joplin to Cecil Taylor. Hyman can clearly play anything he wants to, and since the '70s, he has mostly concentrated on pre-bop swing and stride styles. Hyman worked with Red Norvo (1949-1950) and Benny Goodman (1950), and then spent much of the 1950s and '60s as a studio musician. He appears on the one known sound film of Charlie Parker (Hot House from 1952); recorded honky tonk under pseudonyms; played organ and early synthesizers in addition to piano; was Arthur Godfrey's music director (1959-1962); collaborated with Leonard Feather on some History of Jazz concerts (doubling on clarinet), and even performed rock and free jazz; but all of this was a prelude to his later work. In the 1970s, Hyman played with the New York Jazz Repertory Company, formed the Perfect Jazz Repertory Quintet (1976), and started writing soundtracks for Woody Allen films. He has recorded frequently during the past several decades (sometimes in duets with Ruby Braff) for Concord, Music Masters, and Reference, among other labels, and ranks at the top of the classic jazz field. In 2013, Hyman teamed up with vocalist Heather Masse for a set of standards on the Red House label called Lock My Heart. ~by Scott Yanow

Joe Harriot & John Mayer • Indo-Jazz Suite

Review by Thom Jurek
 In England in the 1960s, Harriott was something of a vanguard wonder on the order of Ornette Coleman. And while the comparisons flew fast and furious and Harriott was denigrated as a result, the two men couldn't have been more different. For one thing, Harriott was never afraid to swing. This work, written and directed by Mayer, offered the closest ever collaboration and uniting of musics East and West. Based almost entirely in the five-note raga -- or tonic scale that Indian classical music emanates from -- and Western modalism, the four ragas that make up the suite are a wonder of tonal invention and modal complexity, and a rapprochement to Western harmony. The band Harriott assembled here included his own group -- pianist Pat Smythe, bassist Coleridge Goode, and drummer Allan Ganley -- as well as trumpeter Kenny Wheeler, flutist Chris Taylor, Diwan Mothar on sitar, Chandrahas Paiganka on tamboura, and Keshan Sathe on tabla, with Mayer playing violin and Harriott on his alto. Of the four pieces, the "Overture" and "Contrasts" are rooted in blues and swing, though they move from one set of ascending and descending notes to the other, always ending on the tonic, and involve more than the five, six, or seven notes of Indian classical music, while the latter two -- "Raga Megha" and "Raga Gaud-Saranga" -- are out to lunch in the Western musical sensibility and throw all notions of Western harmony out the window. The droning place of the tamboura and the improvising sitar and alto shift the scalar notions around until they reflect one another in interval and mode, creating a rich, mysterious tapestry of sonic inquiry that all but folds the two musics into one another for good. Amazing.

Lou Stein Sextet ‎• Swing Time Session

Herbie Mann • Yardbird Suite

Review by Michael G. Nastos
Recorded in the great year of music and especially jazz -- 1957 -- Herbie Mann at the time was gaining momentum as a premier flute player, but was a very competent tenor saxophonist. Teamed here with the great alto saxophonist Phil Woods and criminally underrated vibraphonist Eddie Costa, Mann has found partners whose immense abilities and urbane mannerisms heighten his flights of fancy by leaps and bounds. Add to the mix the quite literate and intuitive guitarist Joe Puma, and you have the makings of an emotive, thoroughly professional ensemble. The legendary bass player Wilbur Ware, who in 1957 was shaking things up with the piano-less trio of Sonny Rollins and the group of Thelonious Monk, further enhances this grouping of virtuosos on the first two selections. Ware spins thick, sinuous cables of galvanized steel during the Mann penned swinger "Green Stamp Monsta!" with the front liners trading alert phrases, and into his down-home Chicago persona, strokes sly, sneaky blues outlines surrounding Mann's tenor and the alto of Woods in a lengthy jam "World Wide Boots." Bassist Wendell Marshall and drummer Bobby Donaldson step in for the other six selections, with three originals by Puma set aside from the rest. "One for Tubby" (for Brit Tubby Hayes) has Mann's flute in a gentle tone as Woods and Costa chirp away while keeping the melody going. The midtempo bopper "Who Knew?" (P.S.; the phrase was coined long ago before its contemporary hipness) is shaded by Costa and deepened by the colorful saxes, and the excellent "Opicana," is a complex and dicey chart, showing the most inventive side of this group and Puma's fertile imagination. You also get the quintessential bop vehicle "Yardbird Suite" with the classic flute and vibes lead spurred on by the alto talkback of Woods. An early version of the enduring, neat and clean bop original "Squire's Parlor" from the book of Woods in inserted. Costa's "Here's That Mann," brims with swing and soul from the perfectly paired, harmonically balanced saxes, demonstrably delightful as the horns, especially the celebrated altoist, step up and out.

Gabor Szabo • Magical Connection

Benny Goodman • Happy Session

Eddie ''Lockjaw'' Davis with Shirley Scott • Misty

Vince Guaraldi • Greatest Hits

Review by Richard S. Ginell
First released on LP in 1980, this compilation concentrates upon bite-sized samples from Vince Guaraldi's Fantasy catalog. Naturally, Fantasy includes famous tunes like "Cast Your Fate to the Wind" and "Linus and Lucy," but there are also some superb sleepers ("Star Song," Jobim's "Outra Vez") that display Guaraldi's wonderful melodic gift, and the sessions with Bola Sete are touched upon. As a chronicle of Guaraldi's Fantasy days, the set is somewhat incomplete, for it leaves out all material recorded prior to "Cast Your Fate" and Guaraldi isn't given much of a chance to stretch out. But this is definitely the place to start for someone who has not heard this whimsically inventive pianist.

Frank Frost • Jelly Roll Blues

The Champs • Tequila

The Champs fue un conjunto musical estadounidense de rock and roll del estado de California, de fines de los años 1950s y principios de 1960s. Famosos por la melodía instrumental con toque latino "Tequila". El grupo tomó su nombre del caballo de Gene Autry, Champion y fue formado por músicos de estudio del sello discográfico de Gene Autry, Challenger Records, siendo grabado como un sencillo en el lado B por Dave Burgess (Dave Dupree), de "Train Nowhere". Esta grabación fue más famosa que el lado A y "Tequila" llegó al numero uno en solo tres semanas y la banda fue el primer grupo en llegar al tope de las listas con una canción instrumental que fue su primer lanzamiento. La canción fue grabada en Gold Star Studios en el otoño de 1957 y en 1959 ganó el premio Grammy como mejor presentación en R&B. Se vendieron un millón de copias y fue certificado como disco de oro por la RIAA.


The Champs were an American rock and roll band, most famous for their Latin-tinged instrumental "Tequila". The group took their name from the name of Gene Autry's horse, Champion, and was formed by studio executives at Gene Autry's Challenge Records to record a B-side for the Dave Burgess (a.k.a. Dave Dupree) single, "Train to Nowhere". The intended throwaway track became more famous than its A-side, as "Tequila" went to No. 1 in just three weeks and the band became the first group to go to the top spot with an instrumental that was their first release. The song was recorded at Gold Star Studios in fall 1957, and in 1959 won the Grammy Award for Best R&B Performance. It sold over one million copies, and was awarded a gold disc by the RIAA.
"Tequila!" was written by the saxophone player Danny Flores, although he was credited as Chuck Rio because he was under contract to another record label at the time. Flores, who died in September 2006, was known as the "Godfather of Latino rock." Flores' "dirty sax" and his low-voiced "Tequila!" are the hallmarks of the song. Flores signed away the U.S. rights to the song but retained worldwide rights until his death.
There are many cover versions of the tune, including a jazz version by guitarist Wes Montgomery in 1966. It has also been recorded by rappers A.L.T. and XL Singleton. The Champs also had success with instrumentals such as "Limbo Rock" and "El Rancho Rock". In 1985 "Tequila" featured prominently in the film Pee Wee's Big Adventure.
The Champs also recorded a sequel to Tequila entitled "Too Much Tequila".

miércoles, 18 de octubre de 2017

Phil Upchurch • Darkness, Darkness

Antonio Carlos Jobim • Tide

VA • Infamous Instro-Monsters of Rock 'n' Roll Vol.3

Michal Urbaniak • Some Other Blues

Jimmy McGriff • The Worm

Review by Thom Jurek
Jimmy McGriff's B-3 sound was always rooted in blues and gospel, and his soloing could be very smooth and polished. But every once in a while, he had to break out of his own soul box and tear it up on a session. The Worm, issued on Solid State Records in 1968, is the very first place he did. This is the first true, all-out funky burner from McGriff, and it sounds very different from most of the other titles on his shelf. Having a band like this helps: trumpeter Blue Mitchell, tenor saxophonist Fats Theus (with Bob Ashton on baritone and Danny Turner on alto), alternating drummers Mel Lewis and Grady Tate, bassist Bob Bushnell, and guitarist Thornel Schwartz were all in their prime in 1968. The title track, written by McGriff, Theus, and producer Sonny Lester, sets the tone for the whole platter. The saxophone section lays in the cut and is prodded on in a driving, funked-up, hard soul groove by the expanded rhythm section (a B-3 album with a bassist wasn't unheard of, but it wasn't standard procedure either). Solos by both McGriff and Mitchell are choppy and punchy in the extreme. The trumpeter is amazing here, offering a small taste of the sound he displayed on 1969's Collision in Black. But check out the next two tunes, both McGriff originals that push the LP into the red zone and keep it there. "Keep Loose" takes the organist head-to-head against Schwartz's electric six-string, and forces a showdown. McGriff is like an out-of-control soul singer (James Brown in a concert setting comes to mind), incessantly forcing his band to play faster, greasier, and choppier on chorus after chorus. He ups the intensity level until there is nowhere to go but over the ledge. He takes them there on "Heavyweight," the very next number, a swinging boppish blues. The horns actually keep the track grounded as McGriff gets terse, dense, and finally unhinged: he's more adventurous in this solo than he had been before, then he double- and even triple-times the entire band! He brings Bushnell's bass up the ever-narrowing stairs of the riff until they become a single player, all groove, grit, and grease. McGriff's cover of Aretha Franklin's "Think" keeps the exuberance level high. As the horns move right into the Memphis soul vamp, McGriff again plays the part of a vocalist: charging up and down the melody on his keyboards, popping in slippery side chords and harmonic flourishes. Tate's drums swing freely yet forcefully, and bass and guitar lines are simply nasty. The readings of Kenny Burrell's "Lock It Up" and Billy Strayhorn's "Take the 'A' Train" are the closest things to "straight" jazz here, though they're full of razored edges and hard angles. The reading of Neal Hefti's "Girl Talk" features the horns strolling leisurely on the melody and vamp, but McGriff goes into overdrive again and his solo hits the stratosphere. The Worm is a monster album through and through. Not only is it a revelatory example of McGriff on the wild, it marks one of the first places where the new funky urban soul met jazz and blues and evolved into jazz-funk.

Stray Cats • The Very Best Of

T-Model Ford • Taledragger

James Lewis Carter Ford, artísticamente conocido como T-Model Ford1 (19242 - 16 de julio de 2013), fue un músico estadounidense de blues. Comenzó su carrera musical con alrededor de 70 años; grabó regularmente para el sello Fat Possum, y luego se cambió a Alive Naturalsound Records. Su estilo musical combina la crudeza del Delta blues con el Chicago blues y el juke joint blues.


James Lewis Carter Ford (c. early 1920s – July 16, 2013) was an American blues musician, using the name T-Model Ford. Unable to remember his exact date of birth, he began his musical career in his early 70s, and continuously recorded for the Fat Possum label, then switched to Alive Naturalsound Records. His musical style combined the rawness of Delta blues with Chicago blues and juke joint blues styles.

Review by Thom Jurek
There is a compelling tension on T-Model Ford's Taledragger, with his rawer-than-gravel blues style that has always staggered between the styles of his native Mississippi Delta and those of Chicago. This doesn't mean the record is tense, but merely that its cultural lines blur consistently between the above styles as well as those of his sidemen -- his backing band of the last few years, GravelRoad, is augmented by guest musicians from Detroit -- who all came of age in the post-punk to indie rock eras. Produced by Brian Olive, Matthew Smith, and Arthur Alexander in Glendale, CA, the set was mixed by Jim Diamond in Detroit. Suffice to say, the addition of baritone saxophone, Hammond B-3, and 12-string acoustic guitars to these extremely basic tunes makes for interesting listening. The set opens with "Same Old Train," a choogling shuffle that is "Mystery Train" with (some) different words. Ford's delightfully rough, front-charging guitar playing is supported by Stefan Zillioux's in-the-pocket pulse that bass and drums follow in sync, but Olive's upright piano is off the beat, following Ford; the entire tune ultimately slurs drunkenly. The lyrics refer to the record's muse: "a big legged mama" who appears often. On "Someone's Knocking on My Door" (one of the album's many death meditations), Ford channels the spirits of his old friend Junior Kimbrough and Howlin' Wolf in a hypnotic two-chord shuffle. The band psychs it up with Smith playing a sinister, snaky B-3, augmented by jangling single-string guitar lines played between beats; there's a stinging lead break with enough echo to add a trippy dimension. The tension on this set reveals itself best in the readings of "How Many More Years" and "I Worn My Body for So Long." The former is swampy and disorienting, full of wah-wah guitars, stuttering drums, and a heavy echo on Ford's voice. He sings with an amused acceptance of the inevitable, not dread -- though the accompaniment does its best to evoke it. This is true in the latter as well, with shimmering acoustic slide and fuzzed-out bass work by Smith. "Big Legged Woman" is an all-out party rave-up with everything becoming an orgy of sound more befitting a Detroit barroom than a Delta juke joint -- and does it ever work! What Ford, Olive, Smith, Alexander, and the rest have wrought on Taledragger is a modern blues album with primitive roots. The tension works. It's a far more interesting recording because of its "impurities" -- paradoxically, making it a far more "authentic" blues record because it is linked to multiple historic traditions simultaneously. It's exponentially more enjoyable and exciting as blues than anything coming out of Chicago in the 21st century.

Gene Ammons • Up Tight

Stephane Grappelli • Young Django

Bass – Niels-Henning Ørsted Pedersen
Guitar – Larry Coryell, Philip Catherine
Violin – Stephane Grappelli

Bradley Leighton • Just Doin' Our Thang

The Original Surfaris • Wheels

The Original Surfaris were a surf music American band of the early 1960s.

In 1960, three young friends, Al Valdez at the piano, Mike Biondo on drums, and Richard Lippy played at the 8th grade graduation dance of St. Mary's Elementary School in Fullerton, California.
In the summer of the same year, Valdez, Biondo, guitarist Bobby Esco, and sax player Bob Bernard formed The Vogues and started playing at school assemblies.
Guitarist Larry Weed, with a country and western musical background, replaced Esco soon after. Weed, notably, used to wear his belt buckle on the side when onstage, "so he would not scratch the back of his Fender guitar."
In late 1961, a Sunday morning all-Mexican television show on KCHOP channel 13 announced that they were looking for musical groups to play on the show, and Valdez's mother phoned the show to submit the candidacy of the band her son was playing in. The Vogues, with Doug Wiseman having replaced Bob Bernard on sax, were contacted by Victor Regina, owner of a pizza stand on Western Avenue, also doubling as a music agent, who helped them, under the new name he gave them, The Customs, record their first single, "Steppin' Out" and "Hi Hat", both written by former member Bobby Esco. Because Regina had put up all the money for the recording session, he took sole credit as the composer of the two songs.
Bassist Jim Tran, who was playing in a Yorba Linda musical trio at the time, was added to the band, soon after the session. Around the early summer of 1962, they started appearing regularly at a bar near Big Bear, with Wiseman's and Biondo's dads driving them there. Soon after, with Chuck Vehle also on guitar, they changed their name to The Surfaris, which was a word play between "surf" and "The Safaris", a music group well-known at the time for their hit "Image of a Girl".
The Danville Battle of the Bands gave the group a lot of exposure and more jobs. They started playing in the Ventura/Oxnard area. While performing there, they backed Bobby Vinton and others.
Between October 1962 and through January 1963, they recorded in the studio of producer Tony Hilder a number of songs written by Larry Weed, such as "Moment of Truth" and "Delano Soul Beat", also recording covers of "Ghost Riders in the Sky" and "Pipeline." The tracks "Moment of Truth" and "Delano Soul Beat" were released on Hilder's own Impact label, as part of a surf music compilation album titled Shake, Shout and Soul. These tracks subsequently appeared on various compilation albums, such as Wheels (Diplomat Records LP 2309); The World of Surfin' (Almor LP 108); Surf's Up at Banzai Pipeline (Northridge Records LP 101); and others.
After some months, the band again went into the studio with Hilder producing and recorded a number of tracks intended to be released on the Impact label, as their first full-length LP. Two of the tracks, "Bombora" and "Surfari" were leased to Del-Fi Records, which sent them out as a single. But the record, even though it started selling well in the state had to be pulled from the stores because of a lawsuit.
It was in early 1963 that, while the band were on the road, the surf instrumental "Wipe Out" came out and broke big nationwide. It was written and performed by a Glendora, California band who also called themselves The Surfaris. The Glendora group's management sued for the exclusive use of the name and, in the trial that followed, the judge awarded them sole use of "The Surfaris." However, the judge also allowed the Fullerton band to carry on under the name The Original Surfaris, although they continued to be billed in the various venues they played as "The Surfaris."
After recording hot rod tracks, such as "Gum Dipped Stick", The Original Surfaris started changing their musical style, and Jim Tran along with Al Valdez left the group. The Original Surfaris started doing more vocals, in the soul and blues vein, until eventually breaking up in May, 1965.

After the break-up:
Mike Biondo went into the U.S. Army and then worked in a corporate position for United Gypsum.
Jim Tran joined the U.S. Coast Guard and then worked as an engineer for the Rancho Water District in Costa Mesta, California.
Al Valdez served in the U.S. Air Force Reserves and, after his discharge, spent the next ten years singing in a musical duo in Lake Tahoe and Orange County venues, before going solo.
Doug Wiseman went into the construction business where he became an independent contractor in his La Habra, California birthplace.

The Original Surfaris, in their various incarnations, were "one of the most highly regarded" and "creative" surf groups of the 1960s, but also remained at the time "one of the most obscure" ones. Critics described their music as featuring "reverb galore, swaggering sax and a tough surf sound",] while their best tracks were praised for their "spooky reverb guitar lines and Latin-influenced minor melodies that were hallmarks of much of the best instrumental surf music.
They rose and peaked at a very young age: One night in 1962, the band were playing in a hotel bar and they got arrested by the police because they were all under 18 years old. Another surf music group from Los Angeles named themselves The Bomboras inspired by the instrumental track.
The Original Surfaris allegedly never received any money for the tracks they recorded with Tony Hilder, since they had signed all their publishing rights away for one dollar per song.

domingo, 15 de octubre de 2017

VA • The Return Of Mod Jazz





Ray Bryan, Hank Jacob, Junior Mance, George Benson, Mongo Santamaria, Afro Blues Quintet, Pucho, Googie Rene, Bill Doggett, Red Holloway ...

Bob De Angelis • Cheek To Cheek

One of Canada’s most accomplished bandleaders and instrumentalists, Bob DeAngelis has entertained for numerous heads of state including Canadian Prime Ministers, American Presidents and several members of the British Royal Family. A master of the clarinet, Saxophone and other Woodwinds, Bob’s varied career includes appearances at numerous jazz festivals such as the Montreux Jazz Festival and the Toronto Downtown Jazz Festival. He was the featured soloist in the hit musical Fosse where he recreated Benny Goodman’s performance of Sing, Sing, Sing at Carnegie Hall. The 2004 launch of his symphonic tribute to Benny Goodman’s musical legacy introduced Bob’s phenomenal clarinet playing to an entirely new audience. As that program continues to fill halls and garner rave reviews, Bob is totally jazzed to be collaborating once again with renowned arranger/trumpeter, Juno and Grammy recipient, John MacLeod for their new holiday pops program, And the Angels Swing.
Among Bob’s many career highlights are his Toronto performance with the “Champagne Symphony” pops orchestra” at Roy Thomson Hall, & his extended run as Bandleader at the Imperial Room in Toronto’s venerable Royal York Hotel as well as and receiving a Juno Award for Best Instrumental Album in 2004. In demand as a soloist, Bob has been honored to work with many wonderful artists including Anne Murray, Marvin Hamlisch, Peter Appleyard, the Spitfire Band, Rosemary Clooney, Jackie Richardson, John McDermott, Brian Barlow and Joe Sealy. Equally at home in the studio, Bob’s discography includes Anne Murray’s 2004 release I’ll be Seeing You, top 40’s pop diva Esthero’s 2006 chart topper Wikked Lil Grrrls as well as Brian Barlow’s 2007 release of “One Hot Summer Night”. He is the arranger and featured performer on numerous CD’s on the Avalon/Solitudes label including In a Sentimental Mood ...What a Wonderful World… Italian Love Songs and Beyond the Sea. Newly recorded “Champagne Memories” features Bob with full symphony orchestra is set for release in the summer of 2007.
Bob has two solo releases 2004 “Jive for Joni” which features a combination of traditional jazz and swing favorites & his first solo album, Runnin’ Wild which was produced in 1986 and digitally re-mastered & re-released in 2006. Bob’s soundtrack recordings range from a Steven Spielberg film to HBO and CBC documentaries and biographies. Bob’s exquisite sound is heard on countless jingles for radio and TV

The Billy Taylor Septet ‎• Brazilian Beat

Das Michael-Naura-Quintett • Down To Earth [EP]

Gene Ammons • The Gene Ammons Storyː Organ Combos

Review by Scott Yanow
Gene Ammons recorded frequently for Prestige during the 1950s and early '60s and virtually all of the tenor's dates were quite rewarding. This two-LP set reissues Twistin' the Jug plus part of Angel Eyes and Velvet Soul. Ammons, a bop-based but very versatile soloist, sounds quite comfortable playing a variety of standards and lesser-known material in groups featuring Jack McDuff or Johnny "Hammond" Smith on organ and either trumpeter Joe Newman or Frank Wess on tenor and flute. This version of "Angel Eyes" became a surprise hit.

Howlin' Wolf • The Rocking Chair Album

Johnny Rivers • ...And I Know You Wanna Dance

Sérgio Mendes & Brasil '66 • Crystal Illusions

Review by Richard S. Ginell
The sound and band that served Sergio Mendes well on Fool on the Hill remain intact on Crystal Illusions, with few modifications. Dave Grusin is right there with a lush, haunting orchestral chart when needed; Lani Hall is thrust further into the vocal spotlight, as cool and alluring as ever in Portuguese or English. Mendes remained on the lookout for fresh Brazilian tunes, and he came up with a coup, one of the earliest covers of a Milton Nascimento tune to reach North America, "Vera Cruz" (with Hall's English lyrics, it became "Empty Faces"), as well as Dori Caymmi's "Dois Dias." The two singles, the perky "Pretty World" and sax-streaked cover of Otis Redding's "The Dock of the Bay," are nice slices of Mendes pop, though they were not significant hits. And yes, Sergio Mendes & Brasil '66 did take a large risk on the title track, a lengthy, kaleidoscopic treatment of an Edu Lobo tune that, inspired perhaps by "MacArthur Park," shattered radio's time barrier at seven minutes and 50 seconds. Yet while Grusin goes into a psychedelic freakout, we get a rare chance to hear Mendes stretch out a bit on electric piano. Weird and overblown, but wonderful.

Ultra-Lounge Vol. 11 • Organs In Orbit

sábado, 14 de octubre de 2017

Cal Tjader • Puttin' It Together

This is a live recording by vibraphonist Cal Tjader which was recorded at Howard Rumsey's Concerts by the Sea in January 1973, the album was released on Fantasy Records, the band consists of Mike Wolff on piano, Rob Redfield on guitar, John Heard on bass, Dick Berk on drums and Michael Smithe on congas.

Billy Butler • Don't Be That Way

Drums – Oliver Jackson
Organ – Wild Bill Davis
Guitar – Billy Butler

Willie Mitchell • It's Dance Time

Review by Kurt Edwards
It's Dance Time begins with an introductory run-through of the days popular steps, a brief warm-up for the listener. From there, Willie Mitchell delivers his usual solid set of instrumentals. While the album doesn't quite match up to Mitchell's best album, That Driving Beat, it does have plenty of highlights, including the swaggering "Buster Browne" and "Shake"-styled "When My Dreamboat Comes Home," complete with a lively fuzz-guitar and nice drum breaks. As with most Mitchell albums, most of the songs are over in two minutes' time, quickly moving on to the next dance craze, and the tracks include many tasteful cover versions. Those on It's Dance Time include "Twine Time," "Fever," and a bluesy "Since I Met You Baby."

Tony Monaco, Yosuke Onuma & Gene Jackson • Live at Cotton Club Japan

Tony Monaco is a leader in a modest revival of the Hammond B3 organ in jazz. As he has been with so many fledgling jazz organists, Jimmy Smith played a significant role in attracting Monaco to jazz and retaining his interest in the music. Monaco was 12 years old when he first heard Smith and, as a 16th birthday present, got a phone call from the organ giant. The culmination of this association came when Smith invited the young performer to join him at Smith's club. Monaco has also been fortunate to spend time with other jazz organ masters, including Hank Marr and Dr. Lonnie Smith. He started subbing for players, like Marr, in and around Columbus, OH, when he was just 16. Monaco has also been helped along by one of his peers, Joey DeFrancesco, who produced Monaco's first album, Burnin' Grooves, and joined the session on piano. Monaco added horns to his second album, Master Chops T, released in 2002, giving the Hammond organ player much more flexibility to the arrangements. It also allowed him to take full advantage of the rhythmic invention the electric organ allows its players to engage in. A live follow-up, Intimately Live, followed later that year. In addition to his albums as leader, Monaco has recorded with Eric Neymeyer and neo-bop guitarist Mark Elf. Monaco doesn't rely entirely on his jazz work to support his family. He and his brother run and own a concrete construction business. When not performing or building, Monaco listens to other masters of the organ, including Smith, Richard "Groove" Holmes, and Larry Goldings.

Fernando Botero • Drawings and Watercolors, pdf

pdf / 216 páginas / Idioma: Inglés / 1990
pdf / 216 pages / Language: English / 1990

viernes, 13 de octubre de 2017

Howard Roberts • Forever

1956-1979, 50 songs special selection

Bill Doggett • Big City Dance Party

Marian McPartland • Bossa Nova + Soul

Costel Nitescu • Forever Swing Grappelli Forever

Ernie Wilkins ‎• The Big New Band of the 60's

Review by Scott Yanow:
Despite its title, the Ernie Wilkins Orchestra did not become "the big new band of the '60s" and this LP was its only recording. With such an all-star cast (including trumpeters Clark Terry and Charlie Shavers, tenors Zoot Sims and Yusef Lateef, vibraphonist Eddie Costa and guitarist Kenny Burrell) the big band would not have had much of a chance anyway in the 1960s. Wilkins' progressive but swinging arrangements for three of his originals and nine standards are enjoyable but the brevity of the tracks (the longest one is 3½-minutes) and the rather short solos is unfortunate. This LP falls a bit short of its great potential.