miércoles, 23 de agosto de 2017

Ceasar Frazier • Hail Caesar!

Hail Ceasar! is the first album to feature organist Ceasar Frazier as a leader and it is very much a monster bit of funky jazz. The LP consists of a number of long tracks that all jam mightily, right up there with the best of the Soul Jazz grooves coming out of the early seventies. The album was released on the rare Eastbound label a jazz subsidiary of Westbound Records. It's overall success is contributed to highly by the recording maestro Rudy van Gelder. Ceasar pulls together a Prestige-styled combo with a group of players well-known and recorded by van Gelder. It includes Houston Person on soulful sax, Cecil Bridgewater blowing away on Trumpet, Melvin Sparks throwing in some heavy licks, Gordon Edwards ramping up the bass, Idris Muhammad smashing away on drums and Buddy Caldwell doing his bit on the congas. As a first this album truly showcases Ceasar grooving hard on the organ and the chosen tracks don't disappoint. Well recommended!

Terry Gibbs • El Latino

Tiny Topsy • Tiny Topsy & Friends

Born Otha Lee Moore, 22 May 1930, Chicago, Illinois
Died 16 August 1964, Chicago, Illinois.

Active from the mid-40s, when she sang with the Al Smith band in Chicago, Tiny Topsy also made a number of well-received R&B records under her own name during the late 50s and early 60s. Among her recording sessions are some for Federal Records, from one of which came ‘Aw! Shucks, Baby’/‘Miss You So’, billed as by Tiny Topsy And The Five Chances, and which featured tenor saxophonist Ray Felder and vocal group the Charms. Also for Federal she made ‘Come On, Come On, Come On’/‘Ring Around My Finger’, ‘Waterproof Eyes’/‘You Shocked Me’, ‘Western Rock’n Roll’/‘Cha Cha Sue’ and ‘Just A Little Bit’/‘Everybody Needs Some Loving’. Of these, ‘Just A Little Bit’ was later covered very successfully by several artists, including Rosco Gordon and Jerry Lee Lewis. She also released ‘After Marriage Blues’ and ‘Working On Me, Baby’, recorded in 1961 for Argo Records. For some years ‘Tiny Topsy’ was believed to be a pseudonym used by singer-songwriter Bernice Williams (who wrote ‘Western Rock’n Roll’) although this is now largely discounted. Just who Tiny Topsy was remains unknown.

Alberto Marsico • Organlogistics


Herbie Mann • Sugarloafː Jazz Impressions Of Brazil

This album was issued previously, this version was released in 1968 on the Solid State label, the leader is accompanied by Billy Bean on guitar, Carlos Valdez on conga, Willie Bobo on drums, Haygood Hardy on vibes, Dave Pike on marimba, Bill Salter on bass, Jose De Paul on tambourine and Carmen Costa on maracas.

Robert Walter's Super Heavy Organ • Live at The Cabooze 28-09-2008

Wynton Kelly Trio & Wes Montgomery • Smokin' In Seattle-Live At The Penthouse

Toquio Bossa Trio • Angel Eyes

The Tormentos • Grab your board!

Antoni Gaudí • Jeremy Roe, pdf

pdf / 208 páginas / Idioma: ingles / texto editable (copiar y pegar en traductor)
Pdf / 208 pages / Language: English

martes, 22 de agosto de 2017

Leonieke Scheuble ‎• In The Studio

Leonieke started to play piano after being inspired by “Ray,” a movie based on the life of Ray Charles. Without any prior musical training, she began to spend great lengths of time at the piano
creating pieces that were rhythmically interesting and compositionally balanced. She was 5 or 6.
At age 7, Leonieke recorded a handful of pieces including two of her own compositions. This was brought to the attention of Steve Ash, a highly respected Jazz pianist, who then agreed to take her on as a student. She has been with him ever since.
As her love of Jazz, Blues, Soul and Gospel motivated her to develop her musical skills, Leonieke has received a great deal of attention and has been afforded some wonderful opportunities. Among them, would be winning the 2013 International Women in Jazz “Youth in Action” Award and giving performances at The DiMenna Center, Shanghai Jazz, The Kitano, Silvana’s, Symphony Space, Trumpets and several times at both the Nuyorican Poet’s Cafe and The Watchung Arts Center with the Beacon Hill Jazz Band. In November of 2015, The New Brunswick Jazz Project presented Leonieke’s quartet which included two prominent jazz masters, Bill Easley and Bill Crow.
Besides nightclubs and jazz venues, Leonieke also has performed in many Jazz vespers along with musicians such as Steve Turre (Saturday Night Live Band), Tim Ries (saxophonist/keyboardist for the Rolling Stones), Sharel Cassity, Mark Gross and Steve Davis. She has also performed fundraisers for The Un-Domiciled Project (Brooklyn, NY), Love Notes for the Homeless (Union, N.J.), American Cancer Society (Rockaway, NJ) and The Victoria Soto Memorial Scholarship (Woodstock, CT).
Two of the world’s most respected organists have played pivotal roles in Leonieke’s development. The first is Joey DeFrancesco who introduced her to his Hammond B-3 at Dizzys Club Coca-Cola (Jazz at Lincoln Center) in February of 2011. The second is Dr. Lonnie Smith, who after meeting and hearing a clip of Leonieke, arranged for a Hammond organ to be delivered to her as a gift. Another important influence is Bob Belden, (former A&R Blue Note records). Mr. Belden introduced Leonieke to Herbie Hancock and had become a mentor (Belden) until his untimely passing.
In October of 2013, Leonieke and trombonist, Coleman Hughes were the feature for an hour long special called “The Future of Jazz” over radio station WBGO (the foremost jazz radio station in America). Later that month, she entered the studio of Rudy Van Gelder, widely regarded as the greatest engineer in jazz history, and began recording her first professional album, “Debut”. Among the musicians contributing their talents to this recording is the legendary Jimmy Cobb.
Shortly after it’s release, the legendary jazz club, Birdland, added “Debut” to their house system.
Leonieke was recently named “Best Up & Coming Young Artist” (HotHouse NYC Fans Decision 2015 Awards).

The Stargazers • Give Me That Jive

Barney Kessel • Just Friends

lunes, 21 de agosto de 2017

Sonny Criss • Go Man

Buddy DeFranco • Bravura

Satans Pilgrims • Singles & EP

Gerard Gibbs • To Be Or Not to B-3

By Jim Santella, Published: February 1, 2002
Gerard Gibbs' organ trio offers a lot more than the classic ensemble sound that builds from funk and blues. Ten years studying with Groove Holmes and another five with Jimmy Smith has given him the sensitivity to make this debut recording swing hard. The organ trio will never fade from our memories. Gibbs, however, adds more. Alongside the classic funk of ORGANized Crime, the leader adds sampled scat voices in ensemble form to "Killer Joe, "Lately and his original, "Let's Go. The result is somewhat forced.
Unnatural and nearly lifeless, the vocal ensemble samples stand out in opposition to what Gibbs is trying to communicate here. Instead of a natural, organ combo swing, the unit is restrained in places with the stutter-step of sampled voices. Elsewhere, Gibbs swings hard and turns on the burners. Tributes to Groove Holmes and Bill Heid work well in this context. An innovator who swings hard, Gibbs has created an uneven session. The program closes with a lovely arrangement of "A Time to Remember" that allows plenty of space for choice improvisation by each trio member. To Be Or Not To B-3 shows clear signs of better days ahead for ORGANized Crime.

1000 Sculptures of Genius

"1000 Sculptures of Genius" offers a large panorama of artistic creation between the High Antiquity and the twentieth century. Along with numerous references, comments on masterworks and biographies, this work enables the reader to rediscover the Western world heritage and is the perfect guide for students and statuary art lovers.
pdf / 1216 pages / Language: English


Traducción Automática:
"1000 esculturas de Genios" ofrece un panorama amplio de la creación artística entre la alta antigüedad y el vigésimo siglo. Junto con numerosas referencias, comentarios sobre obras maestras y biografías, este trabajo permite al lector redescubrir el patrimonio mundial occidental y es la guía perfecta para estudiantes y amantes del arte estatuario.
pdf / 1216 páginas / Idioma: Inglés

sábado, 19 de agosto de 2017

Lou Bennett Et Son Orchestre • Un Portrait De Ray Charles Par Lou Bennett [EP]

Barney Kessel • Breakfast at Tiffany's

Barney Kessel - g & bj
Bud Shank - as & fl
Paul Horn - s & pic
Victor Feldman - vb & mrmb
Chuck Berghofer - b
Earl Palmer - dr

Swing 41 • Louise

Ultra-Lounge Vol. 13 • TV Town

The Ultra-Lounge series is of course limited to album tracks and singles on the Capitol label, and cobbling together so many different styles of lounge music is bound to create both excitement and dissension, but "TV Town" plays very smoothly, with hardly any ringers, and features some rare, collectible sides besides! Peggy Lee's "Bewitched" is quite a find(for the record, "I Dream of Jeannie"'s theme had lyrics too, but it wasn't on Capitol). Nelson Riddle's "Naked City" is a corker, as are Dave Pell's "Thanks for the Memory" and Jack Marshall's "The Munsters"(a jazzier, yet more toned down version than the theme you hear on TV). Liberty Orch.'s "Burke's Law Suite" is too long but has its moments, and John Barry's "Human Jungle" is very intriguing. A nice addition to the series, with another booklet full of great colorful photos.

Gabor Szabo • The Wind Sky And Diamonds

Gábor Szabó - guitar, recitation
Mike Melvoin - piano, harpsichord
Bill Plummer - sitar
Dennis Budimir, Herb Ellis, Louis Morell, Howard Roberts - guitar
Carol Kaye, Ray Pohlman - electric bass
Jimmy Gordon, John Guerin - drums
Victor Feldman, Emil Richards - percussion
The California Dreamers: Ron Hicklin, Al Capps, Loren Farber, John Bahler, Tom Bahler, Ian Freebairn-Smith, Sally Stevens, Sue Allen, Jackie Ward - vocals

Johnny Lytle • Got That Feeling

Dick Farney • Trio

Dick Farney (birthname Farnésio Dutra e Silva: born November 14, 1921; died August 4, 1987) was a Brazilian pianist, pop-composer, and "crooner" popular in the 1950s.
Dick Farney, stage name of Farnesio Dutra e Silva (Rio de Janeiro, November 14, 1921 - August 4, 1987) was a Brazilian pianist, pop-composer, and "crooner" very popular in Brazil in the late 1940s until the 1970s. He began playing piano as a child when he learned classical music with his father while his mother taught him singing. In 1937 he debuted as a singer in "Hora Juvenil radio program at Radio Cruzeiro do Sul in Rio de Janeiro, when he performed the song Deep Purple composed by David Rose, was taken by César Ladeira to Radio Mayrink Veiga, going to present the program "Dick Farney, the Voice and Piano". He formed the group "Os Swing Maniacos", alongside with his brother Cyll Farney, on drums, and accompanied Edu da Gaita Song on recording of "Indian Song" by the Russian composer Nikolay Rimsky-Korsakov (1844–1908). From 1941 to 1944, was the crooner with the orchestra of Carlos Machado, at the Casino da Urca, at the time when gambling was still allowed in Brazil. In 1946 he was invited to go to the United States after meeting arranger Bill Hitchcock and pianist Eddie Duchin at the Copacabana Palace Hotel. Between 1947 and 1948 appeared on many radio programs on NBC, especially as regular singer at the "Milton Berle Show". In 1948 he appeared with success in the nightclub Vogue, in Rio de Janeiro. In 1959 he had his own TV program "Dick Farney Show", aired by TV Record - Channel 7 in São Paulo. In 1960 formed the group "Dick Farney and His Orchestra" and played in many balls. In 1965 he had the "Dick and Betty Show" at the newly opened TV Globo - Channel 4, Rio de Janeiro, presented by himself and Betty Faria. He was owner of the nightclubs "Farney's" and "Farney's Inn", both in São Paulo. Formed a trio with Sabá on 1971. From 1973 to 1978 he played piano and sang at the nightclub "Chez Régine" in Rio

Fauvismo: The Fauves - Nathalia Brodskaïa, pdf

El fauvismo fue un movimiento pictórico francés de escasa duración. Se desarrolló entre 1904-1908 aproximadamente.
El Salón de Otoño de 1905 supuso la primera exhibición para el grupo. El crítico de arte Louis Vauxcelles tras contemplar las gamas cromáticas estridentes y agresivas de los trabajos expuestos les atribuyó el término "fauves", que en español significa fieras. El nombre asignado era en origen un calificativo peyorativo, como les sucedió a otros movimientos artísticos del S. XX, pero fue asumido por el público y posteriormente introducido en la historia del arte sin connotaciones despectivas.

El turbante rojo de Madrás, de Henri Matisse

El movimiento se fraguó en torno a Henri Matisse y sus integrantes fueron André Derain, Maurice de Vlaminick, Henri Manguin, Albert Marquet, Jean Puy y Emile Otón Friesz. En 1906 se unieron también George Braque y Raoul Dufy.
El Fauvismo no fue un movimiento conscientemente definido, careció de un manifiesto. Fue un mosaico de aportaciones en el que cada pintor acometía sus obras como una experiencia personal cargada de espontaneidad y de frescura. Les unió la actitud violenta con la que se enfrentaron a los convencionalismos de la época rechazando las reglas y los métodos racionales establecidos. Reaccionan contra el Impresionismo y contra la importancia que éstos habían dado a la luz a costa de la pérdida del color.
Los fauvistas creían que a través de los colores podían expresar sentimientos y este pensamiento condicionó su forma de pintar. No buscan la representación naturalista, sino realzar el valor del color en sí mismo. Por ello, rechazaron la paleta de tonos naturalistas empleada por los impresionistas a favor de los colores violentos para crear un mayor énfasis expresivo.

La habitación roja, de Henri Matisse (1908-1909)

Emplearon una pincelada directa y vigorosa, con toques gruesos, sin mezclas, evitando matizar los colores. Las figuras resultan planas, lineales, encerradas en gruesas líneas de contorno. Sus creaciones respondían a un ejercicio de sintetización, buscan la máxima intensidad emocional combinada con la máxima simplificación de elementos. Por ello renuncian a la perspectiva clásica, al claroscuro y al modelado de los volúmenes. La luz tiende a desaparecer y con ella la profundidad. Sus temas son retratos, naturalezas muertas, personajes en interiores, paisajes hermosos.

André Derain - Puerto de pescadores, 1905

Otra característica es el gusto por la estética de las estatuas y máscaras africanas. El arte de los pueblos primitivos no es imitativo, sino que plantea un evidente alejamiento de las formas naturalistas para tender a la esquematización.

Precedentes del Fauvismo
Para hablar de los orígenes tenemos que recordar a Van Gogh y a Gauguin, ya que ambos huyendo del impresionismo, tomaron una ejecución libre y personal, impulsiva y pasional, a la vez que apostaron por obras intensamente coloreadas.
Fuente y artículo completo: http://www.arteespana.com/fauvismo.htm

Fauvismo: The Fauves - Nathalia Brodskaïa, pdf / inglés / 200 págs. / 72MB


Fauvism is the style of les Fauves (French for "the wild beasts"), a loose group of early twentieth-century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions.[1][2] The leaders of the movement were André Derain and Henri Matisse, whose members shared the use of intense color as a vehicle for describing light and space, and who redefined pure color and form as means of communicating the artist's emotional state.
more ...

Fauvism: The Fauves - Nathalia Brodskaïa, pdf / English / 200 pp. / 72MB

Richard ''Groove'' Holmes • A bowl of soul

viernes, 18 de agosto de 2017

Wes Montgomery • Echoes Of Indiana Avenue

Review by Thom Jurek
Let's put the hook in right from the jump: Echoes of Indiana Avenue is perhaps the most significant release of previously unissued material by a major jazz artist since the The Thelonious Monk Quartet with John Coltrane: At Carnegie Hall appeared in 2005. That's not hyperbole. These tapes, which consist of two live recordings and one studio demo, were cut, presumably, between 1957 and 1958, with various groupings of musicians, including his brothers Monk and Buddy, as well as pianist Earl Van Riper and bassist Mingo Jones. All of the tunes here are now regarded as standards, but some were current then, freshly added in that era, such as Shorty Rogers' "Diablo's Dance," Horace Silver's "Nica's Dream," and perhaps most importantly, Thelonious Monk's "'Round Midnight" and "Straight No Chaser." The former, recorded in an organ trio format with Melvin Rhyne on the B-3 and Paul Parker on drums, reveals, even at this early date, how well-developed Montgomery's improvisational language was. His reverent opening is ever so gradually replaced by a shimmering movement toward something approaching early soul-jazz, yet his ability to use the instrument's tonal subtleties and harmonic possibilities add a very different dimension to its harmonic architecture. (And while he recorded it several times during his all-too-brief life, this version is the earliest one we now have of him.) The hard swinging "Take the 'A' Train" showcases the already distinctive and innovative voicings on the bass strings Montgomery developed. These examples aside, there isn't a weak or middling moment throughout the proceedings. At this early date as a leader, Montgomery was in command, pushing hard at the Charlie Christian-isms that dominated his playing with Lionel Hampton. Sound quality can be a tiny bit rough in places, but it hardly matters when the material is this fine.

Sam Paglia • Killer Chachacha

Jimmy Rowles • Let's Get Acquainted with Jazz

Review by Scott Yanow
The drawing on the cover and the liner notes, such as they are, are rather silly, but the music on this brief, but enjoyable, CD reissue (subtitled 'For People Who Hate Jazz') features some fine playing from a variety of top West Coast-based musicians. Pianist Jimmy Rowles is the leader and is assisted by guitarist Barney Kessel, bassist Red Mitchell, drummer Mel Lewis, sometimes vibraphonist Larry Bunker and tenor saxophonist Harold Land, or trumpeter Pete Candoli. They perform six standards, three takes on "The Blues" and three originals by Rowles. It's a program of tasteful and lightly swinging mainstream jazz.

Barbara Carroll • Sentimental Mood

Pianista, compositora y cantante, Barbara Carroll es considerada una leyenda, nacida en EEUU en 1925, comenzó su formación clásica en el piano a los ocho años, pero ya en la escuela secundaria había decidido convertirse en una pianista de jazz.
En 1947, Leonard Feather la apodó como "la primera mujer en tocar bebop al piano". En el año siguiente formó su trío, con Chuck Wayne en guitarra y Clyde Lombardi en el contrabajo, también trabajó brevemente con Benny Goodman.
En la década de 1950 alternó trabajos en solitario, así como con su trío.
Después de hacer su debut en Nueva York en el legendario Club Downbeat de la calle 52, pasó a actuar en salas de música más importantes del país y sigue así hasta el presente.
Su discografía es extensa y en la actualidad es llamada "la primera dama del piano-jazz", toda una leyenda.
Mas info en su website: http://www.barbaracarrolljazz.com/


On Carroll's 19th effort, she interprets some of her personal favorite songs (hence the title, taken from the Cole Porter number performed here). The record also dips into the songbooks of Stephen Sondheim, Harold Arlen, Charlie Parker and Billy Strayhorn.  http://www.barbaracarrolljazz.com/

Putte Wickman with Babik Reinhardt & Ulf Wakenius • Django d’or

Putte Wickman - clarinet
Babik Reinhardt - guitar
Ulf Wakenius - guitar
Rune Öfwerman - piano
Sture Nordin - bass
 Petur “Island” Östlund - drums

Grant Green • Idle Moments

Review by Steve Huey
This languid, seductive gem may well be Grant Green's greatest moment on record. Right from the opening bars of the classic title cut, Idle Moments is immediately ingratiating and accessible, featuring some of Green's most stylish straight jazz playing. Whether he's running warm (pianist Duke Pearson's "Idle Moments"), cool (the Modern Jazz Quartet's "Django"), or a bit more up-tempo (Pearson's "Nomad," his own "Jean de Fleur"), Green treats the material with the graceful elegance that was the hallmark of his best hard bop sessions, and that quality achieves its fullest expression here. He's helped by an ensemble that, as a sextet, is slightly larger and fuller-sounding than usual, and there's plenty of room for solo explorations on the four extended pieces. Pearson's touch on the piano is typically warm, while two players best known on Blue Note for their modernist dates mellow out a bit -- the cool shimmer of Bobby Hutcherson's vibes is a marvelously effective addition to the atmosphere, while Joe Henderson plays with a husky, almost Ike Quebec-like breathiness. That cushion of support helps spur Green to some of the loveliest, most intimate performances of his career -- no matter what the tempo, it's as if his guitar is whispering secrets in your ear. It's especially true on the dreamy title track, though: a gorgeous, caressing, near-15-minute excursion that drifts softly along like a warm, starry summer night. Even more than the two-disc set The Complete Quartets With Sonny Clark, Idle Moments is the essential first Green purchase, and some of the finest guitar jazz of the hard bop era.

Joe Venuti • Joe & Zoot & More

Review by Alex Henderson
 At first glance, Philadelphia violinist Joe Venuti and Los Angeles tenor/soprano saxophonist Zoot Sims might seem an unlikely combination. Venuti was known for swing, classic jazz, and Dixieland, whereas Sims (who was young enough to be Venuti's son) was primarily a cool/bop musician along the lines of Stan Getz, Al Cohn, and Paul Quinichette. But when you think about it, the combination makes perfect sense. Before Sims made bop changes his main focus in the mid-'40s, he played in swing bands -- and Sims (like Getz, Cohn, and Quinichette) was heavily influenced by the seminal Lester Young. So all things considered, it makes perfect sense for Venuti and Sims to join forces on Joe and Zoot and More (which was recorded in 1973 and 1974). Stepping outside of cool jazz and bop, Sims enthusiastically joins Venuti in a classic jazz/swing setting. The performances generally recall the early '30s, and Venuti and Sims enjoy an undeniably strong rapport on inspired versions of "I Found a New Baby," "Indiana," and other familiar standards. As gutsy and hard-swinging as the up-tempo performances are, Venuti and Sims are unapologetically sentimental on ballads like "There's a Small Hotel" and "My One and Only Love." Some bop snobs might think the ballads are toosentimental -- in bop, ballad playing has often tended to be less sentimental and more intellectual than the swing and classic jazz ballad playing of the '30s. (Lyrical, romantic, and pretty don't necessarily mean ultra-sentimental.) But truth be told, there is nothing wrong with jazz instrumentalists being sentimental -- it certainly worked well for Bunny Berigan, Chu Berry, Artie Shaw, and countless others who emerged in jazz's pre-bop era. Joe and Zoot and More is an excellent album that Venuti fans and Sims admirers should both make a point of obtaining.

Al Caiola • Deep in a Dream

Alquimia & Mística - Alexander Roob, español

Este compendio, ofrece un completo repaso a la increíblemente rica tradición artística de la alquimia, desde las tallas medievales hasta las ilustraciones de William Blake.

jueves, 17 de agosto de 2017

Jackie Davis • Tiger On The Hammond

Cal Tjader • Quartet

Lenny Dee • In The Mood

Leonard George DeStoppelaire (January 5, 1923 – February 12, 2006), better known as Lenny Dee, was a virtuoso organist who played many styles of music. His record albums were among the most popular of easy listening and space age pop organists of the 1950s through the early 1970s. His signature hit, Plantation Boogie, charted as a Top 20 hit in 1955. He also had a gold record with 1970's Spinning Wheel.
Dee played a variety of songs in numerous styles. He played original compositions, popular songs, and novelty tunes, and was a master of improvisation. Although his unique style was a pop/boogie-woogie blend, he also played ballads, country and western, jazz, rock, and patriotic songs.
more info ...

Howlin' Wolf • More Real Folk Blues

Frank Wess Quartet • Menage A Bleu

Barbara Dennerlein • Solo

Barbara Dennerlein (born 25 September 1964 in Munich, Germany) is a hard bop, post-bop, and jazz organist. She has achieved particular critical acclaim for using the bass pedalboard on a Hammond organ, and for integrating synthesizer sounds onto the instrument, and has been described as "the most interesting jazz organist to emerge during the 1980s."