PW: egroj

sábado, 9 de diciembre de 2017

The RJ Spangler Trio • This Is What We Do

Detroit has always been a home for a multitude of jazz traditions. From big band to swing, from hard bop to the avant-garde, any jazz style can be heard in a given week. The city has especially embraced the organ trio, that staple of neighborhood joints found throughout the urban landscape. Veteran drummer and bandleader RJ Spangler has made that ubiquitous instrument his bread and butter for quite a while. Spangler (who, incidentally, is the nephew of the legendary San Francisco DJ Bud Spangler) has been a fixture on the Detroit music scene for over 30 years, and has been affiliated with some notable Detroit acts. Spangler co-founded the legendary R&B/jazz ensemble the Sun Messengers and has toured and recorded with blues greats Johnnie Bassett, Joe Weaver and Alberta Adams. He even hired a very young James Carter for some of the saxophonist's first gigs. Spangler's most interesting Endeavor, however may be his Planet D Nonet, which may be the only Sun Ra tribute band in the country.
Spangler's bread and butter is his organ trio, which is featured on the superb EP, This Is What We Do. What gives this hit some attraction is its getting some solid radio airplay throughout the Midwest and the prior buzz is well-deserved. Spangler's been with his cats for many years, making this a very tight set. The date is all standards except for one each by the Neil Creque and Big John Patton. Stylistically, Spangler' s crew prefers the breezy melodicism of guitarist Grant Greens Blue Note sessions over Jimmy Smith's gutbucket funk.
The trio starts off with a casual rendition of "Don't Blame Me," featuring some great interplay between organist Duncan Mcmillan and guitarist Ralph Tope. A relaxed "Girl Talk" is followed by some fired-up play on Creque's "Cease The Bombing," highlighting that the late keyboardist's work is really overlooked. After a languid "Idle Moments," the group shifts into high gear on "All Or Nothing At All," and blasts to the finish line with a John Patton burner "Funky Mama." McMillan and Tope really tear up on this piece, showing their Motown funk credentials prodigiously.
There is not a lot of flash, but it is solid blue-collar funk. Spangler and company show that the Motor City can hang with Philly when it comes to the B-3 genre.

domingo, 3 de diciembre de 2017

Don Patterson • Holiday Soul

Ray Bryant • Ray Bryant Trio

Review by Ron Wynn
Pianist Ray Bryant solidified his reputation with this outstanding 1957 trio release. It displayed his facility with the blues, speed, gospel influence, and interpretive abilities on such songs as John Lewis' "Django" and Clifford Brown's "Daahoud." It also contained Bryant's funky originals "Splittin" and "Blues Changes," and was punctuated by Ike Isaacs' careful bass work and Specs Wright's loose, in the groove drumming. This set has recently been reissued by Fantasy, and the remastering provides a fine sonic framework for Bryant's heady, unpredictable, and often exciting playing.

Richard ''Groove'' Holmes • Get Up & Get It

Review by Stewart Mason
The organ trio format is so ensconced in the minds of soul-jazz fans that hearing this album, which puts Richard "Groove" Holmes' funky Hammond B3 in the context of a larger group, sounds odd and over-produced at first. Putting Holmes' bottom-heavy instrument against a guitar-bass-drums trio and then adding Teddy Edwards' tenor saxophone on top to take most of the melody lines sounds on paper like it should be a thick, muddy mess, but thankfully, Holmes' sidemen are up to the task at hand and steer clear of over-playing. The great Paul Chambers, one of the best bassists of the post-bop generation, mostly leaves the bottom to Holmes' left hand, leaving himself free to add intriguing little accents and filigrees to the rhythm, and guitarist Pat Martino wisely avoids the temptation to do much more than comp unobtrusively and take the occasional brief solo. Billy Higgins, of course, is one of the great drummers of his time and plays solidly throughout. The original "Groove's Blue Groove" is a particular highlight, but the entire album is worthy.

sábado, 2 de diciembre de 2017

Satans Pilgrims • At Home with Satan's Pilgrims

Tony Kinsey • Trio with Joe Harriott [EP]

Recorded 9 December 1954
Joe Harriott, alto; Bill LeSage, vibes, piano; Sammy Stokes, bass; Tony Kinsey, drums.
Esquire EP36

1 CHIRRACAHAUA (LeSage) (7:40)
2 TEDDI (LeSage) (6:50)

Lenny Dee • Dee-Lightful

Gabor Szabo • The Szabo Equation

Maravillosa version de "The Look Of Love"  /  Wonderful version of   "The Look Of Love"

viernes, 1 de diciembre de 2017

The Brian Setzer Orchestra • Rockin' Rudolph

Melvin Rhyne • Classmasters

Melvin Rhyne's latest offering, his sixth for Criss Cross Jazz, finds him once again in the company of guitarist Peter Bernstein and drummer Kenny Washington with tenor saxophone sensation Eric Alexander on hand.
Serving up a savory and filling plate of grooves, Rhyne and crew move freely between the blues and bebop, with a few choice originals thrown in for good measure.

Review by Al Campbell:
Organist Melvin Rhyne's sixth Criss Cross release, Classmasters, finds him once again in the hard swinging company of guitarist Peter Bernstein, saxophonist Eric Alexander, and drummer Kenny Washington. These musicians breeze through two cuts a piece by Michel Legrand and McCoy Tyner, along with the compositions of Coltrane, Monk, Stanley Turrentine, Billie Holiday, and Cole Porter. The Rhyne original "Rhyne, Rhythm and Song" rounds out this modern blues and bebop set.

Kenny Burrell • Asphalt Canyon Suite

Asphalt Canyon Suite is an album by guitarist Kenny Burrell recorded in 1969 and released on the Verve label.

miércoles, 29 de noviembre de 2017

Sidney Bechet • Joue Noel

Sidney Bechet recorded these four Christmas songs on December 10 and 12, 1958, accompanied by Jean-Claude Pelletier, organ, Claude Gousset, trombone, Alix Bret, bass and Kansas Fields on drums. Less than six month later, Sidney Bechet died in Paris from lung cancer on May 14, 1959, on his 62nd birthday.

While these Holiday tunes might not be considered cream of the crop by some jazz fans, Sidney Bechet did not record a bad song in his lifetime. He even pulled off a spirited version of White Christmas….

Earl Bostic • Dance Music From The Bostic Workshop

VA • The Specialty Story #5

martes, 28 de noviembre de 2017

Wes Montgomery • Full House

Full House is the seventh album and first live jazz album by American jazz guitarist Wes Montgomery, released in 1962.
The performance was recorded live at Tsubo in Berkeley, California on June 25, 1962. The session featured a quintet that included Wynton Kelly on piano, Johnny Griffin on tenor saxophone, Paul Chambers on bass, and Jimmy Cobb on drums.

Bill Doggett • Gon' Doggett

With his instrumental hit "Honky Tonk" in February 1956, Bill Doggett (born William Ballard Doggett) created one of rock's greatest instrumental tracks. Although it generated scores of offers to perform in rock & roll clubs throughout the United States, Doggett remained tied to the jazz and organ-based R&B that he had performed since the 1930s. Continuing to record for the Cincinnati-based King label until 1960, he went on to record for Warner Brothers, Columbia, ABC-Paramount and Sue. His last session came as a member and producer of an all-star jazz/R&B group, Bluesiana Hurricane in 1995.

Slim Harpo • Buzzin' The Blues - The Complete Slim Harpo #3

lunes, 27 de noviembre de 2017

Jimmy Smith Trio • Paris Jazz Concert (Salle Pleyel 1965)

Ray Brown ‎• Jazz Cello

On the last day of August and the first day of September 1960, bassist Ray Brown recorded his third album for the Verve label, focusing most of his attention upon the cello while Joe Mondragon handled the bass. The 11-piece band on this date was conducted by arranger Russ Garcia and included reed players Paul Horn and Bob Cooper as well as pianist Jimmy Rowles. The results were typical of late-'50s West Coast mainstream jazz: familiar ballads and friendly, uplifting standards, tidily performed. Some of the tunes reach back to the 1920s, with "Rock-A-Bye Your Baby with a Dixie Melody" serving as a surprisingly hip link with vaudeville as Brown's pizzicato maneuverings are punctuated with punchy blasts from reeds and brass. If one takes the time to place this recording within an historical context, an impressive evolution reveals itself. The first bassist to cross over to cello on records in modern times is believed to have been Oscar Pettiford, while Fred Katz popularized the warm-toned instrument through his work with drummer Chico Hamilton. The progression of jazz cellists since then is impressive, from Ray Brown, Sam Jones, Percy Heath and Ron Carter to Abdul Wadud, David Holland, David Darling, David Eyges and Diedre Murray. By the first decade of the 21st century, an unprecedented number of improvising cellists had appeared, making Ray Brown's 1960 Jazz Cello album seem like a sunny little episode in the foundation of a fascinating modern tradition spanning several generations.

Joe Mooney & his Quartet • Swinging Accordeon

Jazz improvisations from the accordion of virtuoso Joe Mooney backed by a wonderful quartet. The fans of jazz will be pleasantly surprised by the possibilities of the accordion as a central jazz instrument.

Peter Nero • In Person

Pearl Django • Time Flies

Pearl Django is a jazz group established in 1994 in Tacoma, Washington by guitarists Neil Andersson and Dudley Hill, and bassist David "Pope" Firman. The group's stated focus is to incorporate the music of Django Reinhardt and Stephane Grappelli with American swing music. Initially a trio, they have changed and added members over the years and are now a quintet. Based in Seattle, they have played around the United States, as well as in France and Iceland.
They played at the prestigious Festival Django Reinhardt in Samois-sur-Seine and at Juan de Fuca Festival. The have played with Martin Taylor, Bucky Pizzarelli and Gail Pettis, the two-time recipient of the Earshot Jazz ‘Jazz Vocalist Of The Year’ award. The british virtuoso Taylor turns up on three tracks of their 2011 album Eleven. Violinist Michael Gray, accordionist David Lange, bassist Rick Leppanen and guitarists Troy Chapman and Ryan Hoffman appeared 2012 live at Yoshi's San Francisco. On their 12th album, Time Flies, released 2015, all but one of the tracks are their own compositions, except one that is a classic bossa nova.

The Diplomats Of Solid Sound • Let's Cool One

Review by Mark Deming
In a world where the average person's knowledge of funk doesn't seem to go far beyond what Dr. Dre borrowed from George Clinton, it's a pleasure to have the Diplomats of Solid Sound around, who with cool and concision conjure up the shades of the Meters and Booker T. & the MG's on their 2003 album Let's Cool One. While it would be a mistake to say that Hammond handler Nate "Count" Basinger and his partners in crime are quite up to the level of their role models, they hit the target with a lot more accuracy than one might expect, and while these guys know how to brew up a percolating groove (try "Ribsticker" or "Swamp Chomp" and you'll see), they also have an admirably laid-back approach to old-school soul, knowing not to force it if it doesn't fit. Featuring 11 swank originals and a quality cover of Sly Stone's "You Can Make It if You Try," Let's Cool One doesn't stray terribly far from its influences, but these guys are just good enough to capture not just the sound but the ineffable feel of vintage instrumental soul, and they do it with taste, flair, and just the right amount of grit. And any band who not only knows enough to call a song "Pistol Allen" but makes the name-check stick must be doing something right. Cool stuff.

Martin Denny ‎• Latin Village

viernes, 24 de noviembre de 2017

Joe Pass & Tommy Gumina Trio • Sound Project

VA • Cocktail Jazz

Portadas Bizarras de Navidad / Bizarre Christmas Covers

muchas más ...    /     many more ...

Fuente / Souce:

T-Bone Walker • Feelin' The Blues

Cannonball Adderley & The Bossa Rio Sextet • Cannonball's Bossa Nova

VA • The Specialty Story #4

Vibraphonic • Acid Jazzizms

Butch Baldassari, John Carlini & Byron House • Reflections

Welcome to the world of Butch Baldassari and John Carlini, a place where acoustic string virtuosity and wide-ranging musical influences merge and diverge to create haunting aural images at once familiar and brilliantly explorational. Imagine Bill Monroe's hardscrabble roadhouse mandolin exploring both the uptown vistas of George Gershwin's elegant and romantic melodic sophistication, and the downtown modal improvisations of John Coltrane for a sense of the possibilities explored here. Reflections is filled with that kind of juxtaposition, where musical worlds collide to create their own unique planetary systems operating on rules of harmonic physics that should be contradictory, but in fact emerge as logical and elegant equations that reveal our musical common denominators.
The soloists here both have made indelible marks on today's propulsive and energetic acoustic music scene. John Carlini has been the man behind the curtain of the New Acoustic pyrotechnics, involved in everything from helping flatpicking legend Tony Rice absorb the jazz theory needed to energize his evocative playing to another level, to helping arrange and coordinate the ensemble playing of groups ranging from the David Grisman Quintet to the Nashville Mandolin Ensemble.
The latter association brought him into contact with Butch Baldassari, who in addition to being one of the true keepers of the Monroe-style bluegrass mandolin flame, has branched out to explore everything from turn-of-the-century mandolin orchestra performance pieces, Appalachian fiddle music, and his own brand of brilliant original acoustic string music.

The Original Surfaris • Bombora!

Slim Harpo • Buzzin' The Blues - The Complete Slim Harpo #2

Ken Peplowski Gypsy Jazz Band • Gypsy Lamento

This is a gypsy combo of the Django Reinhardt persuasion, rather than being fully-crazed wedding party cacophony. In fact, reedman Ken Peplowski makes matters even more specialized by concentrating on a preponderance of slow plodders rather than the frenetic hurtling that many gypsy jazz guitar outfits now prefer. The album's cover is slightly strange. Two pseudo-brides in billowing white silk cavort with a pair of goats. Is this what gypsy life entails?

Half of the compositions are written by the old Belgian guitar master Reinhardt, with Peplowski flanked by guitarists Bucky Pizzarelli and Howard Alden, which is certainly an impressive way to be surrounded. This is a world where reeds are not always invited, but Peplowski smoothly slides in his clarinet and tenor saxophone, delivering some of the most sensitive solos of his career. Pizzarelli and Alden opt for steely picking, bright with a percussive attack, but it sounds like it's the former who's taking most of the solos.

The playing, arrangements and production qualities make this a disc to savor, even though it would benefit from a few more briskly trotting numbers. Peplowski's oozing clarinet closeness on "Anouman" sinks the listener into a less familiar Reinhardt tune. Next up, his tenor tone on "Crepuscule" is magnificent; sounding like the mic is buried deep inside its velvet-lined bowels.

 Violinist Aaron Weinstein isn't around much, but when he's soloing, the impact is noticeable. He's half slick sluice, half hot friction. The guitars engage in a dialogue during "I'm Confessin,'" the leader layers up both of his horns on "Please," conversing with himself, while it's just Peplowski and Pizzarelli together for the closing "Time On My Hands." This album is an oldster's reflection, but this is no bad thing. Peplowski burns up frequently during other sessions, so a reclined set makes for a pleasurable change.

Ken Peplowski: tenor saxophone, clarinet;
Bucky Pizzarelli,
Howard Alden: guitars;
Aaron Weinstein: violin;
Frank Tate: bass;
Chuck Redd: drums.