viernes, 26 de mayo de 2017

Willis Jackson • Legends of Acid Jazz

Review by Scott Yanow
Willis "Gator" Jackson's initial reputation was made as a honking and screaming tenor saxophonist with Cootie Williams' late-'40s orchestra and on his own R&B-ish recordings. By 1959, Jackson had de-emphasized some of his more extroverted sounds (although they occasionally popped up) and had reemerged as a solid swinger influenced by Gene Ammons and (on ballads) Ben Webster. This CD reissue from 1998 brings back in full two of Jackson's 1959-60 LPs: Blue Gator and Cookin' Sherry. Some of the music (which often falls into the soul-jazz genre) is reminiscent of the funky groove music that would become popular in the late '60s. Jackson sounds fine and is joined throughout by guitarist Bill Jennings, organist Jack McDuff, one of three bassists, one of two drummers, and sometimes Buck Clarke on conga. The accessible music alternates between warm ballads and jump tunes.

jueves, 25 de mayo de 2017

Beverly 'Guitar' Watkins • Don't Mess With Miss Watkins

Artist Biography by Richard Skelly
Georgia-based guitarist, singer, and songwriter Beverly "Guitar" Watkins is one part soul singer, one part rockin' roadhouse mama, and one part gifted songwriter. She's also been chronically under-recorded for a woman with her résumé: she spent the early '60s playing rhythm guitar with Piano Red & the Interns. She recorded with Piano Red from 1959 until the mid-'60s, and can be heard on his popular singles "Doctor Feelgood" and "Right String But the Wrong Yo Yo." Watkins learned guitar and got her earliest musical sensibilities from several of her aunts, who had a quartet named the Hayes Family. She also had a banjo playing grandfather, Luke Hayes. On holidays and at family get-togethers, these musicians would assemble and the blues and gospel were passed on in a true folk process to the young Watkins.
Her earliest influences included Rosetta Tharpe, Bessie Smith, Ma Rainey, and Memphis Minnie, and she was exposed to the music because of her grandmother, who would play their recordings on the family Gramophone. She began playing guitar as an eight-year-old, learning by listening to the records her mother would play for her. Later, she was exposed to the records of touring bands, including Louis Jordan's and Count Basie's. She began to model her playing after Charlie Byrd and Basie's rhythm guitarist, Freddie Green. Throughout high school, she participated in a variety of talent shows and played trumpet in the school band. Her high school band master helped broaden her knowledge of jazz and blues guitar, and piano. After a succession of bands in high school, she settled in with playing with Piano Red, who later changed their name and found their widest appeal, as Piano Red & the Houserockers, which led to bookings outside Atlanta and northern Florida in cities like Chicago, Detroit, and Washington, D.C.
In 1965, the band broke up, but not before going through several more name changes. Watkins then hooked up with Eddie Tigner and the Ink Spots and toured extensively with that group, playing for nearly a year with him before he was felled by a stroke. Watkins came off the road and took a break from the brutal touring she had done for much of the '60s. She worked a procession of day jobs as a domestic and in car washes before joining Leroy Redding & the Houserockers. Watkins worked on and off with Redding until the late '80s before striking out on her own and creating a residency for herself at Underground Atlanta, an Atlanta nightclub, often accompanied by a drummer and her son on bass. Here she developed her singing and harmonica-playing skills. Back in Business, her solo debut album, was released in 2001 as part of the Music Maker Series distributed by Sire Records Group/ Warner Bros. The album showcases Watkins' flexibility and prowess in a wide range of styles: roadhouse blues, jazz-inflected blues, and rockabilly-blues. Now in her sixties, Watkins continues to perform in Atlanta-area blues clubs and at major festivals around the U.S.. She put in a particularly compelling, energetic performance at the 2000 Chicago Blues Festival.
Watkins was playing internationally (for example, the Main Stage at the Ottawa Blues Fest in 2004) as well as in her hometown Atlanta until temporarily sidelined by surgery in 2005, but is recovered and taking bookings. She performed a set at the 2008 Cognac Blue Festival.

Jazz Ansambl Mojmira Sepea • Ansambl Sepe Jazz

Founded in the late 50-ties. They were proned to modern jazz style (bebop, cool, swing ).
Country: Yugoslavia

Trumpet, piano: Mojmir Sepe
Clarinet, saxophone: Ati Soss
Vibraphone, piano: Jure Robežnik
Guitar: Mitja Butara
Bass: Borut Finžgar (later Pavle Oman)
Drums: Janez Sever (later Koko Jagodic)

Martin Denny • A Taste Of Honey

Review by Stephen Cook
Taking a tip from George Shearing, Martin Denny cruised through most of the '60s with a slew of bossa nova and jazz cocktail albums. Denny's late-'50s exotica records had established him as a name to reckon with in bachelor pad circles, but were only good for a limited stretch. Denny didn't forsake this period completely, though, when he turned to jazz; on this release at least, one hears bits of his earlier South Seas and Hawaiian backdrops in the bongo accompaniment and occasional leftfield percussion accent. Other factors to consider are Cal Tjader and Dave Brubeck, both of whom Denny pays homage to by covering their respective numbers "Black Orchid" and "Take Five." As both Tjader and Shearing did on many recordings, Denny and company raise these cuts and their version of "A Taste of Honey" beyond the confines of kitsch by way of some top-notch ensemble playing. The whole album, for that matter, is well played, but things do go south a bit towards the end as the band slips into background music mode. This is not to say that versions of war horses like "Exodus" and "Claire de Lune" aren't enjoyable, or even tailored made for entertaining guests, but they don't offer much in the way of exotic thrills or rarefied touches. Still, A Taste of Honey should resonate with dedicated Denny fans; and since there has to be at least a few gems on each of the several lounge jazz records Denny released, someone should put together a compilation covering this period as a compliment to Rhino's exotica-era collection.

Herbie Mann & Buddy Collette • Flute Fraternity

Gabor Szabo • Live with Charles Lloyd

Pablo Picasso • Anatoli Podoksik, pdf

miércoles, 24 de mayo de 2017

VA • Watching the Detectives

Crime shows alongside Westerns and sit coms had been a mainstay of American radio for many years when TV first launched seriously in the late 1940's. It was natural therefore that the same genres would be equally popular as the new medium took its hold on the public imagination.
Much loved TV shows Dragnet, Highway Patrol and M Squad meet great movie themes The Man With The Golden Arm and Touch of Evil.
Superbly crafted and catchy songs from big name orchestras such as Ray Anthony, Henry Mancini, Nelson Riddle, Count Basie, Pete Rugolo and more.

Lou Levy • Jazz in Four Colors

Bruce Ewan • Mississipi Saxophone

Basily • Antara

Basily est un groupe de jazz manouche hollandais.
Peu connus en France, ce sont des stars aux Pays-Bas où ils tournent beaucoup : concerts, festivals, télés... On a d’ailleurs pu les apprécier récemment au festival de Samois cette année (édition 2005). Ils ont à ce jour réalisé cinq disques sous leur nom.
La formation est un sextet familial organisé autour des deux solistes : Popy Basily (guitare solo) et Tucsi Basily (violon). Trois guitares tenues par Gino Basily, Zonzo Basily et Martin Limberger assurent une pompe solide. A cette base viennent se greffer d’autres musiciens qui varient selon les disques (on a pu entendre ainsi Sani van Mullen à la basse, Peter Beets au piano, ou encore Giani Lincan au cymballum...).
Antara est leur tout premier disque, paru en 1991. Les musiciens sont encore des gamins, comme on peut le constater sur la pochette... mais ils jouent déjà terrible et sans complexe ! Le style est très inspiré des Rosenberg (on reconnait des plans de Stochelo !), et les influences vont chercher des rythmes du côté de l’Espagne, voire même au delà de la Méditerrannée avec l’ajout de percussions appuyée sur quelques morceaux.
Un disque toujours agréable à écouter, même si le son d’ensemble reste par moment un peu daté (et je parle pas des coupes de cheveux...).

Cherry Wainer • Rhythmus Im Blut

Ehud Asherie • Organic

By Perry Tannenbaum
After three releases on Posi-Tone leading small combos from the piano, 31-year-old Israeli native Ehud Asherie switches over to Hammond organ for his latest quartet outing, Organic. Fats Waller and Count Basie come readily to mind as jazz immortals who doubled on the two instruments. While their piano styles were more individualized than Asherie’s at this stage of his career, their doubling is reduced to dabbling when compared to Asherie’s imposing proficiency at the organ, which instantly catapults him to the front ranks of current B3 practitioners and invites comparisons with the greats of the past.
The first Jimmy Smith parallel comes on the opening track, Leonard Bernstein’s “Tonight,” as the leader, guitarist Peter Bernstein and alto saxophonist Dmitry Baevsky finish attacking the head and Asherie fills the bars before his solo with Smith-like heraldry. None of Asherie’s ideas sound borrowed, unless you object to the Jobim allusions that creep into the organist’s solo and arrangement. With that tip-off, it’s not surprising that a Jobim line, “Favela,” makes it onto the playlist, along with covers of Sonny Rollins’ “The Stopper” and the Johnny Green-Gus Kahn hit “Coquette.” Echoes of “Tonight” can be heard in one of the four Asherie originals, “It’s Impossible.”
Asherie starts off “Favela” so high on the keyboard that the Hammond momentarily sounds like a marimba. Baevsky throws down the gauntlet with scorching work on “The Stopper,” and Asherie responds resoundingly, with additional pyrotechnics from drummer Phil Stewart. Baevsky frequently evokes Bird, but in Asherie’s “Apostrophe,” with the composer playing the “So What” vamp behind him, echoes of Cannonball Adderley sound inevitable. Bernstein’s most gorgeous work is on the midtempo “Valse Pra Jelena,” the catchiest of Asherie’s originals, and he’s at his funkiest on the leader’s lovingly retro closer, “Blues for Fats.”

Don Byron • Do the Boomerang - The Music of Junior Walker

Review by Thom Jurek
Anybody interested in Don Byron gets his range, and his willingness to try almost anything that tickles his fancy, whether it be klezmer, swing, funk, out jazz, blues or funky soul. He explores and leaves his mark on something and moves on. From Music for Six Musicians and Tuskegee Experiments to Nu Blaxploitation and Bug Music, from Fine Line: Arias and Lieder and Plays the Music of Mickey Katz to Ivey-Divey, Byron has explored -- not usually reverently -- his inspirations and curiosities with mixed results, but it's the investigation that counts for him in the first place. Do the Boomerang: The Music of Junior Walker is a curious outing in that Walker didn't always write his own material, but he wrote enough of it (five cuts on this set) and, like Byron, put an indelible stamp on anything he took on, from singing to blowing the saxophone. Byron assembled a dream band for this offering that includes guitarist David Gilmore, B-3 organist George Colligan, drummer Rodney Jones and bassist Brad Jones as the core group. The guests who augment the proceedings are Curtis Fowlkes, Chris Thomas King and Dean Bowman. Is the music reverent? Nope; but it's totally recognizable as Walker's. Byron doesn't set out to re-create anything exactly. His concern is for that thing he can't put his finger on, and discovering the place where the magic happens. But this is no academic set of Walker tunes, it's funky, it swings, and the grooves are deep and wide. Walker was a killer vocalist and Byron enlisted bluesman King on four cuts (he plays guitar on a pair as well) and Bowman. The set begins on a late-night smoky groove with "Cleo's Mood," the B-3 carries it in with Gilmore's guitar playing in the gaps before the tune's melody slithers to the fore with Byron and Bowman, and from here it's the blues as read through post-bop, soul-jazz, and the ghost of Leon Thomas through Bowman's vocal solo that sounds right at home here. Byron is in the pocket with this band. They aren't reaching for margins, but exploring how much was in Walker's music to begin with, there are traces of many things in the tune, and Byron finds them all. Digging into the classic "Shotgun," King's vocal delivery on the title track struts and steps to Byron's clarinet floating in the boundaries as Colligan's B-3 and Gilmore's meaty guitar heighten the groove to the breaking point. On "Shotgun," Byron plays it close to home and King's vocal is brilliant. This, like the title cut, is a dance tune on par with James Brown's; the lyrics are particularly compelling for the times we live in. Walker acknowledged the influence James Brown had on him readily and on "There It Is," both Bowman and King pump themselves to front this band that is so greasy and nasty one would never know that this is Byron's group. This joint burns the house down, baby! While there isn't a dud in the set, other big standouts include "Satan's Blues," "Pucker Up, Buttercup," and the ballad "What Does It Take (To Win Your Love.)" Here the bass clarinet is distracting for a moment, but transposing the opening saxophone part and letting King and Gilmore play sweet and slow lays a fine ground for both the hypnotic B-3 chart and King's lonesome vocal. Byron uses clipped, right phrasing with the airiness of his horn, solos around the fringes of the tune, and brings it back inside and underscores the fact that this is a soul tune. King's vocal could have been a bit tougher and leaner, but that's a really small complaint. Ending the set on Holland-Dozier-Holland's "Roadrunner" takes it out on a honking high point. Byron's done justice not only to Walker here, but to his Muse and to the grand tradition of funky jazz records on Blue Note -- hopefully they'll get it in the A&R department and bring the groove back wholesale. This baby is a smoking slab of greasy soul with a jazzman's sense of adventure.

Deacon Jones • Makin' Blues History

Egorevsky Museo Ruso de Historia y Arte, pdf

Егорьевские диковины
Сокровища, редкости, курьёзы и прочие замечательные вещи
из коллекции М.Н. Бардыгина, ныне собрания Егорьевского
историко-художественного музея
Формат Pdf - 52MB / 384 страниц


Catálogo interesante del museo Egorevsky de la región de Moscú, ya que nos muestra piezas artísticas de estilo diferente al que estamos acostumbrados a ver, como ser obras de la europa occidental, con imágenes en todas sus hojas a partir de la página 30.
Formato pdf - 52MB / 384 pág / Idioma: Ruso


 Interesting catalog of the Egorevsky museum of the Moscow region, as it shows us artistic pieces of a different style than we are accustomed to see, such as works of Western Europe, with images on all its pages beginning on page 30.
Format pdf - 52MB / 384 pages / Language: Russian

martes, 23 de mayo de 2017

Freddie Roach • Mo' Greens Please

Berhard Ullrich, Martin Breinschmid Quintet • Mission to Swing

Berhard Ullrich - cl, saxes
Martin Breinschmid - vibes
Thilo Wagner - piano
Karsten Gnettner - bass
Michael Keul - drums

Charley Musselwhite's South Side Band • Stand Back

Review by Dan Forte
Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: here was a harpist every bit as authentic, as emotional, and in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redemptor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.

Zoot Sims & Bob Brookmeyer • Stretching Out & Kansas City Sound

Bob Brookmeyer’s early environment was in the jazz bedrock of his native Kansas City. As a player, he has been one of the most expressive and emotional of all modern trombonists… His specialty being the one with valves rather than a slide. But despite his style not being limited to any school or attitude, he have always been very conscious of the foundations of jazz—with a heavy emphasis on the wonderful, rolling swing that was so much a part of the Basie organization.
His ideas evolved from his own experiences. “I’m not afraid of being called regressive,” he said. “Music can be like love and painting. Just because a song and spirit have been around for awhile doesn’t mean it’s diminished in value.” On these two great 1958 sessions, Brookmeyer and friends revisit some old, swinging Kansas City sounds along with pleasant new tunes. Over-all, there is a wonderful rhythm and feeling replete with good solos that make for very rewarding listening.

Lightnin' Slim • Trip To Chicago

Dorothy Ashby • Django Misty

Eddie Costa • Guys & Dolls Like Vibes

Django Reinhardt • Accords Parfaits

Kristin Korb • Where You'll Find Me

Fred van Zegveld • Dynamite

Organist Fred van Zegveld heeft o.a. gespeeld bij Roek's Family (Roek Williams & The Fighting Cats) en zijn naam duikt ook op als muzikant bij de Amsterdamse groep The Flood (Gin fizz, Eagle 4, 1969) met Wil Luikinga op sax en Richard de Bois op drums.
Rare groove-jazz

VA • Rhythm Accordeon

Art Van Damme, Bengt Hallberg, Clifton Chenier, Gus Viseur, Richard Galliano ...

Gary Burton & Friends

Gary Burton - Vibraphone, Percussion
Bob Berg - Tenor Saxophone
Larry Goldings - Organ, Keyboards
Paul Shaffer - Organ, Piano
Mulgrew Miller - Piano
Kevin Eubanks - Guitar
Jim Hall - Guitar
B.B. King - Guitar
Kurt Rosenwinkel - Guitar
John Scofield - Guitar
Ralph Towner - Classical Guitar
Steve Swallow - Bass
Will Lee - Bass, Percussion
Jack DeJohnette - Drums

Review by Chris Slawecki
For his first album for the Concord jazz imprint, vibraphonist Gary Burton goes back: back to some of the most enduring compositions in the jazz lexicon, constructing the program on Departure completely from jazz standards, except for "Tossed Salads and Scrambled Eggs" (the theme from the television show Frasier). Along with guitarist John Scofield, drummer Peter Erskine, pianist Fred Hersch, and bassist John Patitucci, Burton also returns here to the quicksilver, porcelain sound of the George Shearing quintet, Burton's first job after graduating from the Berklee College of Music. For the uninitiated, Departure is a worthwhile introduction to Burton's style on vibes, with his strong sense of swing swaddled in a sound that's most often elegant yet sometimes surprisingly funky. Scofield really shines here, too. Departure is also a great way to discover less-known compositions by some of the best-known composers and performers in the history of jazz, including Duke Ellington ("Depk," from his "Far East Suite"), Chick Corea ("Japanese Waltz"), and Horace Silver ("Ecaroh," which is "Horace" spelled backwards), as well as Mel Tormé ("Born to Be Blue"), and "If I Were a Bell," a staple that rang throughout in the 1950s repertoire of Miles Davis and whose title chimes harmoniously with the sonorities of Burton's vibes.

Duccio di Buonisenya, jpg

Duccio di Buonisenya (1255-1319), pintor italiano, fundador de la escuela de Siena del siglo 14. Además es autor de varios vitrales.
42MB / 82 imágenes jpg


Duccio di Buonisenya (1255-1319), Italian painter, founder of the school of Siena of the 14th century. He is also the author of several stained glass windows.
42MB / 82 jpg images

lunes, 22 de mayo de 2017

J.B. Lenoir • J.B. Lenoir

Wild Bill Davis • In The Groove!

With the dynamic, swirling, sounds of his Hammond B-3 organ, Wild" Bill Davis provided a bridge from the big band swing of the 1930s and ‘40s to the organ-driven R&B of the 1950s and early-60s. Together with guitarist Floyd Smith and drummer Chris Columbus, Davis set the framework for the jazz organ combo sound.
Initially a guitarist, Davis made his debut with Milt Larkin's band in 1939. The group is remembered for the double saxophone attack of Eddie “Cleanhead Vinson and Arnett Cobb. Davis, who was inspired by the guitar playing of Freddie Green, remained with the band until 1942.
Moving to the piano, Davis joined Louis Jordan's Symphony Five in 1945. By then, he had already attracted attention as a skilled writer and arranger. He later furnished original material and arrangements for both Duke Ellington and Count Basie. He was scheduled to record his arrangement of "April In Paris", with the Count Basie Orchestra, in 1955 but was unable to make it to the recording sessions. Recorded without his participation, the tune wen on to be a top thirty pop hit.
Intrigued by the organ playing of Fats Waller and Count Basie, Davis began to experiment with the Hammond B-3. He soon developed his unique approach. “I thought of (the organ) as a replacement in clubs for a big band," he said during a late-1980s interview.
Although he left Jordan's band, after five years, to form his own trio, Davis periodically returned to play special engagements.
Although eclipsed by succeeding jazz organists, including Jimmy Smith and Bill Doggett in the late-1950s and Booker T. Jones in the 1960s, Davis remained active until his death, from a heart attack, in August 1995. His summer appearances in Atlantic City, New Jersey were an annual treat for almost three decades.
A native of Moorestown, New Jersey, Davis studied music at Tuskogee University and Wiley College in Texas.
- Craig Harris.

Dave Pike • Latin Lounge Cafe

Dave Pike has been a consistent vibraphonist through the years without gaining much fame. He originally played drums and is self-taught on vibes. Pike moved with his family to Los Angeles in 1954 and played with Curtis Counce, Harold Land, Elmo Hope, Dexter Gordon, Carl Perkins, and Paul Bley, among others. After moving to New York in 1960 he put an amplifier on his vibes. Pike toured with Herbie Mann during 1961-1964, spent 1968-1973 in Germany (recording with the Kenny Clarke-Francy Boland big band), and then resettled in Los Angeles, playing locally and recording for Timeless and Criss Cross. ~ Scott Yanow.

Al Casey • Guitar Lounge Favorites

Longtime session guitarist Al Casey is most noted for the records he made with producer Lee Hazlewood, with artists like Duane Eddy and Sanford Clark. He also has made numerous records on his own, reaching his commercial peak in the early 1960s, when a few of his instrumental (or mostly instrumental) surf and R&B-rock singles made the Top 100. In the '60s and '70s, he worked often as a session player in Los Angeles, and was still putting out records under his own name in the '90s. Casey was still in his teens when he started working with Hazlewood in Phoenix, introducing Hazlewood to Sanford Clark, whose hit "The Fool" was produced by Hazlewood. Casey's band backed Clark on the singer's records, as well as other discs cut by Hazlewood. Casey was in Eddy's band, the Rebels, in which he played the piano, although he's more known for his guitar playing. Casey also wrote one of Eddy's earliest hits, "Ramrod," as well as co-writing another Eddy hit, "Forty Miles of Bad Road," with Duane. In the early '60s Casey was dividing his time between sessions in L.A. and Phoenix, and working with his own group, the Al Casey Combo. Somewhat surprisingly, considering his twangy background with Eddy and the surf recordings in his near future, his first successes were with bluesy instrumental rock singles with a jazzy organ groove (played by Casey himself). "Cookin'" made number 92 on the pop chart, while a similar follow-up, "Jivin' Around," did a little better, getting to number 71 pop and number 22 in the R&B listings. In 1963, however, he and Hazlewood rode the surf craze and cut an entire surf LP, much of which featured Hazlewood compositions, and all of which had respectably tough reverberant guitar by Casey. A single from the album, "Surfin' Hootenanny" (with almost incidental female vocals by the K-C-Ettes, aka the Blossoms), became Casey's biggest hit, making number 48; top L.A. session dudes Leon Russell (organ) and Hal Blaine (drums) were present on many or all of the tracks. Casey's solo career petered out when the small independent label he recorded for, Stacy, closed shop around the beginning of 1964. Casey found a lot of work, though, as a session man, on recordings by artists including the Beach Boys, Eddy Arnold, and Frank Sinatra. He also ran a music store in Hollywood in the late '60s, and played as a member of the band on Dean Martin's television show. In the mid-'90s he made a solo recording for Bear Family, Sidewinder. ~ Richie Unterberger

Buddy Defranco • Mr Clarinet

Review by Alex Henderson
Over the years, Buddy DeFranco's admirers have often wondered why the clarinet's popularity as a jazz instrument declined considerably after World War II and the swing era -- why haven't more improvisers applied Charlie Parker's ideas to the clarinet, and why is the clarinet usually stereotyped as a swing/Dixieland/classic jazz instrument rather than a bebop, post-bop, avant-garde, soul-jazz, or fusion instrument? Perhaps it has something to do with the demands of the clarinet -- it is a tough instrument to master, and it becomes even more demanding when you're dealing with the complexities of bop. But those challenges never stopped DeFranco, who was 30 when he recorded Mr. Clarinet for Verve in 1953. By that time, DeFranco was being hailed as "the Charlie Parker of the Clarinet," and he lives up to that title on this excellent album (which boasts Kenny Drew on piano, Milt Hinton on bass, and Art Blakey on drums). Throughout Mr. Clarinet, DeFranco makes the clarinet sound perfectly logical as a bop instrument -- which was certainly an innovative thing to do back in the late '40s and early '50s. Whether he is playing original material or standards (including "But Not for Me" and "It Could Happen to You"), DeFranco refuses to let the clarinet's evolution end with Benny Goodman, Artie Shaw, Sidney Bechet, and Barney Bigard; he has no problem making the clarinet sound relevant to the bebop scene of 1953. (It should be noted that Shaw was also exploring bop on the clarinet in the early '50s, but regrettably, he decided to retire from music in 1955.) Most of the bop-oriented recordings that DeFranco provided in the '50s are well worth owning; Mr. Clarinet

Diseños, Estilos, Motivos / Designs, Styles, Motifs / Орнаменты, Стили, Мотивы

Книга состоит из двух частей: теоретической, где говорится об истоках и истории
орнамента, и альбома образцов орнаментального искусства. Декоративные мотивы,
подобранные в альбомной части, представляют собой графическую интерпретацию узоров
с архитектурных сооружений, тканых изделий, ювелирных украшений, бытовых
предметов, мебели, древних манускриптов и т. д. и относятся к различным историческим
периодам, странам, индивидуальному творчеству художников.
Цель данного издания — ознакомить с разнообразными видами орнамента и показать
образцы, которые могут быть использованы в практической работе студентами,
обучающимися по специальности «Дизайн и декоративно-прикладное искусство», а также
художниками, работающими в области архитектуры, декоративного творчества и др.


Traducción Automática:
El libro consta de dos partes: teórica, lo que habla acerca de los orígenes y la historiaornamento, ornamentos y la portada del álbum. Los motivos decorativos,elegido en algunas partes del paisaje son la interpretación gráfica de los patronescon estructuras arquitectónicas, tejidos, joyería, hogarobjetos, muebles, manuscritos antiguos, y así sucesivamente. d., y pertenecen a diferentes históricaperíodo, el país, el artista individual.El propósito de esta publicación - para familiarizarse con diversos tipos de adornos y espectáculoLas muestras que se pueden utilizar en el trabajo práctico de los estudiantes,inscrito en la especialidad "Diseño y artes decorativas", así comoartistas que trabajan en el campo de la arquitectura y otras artes decorativas.
Formato: pdf / 90 págs. / texto editable (copiar y pegar en traductor)


Automatic translation:
 The book consists of two parts: theoretical, which speaks of the origins and historyOrnament, and album samples of ornamental art. Decorative motifs,Selected in the landscape part, represent a graphic interpretation of the patternsWith architectural structures, woven items, jewelry, householdObjects, furniture, ancient manuscripts, etc., and belong to different historicalPeriods, countries, individual creativity of artists.The purpose of this publication is to introduce various types of ornament and showSamples that can be used in practical work by students,Students in the specialty "Design and decorative and applied arts", as well asArtists working in the field of architecture, decorative art, etc.
Format: pdf / 90 p. / Editable text (copy and paste into translator)

domingo, 21 de mayo de 2017

Houston Person • The Real Thing

Nicola Conte ‎• Jet Sounds Revisited

A Treasury of Celtic Design • Courtney Davis pdf / inglés

Intricate and compelling, these Celtic designs encompass a dazzling range of knotwork, spirals, key patterns, and animal forms. A wealth of full- and half-page rectangular forms, motifs, medallions, borders, and corner pieces are all rendered with exquisite finesse by renowned Celtic artist Courtney Davis. These timeless and evocative designs will be an unending source of ideas for artists and designers, both amateur and professional. Courtney Davis works within the best traditions of ancient Celtic style to produce his own unique designs. His books on the subject of Celtic art include Celtic Designs and Motifs, The Celtic Stained Glass Book, and The Celtic Image.

11MB / 61 Págs. / pdf

Toots Thielemans & Svend Asmussen ‎• Toots & Svend

Review by Scott Yanow
The great harmonica player Toots Thielemans teams up on this 1972 date with the talented veteran swing violinist Svend Asmussen but the results are less interesting than one might hope. Backed by a rather anonymous-sounding rhythm section comprised of Kjell Ohman's organ and electric piano, electric bassist Stefan Brolund and/or acoustic bassist Red Mitchell and drummer Ed Thigpen, Svend and Toots play fine but the material is rather erratic. Perhaps Thielemans had been in the studios too long at this point, but the somewhat commercial A&M LP (which was originally released in Europe on Sonet) is generally quite forgettable. Any album featuring a song titled "Mr. Nashville" can be considered ominous.

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