jueves, 23 de febrero de 2017
miércoles, 22 de febrero de 2017
Seven of the ten tracks here were cut in 1969 by organist Patton, guitarist Blood Ulmer, drummer Leroy Williams and Marvin Cabell on tenor sax, sax, cello and flute. During the final three tracks, two previously unreleased, Patton is joined by tenorman George Coleman. Patton didn't receive the attention in the '60s and '70s paid to Jimmy Smith, Jack McDuff, Groove Holmes and Jimmy McGriff, but few B-3 players could approach him. His relaxed work, while always bluesy, was and is consistently fresh. His phrases may seem familiar, but aren't cliches. He's also got an excellent left hand, and really knows when to punctuate with it, and structures his solos lucidly. John composes well, too. His sophisticated tunes are, like his playing, deceptively simple.
Even at this early stage in his career Ulmer's impressive, displaying a strong Wes Montgomery influence while improvising inventively and with discipline. Coleman, in good form, plays rich, many-noted phrases. Like him, Cabell's been marked by John Coltrane. Although he doesn't have anything like Coleman's chops, Marvin's thoughtful playing is worth hearing. ~ Harvey Pekar
Most John Patton albums are hard-driving, edgy soul-jazz and funk, and the title of Accent on the Blues makes the record seem like it would be no different than his other sessions. Accent On The Blues CD music Of course, that isn't the case. Accent on the Blues is among the most atmospheric music Patton has ever made. While it stops short of being free, it's hardly funky soul-jazz, and that may disappoint some fans of his rip-roaring style. Nevertheless, the album is a rewarding listen, primarliy because it displays a more reflective side of his talent, demonstrating that he can hold his own among the likes of guitarist James Blood Ulmer and saxophonist Marvin Cabell. ~ Stephen Thomas Erlewine
This book is not a panegyric of homosexuality. It is a scientific study led by Professor James Smalls who teaches art history at the prestigious University of Maryland, Baltimore county.The author attempts to highlight the sensibility particular to homosexuals in creation, and abandons all classical clichés and sociological approaches.
The process of creating is examined and allows one to comprehend the contribution of homosexuality to the evolution of emotional perception.
In a time when all barriers have been broken, this analysis offers a second look and a new understanding of our civilization’s masterpieces.
Este libro no es un panegírico de la homosexualidad. Se trata de un estudio científico dirigido por el profesor James Smalls que enseña la historia del arte en la prestigiosa Universidad de Maryland, condado de Baltimore.El autor intenta poner de relieve la particular sensibilidad de los homosexuales en la creación, y abandona todos los clichés clásicos y los enfoques sociológicos.
El proceso de creación es examinado y permite comprender la contribución de la homosexualidad a la evolución de la percepción emocional.
En un momento en que se han roto todas las barreras, este análisis ofrece una segunda mirada y una nueva comprensión de las obras maestras de nuestra civilización.
pdf / Idioma: inglés, texto editable (copiar y pegar en traductor) / 277 págs
martes, 21 de febrero de 2017
Keyboard wizard Hansi Enzensperger and his colleagues Ludwig Kloeckner (bass) and Manfred Mildenberger (drums) locked themselves in a studio for three months with a Hammond organ, electric bass, and a Ludwig drum set with Rhodes, Clavinet, Space Echo, and Wurlitzer. In other words: with all the vintage treasures they could lay their hands on!
A rousing debut album that blasts the 70s sound aesthetic into today musical landscape.
Melodies for millions, with the sex of funk, the dirt of the blues, a punk attitude, and the freedom of jazz.
lunes, 20 de febrero de 2017
Possum Head is an album by jazz saxophonist Lou Donaldson recorded
for the Argo label in 1964 and performed by Donaldson with Bill Hardman,
Big John Patton, Ray Crawford, Ben Dixon, and Cleopas Morris.
domingo, 19 de febrero de 2017
Right On Brother is the fourth album by guitarist Boogaloo Joe Jones which was recorded in 1970 and released on the Prestige label.
Boogaloo Joe Jones, Rusty Bryant, Jimmy Lewis, Charles Earland, Bernard "Pretty" Purdie.
sábado, 18 de febrero de 2017
Corduroy were a four-piece acid jazz outfit based in London, formed around twins Ben Addison (drums/vocals) and Scott Addison (keyboards/vocals), who were previously in Sire Records act Boys Wonder (Scott had been guitarist with Boys Wonder, while Ben had been the lead vocalist). Joining the twins in the band were Richard Searle and guitarist Simon Nelson-Smith. Searle had been bass player with Doctor and the Medics, who topped the UK Singles Chart in 1986 with a cover version of "Spirit in the Sky". Searle had joined the Addison twins in the final incarnation of Boys Wonder, before the band gradually evolved into Corduroy in 1991, initially forming for a one-off New Year's Eve party.
The self-dubbed "fabric four" primarily recorded in a film soundtrack style, and many of their tracks were instrumentals. On the release of their first album Dad Man Cat, Paul Moody wrote in the New Musical Express: “Whereas the rest of the Acid Jazz roster fidget around in a world of skinny ribbed roll-necks comparing sideburn growth, Corduroy manage to swagger through the same po-faced domain with a couldn’t-care-less braggadocio... Corduroy have got their collective tongue stuck firmly in someone else’s cheek here and it feels staggeringly good.”
Releasing three albums on Eddie Piller's Acid Jazz Records, they received radio airplay for their single "Something In My Eye" in 1993, but national chart success evaded them, although several singles from their 1993 album High Havoc charted in the UK Independent Chart. Their 1994 album, Out of Here, reached number 73 in the UK Albums Chart.
They remained a popular live attraction, particularly on the college circuit. They also gained a healthy following in Japan, making the first of several trips to the country in 1993, and the following year they recorded a live album, Quattro - Live In Japan. After leaving Acid Jazz Records they signed to Big Cat Records, releasing two further albums: The New You! (April 1997) and the Rob Playford produced Clik! (August 1999). But when they discovered that their record label, Big Cat, had been dropped by parent company V2, Corduroy decided to split up.
Corduroy reformed and played two sell-out nights at the Jazz Cafe in Camden, London, on 16 and 17 June 2007. Searle is not involved with the new incarnation of the band, now working under the name of Corduroy Industries. The latest news on their Myspace site states that they have completed an album of Motown covers.
Ben has also released an album of Beatles covers under the name of 'Ben from Corduroy'