domingo, 26 de marzo de 2017
Review by Stephen Thomas Erlewine
Jimmy Smith recorded for Blue Note so frequently during the late '50s that many of his sessions remained unreleased for years. The music that comprises Lonesome Road sat in the vaults for years, until the Japanese division of Blue Note released the album in the '80s. Since Smith had so many albums on the market, it's understandable that Blue Note wanted to limit the number of records they released from him, but the music on Lonesome Road is almost as fine as that on The Sermon or Groovin' at Small's Paradise. Smith, guitarist Eddie McFadden and drummer Donald Bailey play a selection of eight standards, but the songs don't sound stale; they sound fresh and alive. A few of the ballads are a little slow and treacly, but many of the numbers cook, with a couple of the songs featuring Smith at his hottest. It doesn't have the mastery he would later demonstrate on Back at the Chicken Shack, nor is it quite as consistent as The Sermon, but Lonesome Road is worthwhile for any fan of Smith.
viernes, 24 de marzo de 2017
Review by Scott Yanow
In the 1950s, pianist Billy Taylor was best known for his work with his trios. For this Riverside set (reissued on CD in the OJC series) Taylor tried something different, writing arrangements for four flutists (including Frank Wess, Herbie Mann, and Jerome Richardson), his rhythm section, and the congas of Chino Pozo. The flutists get their opportunities to solo, and the music (which includes "The Song Is Ended," "St. Thomas," "Oh Lady Be Good," "How About You," and four of Taylor's originals) is essentially bop, but the unusual instrumentation gives the set its own personality. Enjoyable music that certainly stands out from the crowd.
Review by Michael Erlewine
Don't be scared off by the His Majesty King Funk title; this is not Green's later commercial stuff. This is excellent Grant Green with Larry Young on organ, Harold Vick on sax, Ben Dixon on drums, and Candido Camero on conga -- essentially a classic four-piece. And this is soul-jazz with a deep groove. His Majesty King Funk is the last of five albums Green recorded with Young. Produced by Creed Taylor, it is the only album Green did for Verve and perhaps his last real jazz album before several years of inactivity, after which he became somewhat more commercial in his approach. The album includes the standard "That Lucky Old Sun (Just Rolls Around Heaven All Day)."
Grant Green - guitar
Harold Vick - tenor saxophone
Larry Young - organ
Ben Dixon - drums
Candido Camero - bongo, congas
En una epoca de obediencias estilisticas plurales, Scott Hamilton toca swing y nadie se atreve a reprocharselo dada la calidad con que lo hace. El cuarteto que le acompaña en este disco es un equipo compacto que le da fuerza y categoria a la grabacion. El disco es uno de los mejores de la decada de los noventa y está incluido en el libro: "Los 100 mejores discos de Jazz". Imprescindible.
Hammond B-3 boss Dr. Lonnie Smith ends up on yet another new label with Too Damn Hot!, the follow-up to his thoroughly enjoyable -- if curious -- Boogaloo to Beck outing from 2003. This studio set places the organist in the company of two fine guitarists -- Peter Bernstein (lead) and Rodney Jones (rhythm), and alternating drummers Greg Hutchinson and Fukushi Tainaka. The two-guitar format is lovely in that it presents a wide array of colors and harmonic textures to the proceedings. The material is a compendium of new soul-jazz originals like the title track, which is a sultry slow burner with killer chorded solos by Smith, and "The Whip," a slippery funky hard bopper that recalls Johnny Patton's sessions with Grant Green. There are two covers present here as well, a fine version of Horace Silver's ballad "Silver Serenade" and a whimsical read of "Someday My Prince Will Come." The album's final cut, "Evil Turn," cooks like mad in stunning bop fashion. This is a keeper and Smith's best record of the decade so far. http://www.allmusic.com/album/too-damn-hot-mw000025681
Rather surprisingly, this extremely limited edition recording first showed up in Hungary a good 34 years after its inception. It’s a strong and valuable addition to the Hungarian guitarist’s recorded legacy – and one that deserves a wider hearing than even this outstanding release affords.
Gabor Szabo hadn’t been back to his homeland since he was forced to flee in 1956. In the mean time, he became a renowned jazz guitarist in the United States and was accorded some modicum of crossover success throughout pretty much everywhere in the world except Hungary.
Still, he was treated like musical royalty upon his first return to his homeland in 1974 (oddly it was his last trip to his native land in 1981 where the guitarist fell ill and died). Hungarian TV offered him a program performing the music of his choice with Hungarian musicians of his own choosing. The program, recorded on September 12, 1974, was broadcast in Hungary only in two parts in May and August 1975 – the first such show ever devoted to jazz music broadcast on Hungarian television.
The program, nearly an hour in length, is mostly remarkable in every way, musically, artistically and, more importantly, one of the strongest official recordings Szabo made during the time. If there was to be one single recording of Szabo’s during the 1970s to hear and or to have, this is the one.
Sorprendentemente, esta grabación edición extremadamente limitada apareció por primera vez en Hungría unos buenos 34 años después de su creación. Es una adición fuerte y valioso legado discográfico del guitarrista húngaro - y uno que merece una audiencia más amplia que permite incluso esta excelente puesta en libertad.Gabor Szabo no había vuelto a su tierra natal desde que se vio obligado a huir en 1956. Por el momento, se convirtió en un famoso guitarrista de jazz en los Estados Unidos y se le concedió cierta mínimo de éxito de cruce a lo largo de casi todo el mundo, excepto Hungría.Aún así, fue tratado como la realeza musical en su primer regreso a su tierra natal en 1974 (curiosamente fue su último viaje a su tierra natal en 1981, donde el guitarrista cayó enfermo y murió). TV húngara le ofreció un programa que realiza la música de su elección con músicos húngaros de su propia elección. El programa, grabado el 12 de septiembre de 1974, se transmitió en Hungría sólo en dos partes en mayo y agosto 1975 - el primer espectáculo jamás dedicada a la difusión de la música de jazz en la televisión húngara.El programa, de casi una hora de duración, es sobre todo notable en todos los sentidos, musicalmente, artísticamente y, más importante, una de las más fuertes grabaciones oficiales Szabo hizo durante el tiempo. Si iba a ser una sola grabación de Szabo es durante la década de 1970 para conocer de o tener, este es el uno.
Ken Prince - Organ
Robert Shy - Drums
George Harris - Bongo
+A2, +A3, +, +A4, +B2 -
George Eskridge - Guitar
+A1, +B1, +B3, +B4 -
Gerald Sims - Guitar
Recorded - January 3 & February 12, 1964,
Ter Mar Recording Studio, Chicago
Label: Argo Records
Antes que Jimmy Smith ... / Before Jimmy Smith ...
Side 1 (Organ suite)
Bobby Banks (organ), The Waileroos, and others
February 11, 1954
1. Early Autumn
3. If I Loved You
The Vin Strong Trio:
Vin Strong (organ), Wally Richardson (guitar), Charles Mingus (bass), James Smith (drums)
NYC, November 9, 1954
4. Heart Strings
Side 2 (Organ swingin)
The Milt Buckner Trio:
Milt Buckner (organ) Bernie Mackey (guitar) Sticks Evans (drums)
NYC, December 12, 1952
1. Rollin' Strollin'
2. By The River Sainte Marie
3. Take It Away
4. Russian Lullaby
01. Swing With Dr Jake (Feat David Grisman, Duke Robillard) (5:17)
02. Annouman (Feat David Grisman) (5:29)
03. Baby Boy Blues (Feat Duke Robillard) (3:50)
04. Ain't No Sunshine (Feat David Grisman) (3:36)
05. Django's Castle (Feat David Grisman) (5:54)
06. Minor Swing (Feat Duke Robillard & Tompall Glaser) (3:24)
07. In A Mellow Tone (Feat David Grisman, Duke Robillard) (4:08)
08. So Long Ebony (Feat David Grisman) (3:54)
09. Airola (Feat David Grisman) (3:46)
10. Jackie's Serenade (6:51)