sábado, 27 de mayo de 2017

Toots Thielemans ‎• The Soul Of Toots Thielemans

Review by Scott Yanow
This somewhat obscure date by the great jazz harmonica player Toots Thielemans also features the leader playing some fine guitar (most notably on "Lonesome Road") and taking one of his first whistling solos on "Brother John." With pianist Ray Bryant, bassist Tom Bryant and drummer Oliver Jackson completing the quartet, Thielemans is in excellent form introducing two of his originals and jamming such tunes as "You Are My Sunshine," "Nuages" and "Confirmation." The music on this enjoyable 1986 Doctor Jazz reissue LP of a Signature session is currently out of print.

Rony Verbiest & Johan Clement Trio ‎• I Remember Johnny Meijer

Rony Verbiest maakte deel uit van de meest uiteenlopende jazzensembles en -formaties, maar begeleidt ook al jaren Johan Verminnen en Jo Lemaire. Met de CD ‘Ah Bah Joât’ (1998) leverde hij een meesterwerk af dat als typevoorbeeld kan worden beschouwd voor de bezetting accordeon/bandoneon, gitaar en contrabas.
In 2011 bracht hij een cd tribute aan ‘Dave Brubeck’ uit op het September label waarmee hij veel lof oogstte.
Nadien volgende de cd ‘Verbiest meets Monk’ met Thelonious Monk Jr, (zoon van) en excellente drummer. De cd getiteld ‘Released’ met nieuwe interpretaties uit het oeuvre van Monk Sr: Ruby, My Dear, Round Midnight, Straight no Chaser.
De nieuwe CD ‘I remember Johnny Meijer’ is een eerbetoon aan Johnny Meijer, opgenomen samen met het Nederlandse ‘Johan Clement Trio’.

Traducción Automática:
Rony Verbiest fue parte de los más diversos grupos de jazz y formaciones, pero también guía durante años Johan Verminnen y Jo Lemaire. El CD "Ah Bah JOAT '(1998) pronunció una obra maestra que puede ser considerado ejemplo típico para el acordeón ocupación / bandoneón, guitarra y bajo.
En 2011 se publicó un CD tributo a "Dave Brubeck" de la etiqueta de septiembre, que le valió muchos elogios.
A continuación, el siguiente álbum 'Verbiest cumple Monk "de Thelonious Monk Jr. (hijo) y excelente baterista. El CD titulado "Liberado", con nuevas interpretaciones de las obras de Monk Sr. Ruby, mi estimado, Alrededor de la medianoche, Straight No Chaser.
El nuevo CD "Recuerdo Johnny Meijer es un tributo a Johnny Meijer, considerados junto con el holandés Johan Clement Trio.

Automatic translation:
Rony Verbiest was part of the most diverse jazz ensembles and formations, but has also been supporting Johan Verminnen and Jo Lemaire for years. With the CD 'Ah Bah Joât' (1998), he delivered a masterpiece that can be regarded as a typical example for the accordion / bandoneon, guitar and double bass.
In 2011, he released a CD tribute to 'Dave Brubeck' on the September label, which earned him a high degree of praise.
Next to the CD 'Verbiest meets Monk' with Thelonious Monk Jr, (son of) and excellent drummer. The CD titled 'Released' with new interpretations from Monk Sr's oeuvre: Ruby, My Dear, Round Midnight, Straight No Chaser.
The new CD 'I remember Johnny Meijer' is a tribute to Johnny Meijer, recorded alongside the Dutch 'Johan Clement Trio'.

Melba Liston • Melba Liston and Her 'Bones

Melba Doretta Liston (January 13, 1926 – April 23, 1999) was an American jazz trombonist, musical arranger, and composer. She was the first woman trombonist to play in big bands during the 1940s and 1960s.
more info ...

Gypsy Swing Revue • Puttin' On The Ritz

The music of Gypsy Swing Revue is the swinging jazz of the 30's and 40's plus a cross-section of songs from the modern Gypsy Jazz repertoire. With instrumentation similar to Django s Hot Club, namely: two acoustic guitars, upright bass, and violin, each Gypsy Swing Revue performance provides exciting, engaging music for all to enjoy. This album was recorded 'live' in the studio, without any overdubs or edits. Notable tracks include two original compositions (Elliot Reed's Zapala, and Farewell, by Art Gibson), one of the very few bolero-style tunes composed by Django Reinhardt (Troublant Bolero), the title track, a timeless standard by Irving Berlin (Puttin' On The Ritz), modern songs from the Gypsy Jazz repertoire (Jojo Swing, Number One), as well as a rare Russian swing song, contemporary with Django's early career, and never before recorded in United States (Unfortunate Rendezvous).

viernes, 26 de mayo de 2017

VA • Funky organ B3 Jazz Grooves

Bill Heid, Charles Earland, Joey Defrancesco, Mike Ledonne, Reuben Wilson ...

Illinois Jacquet • Collates № 2

King Fleming • Trio Stand By

Walter "King" Fleming (May 4, 1922 – April 1, 2014) was an American jazz pianist and bandleader. He was born in Chicago, Illinois.
A classmate of Sonny Cohn, after playing trombone in the McKinley High School band, Fleming went on to study at the Midwest College of Music. He had already led several informal bands before King Fleming and His Swing Band first performed in September 1942. When he was drafted into the U.S. Army in July 1943, the band continued performing under the leadership of other bandmembers until too many of its members had been called up for it to be viable.
Discharged in 1945, Fleming started doing session work in Los Angeles and joined Johnnie Alston & His All Stars for recording dates backing Wynonie "Blues" Harris on Apollo. Johnny Alston and His Orchestra later signed for the Bihari Brothers' Modern label, and Fleming and Al "Cake" Wichard were joined by Addison Farmer. By mid-1946, Fleming had joined the Swing combo Oliver "King" Perry's Pied Pipers with Norman Bowden (trumpet); George "Happy" Johnson (trombone); Wesley Prince (bass) and Joe Harris (drums) before returning to Chicago to lead his own King Fleming's Four with Jay Peters (tenor sax), "Hog" Mason (bass), and Tommy Hill (drums) and getting a write-up in Down Beat for June 18, 1947.
In 1950 he was a member of the Dallas Bartley Quartet, with Johnny Thompson (tenor sax) and Oliver Coleman (drums), and that summer he recorded as a session pianist for the vocal group, the Dozier Boys, at their recording session for Chess Records. Later that year he joined Oliver Coleman's Palmaires; the other members were Nelson Berry (tenor saxophone) and Sylvester Hickman (bass).
In 1954 he finally recorded under his own name, on the Blue Lake label, with John Neely (tenor saxophone); Russell Williams (bass); Aubrie Jones (drums); Lorez Alexandria (vocals) and in 1955 for the Chess label. The Chess brothers invited him back the following year, again with vocalist Lorez Alexandria, to record "Stompin' at the Savoy". In 1957, his group backed Lorez Alexandria on her first two albums for the King label, and collaborated with Muhal Richard Abrams, who wrote arrangements for a King Fleming-led big band.
Between 1960 and 1965, he recorded three piano trio albums for Argo and Cadet Records, which were Phil and Leonard Chess's jazz labels. He also appeared on two singles released locally by singer George Green.
After many years during which his trio worked steadily in the Chicago area without drawing interest from the recording industry, King Fleming resurfaced on the Southport label in 1996.
Fleming died at the age of 91 at a retirement home in Manteno, Illinois on April 1, 2014.

Slim Harpo • The Classic Blues Collection

In the large stable of blues talent that Crowley, LA, producer Jay Miller recorded for the Nashville-based Excello label, no one enjoyed more mainstream success than Slim Harpo. Just a shade behind Lightnin' Slim in local popularity, Harpo played both guitar and neck-rack harmonica in a more down-home approximation of Jimmy Reed, with a few discernible, and distinctive, differences. Harpo's music was certainly more laid-back than Reed's, if such a notion was possible. But the rhythm was insistent and, overall, Harpo was more adaptable than Reed or most other bluesmen. His material not only made the national charts, but also proved to be quite adaptable for white artists on both sides of the Atlantic, including the Rolling Stones, Yardbirds, Kinks, Dave Edmunds with Love Sculpture, Van Morrison with Them, Sun rockabilly singer Warren Smith, Hank Williams, Jr., and the Fabulous Thunderbirds. A people-pleasing club entertainer, he certainly wasn't above working rock & roll rhythms into his music, along with hard-stressed, country & western vocal inflections. Several of his best tunes were co-written with his wife Lovelle and show a fine hand for song construction, appearing to have arrived at the studio pretty well formed. His harmonica playing was driving and straightforward, full of surprising melody, while his vocals were perhaps best described by writer Peter Guralnick as "if a black country & western singer or a white rhythm & blues singer were attempting to impersonate a member of the opposite genre." And here perhaps was Harpo's true genius, and what has allowed his music to have a wider currency. By the time his first single became a Southern jukebox favorite, his songs were being adapted and played by white musicians left and right. Here was good-time Saturday-night blues that could be sung by elements of the Caucasian persuasion with a straight face. Nothing resembling the emotional investment of a Howlin' Wolf or a Muddy Waters was required; it all came natural and easy, and its influence has stood the test of time. He was born James Moore just outside of Baton Rouge, LA. After his parents died, he dropped out of school to work every juke joint, street corner, picnic, and house rent party that came his way. By this time he had acquired the alias of Harmonica Slim, which he used until his first record was released. It was fellow bluesman Lightnin' Slim who first steered him to local recordman J.D. Miller. The producer used him as an accompanist to Hopkins on a half-dozen sides before recording him on his own. When it came time to release his first single ("I'm a King Bee"), Miller informed him that there was another Harmonica Slim recording on the West Coast, and a new name was needed before the record could come out. Moore's wife took the slang word for harmonica, added an "o" to the end of it, and a new stage name was the result, one that would stay with Slim Harpo the rest of his career. Harpo's first record became a double-sided R&B hit, spawning numerous follow-ups on the "King Bee" theme, but even bigger was "Rainin' in My Heart," which made the Billboard Top 40 pop charts in the summer of 1961. It was another perfect distillation of Harpo's across-the-board appeal, and was immediately adapted by country, Cajun, and rock & roll musicians; anybody could play it and sound good doing it. In the wake of the Rolling Stones covering "I'm a King Bee" on their first album, Slim had the biggest hit of his career in 1966 with "Baby, Scratch My Back." Harpo described it "as an attempt at rock & roll for me," and its appearance in Billboard's Top 20 pop charts prompted the dance-oriented follow-ups "Tip on In" and "Tee-Ni-Nee-Ni-Nu," both R&B charters. For the first time in his career, Harpo appeared in such far-flung locales as Los Angeles and New York City. Flush with success, he contacted Lightnin' Slim, who was now residing outside of Detroit, MI. The two reunited and formed a band, touring together as a sort of blues mini-package to appreciative white rock audiences until the end of the decade. The new year beckoned with a tour of Europe (his first ever) all firmed up, and a recording session scheduled when he arrived in London. Unexplainably, Harpo -- who had never been plagued with any ailments stronger than a common cold -- suddenly succumbed to a heart attack on January 31, 1970. ~ Cub Koda

Soulstance • Lead The Way

Herbie Mann • America-Brazil

Review by Jim Newsom
America/Brasil is a rollicking, celebratory album that keeps Herbie Mann on the winning streak he started with the release of Peace Pieces in 1995. Recorded during a week of concerts to mark his 65th birthday in April 1995, this disc is much stronger than its immediate predecessor, Celebration, also taken from the same week of live concert performances at New York's Blue Note jazz club. The material here is superb, and the playing top-notch. As the title implies, the emphasis here is on Mann's Brazilian side, but there are touches of the non-Brazilian with Bill Evans' "Peri's Scope" and Miles Davis' "All Blues." "Summertime" is recast in an Afro-Cuban mode with Paquito D'Rivera sharing the solo space on alto sax. However, lengthy Brazilian showstoppers are placed at the beginning, middle, and end of this wonderful disc. The opening "Keep the Spirits Singing" is propelled by the polyrhythmic pulse of percussionists Cyro Baptista and "Café," and the 17-minute title track finale features trumpeters Randy Brecker and Claudio Roditi, trombonist Jim Pugh, and guitarist Romero Lubambo. Even with the all-star cast assembled for this special week of concerts, it's Herbie Mann himself whose playing shines the brightest throughout this recording, celebrating his past and affirming his place in the present as the finest flutist working in jazz.

Todd Rhodes • Dance Music That Hits the Spot!

Todd Rhodes (August 31, 1900 – June 4, 1965) was an American pianist and arranger and was an early influence in jazz and later on in R&B.
He was born Todd Washington Rhodes, in Hopkinsville, Kentucky. Rhodes attended both the Springfield School of Music and the Erie Conservatory, studying as pianist and songwriter.
In the early 1920s he played with Benny Carter, Coleman Hawkins, Fats Waller, Rex Stewart, Doc Cheatham, and Don Redman in McKinney's Cotton Pickers, a jazz group. Rhodes lived and played in Detroit in the 1930s. In the late 1940s he started his own group, Todd Rhodes and His Toddlers, and started doing more R&B arrangements. With his Toddlers, he recorded "Your Daddy's Doggin' Around" and "Your Mouth Got a Hole In It." Rhodes also worked with Hank Ballard, The Chocolate Dandies and Wynonie Harris. He featured African American female lead singers, such as Connie Allen, who recorded "Rocket 69" in 1951. After she left the band in early 1952, her position was taken by LaVern Baker.
His instrumental "Blues For The Red Boy" became a top 5 R&B hit late in 1948, and was later famously used by Alan Freed as the theme song for his "Moondog" radio show. Freed apparently insisted on referring to the song as "Blues For The Moondog" instead of its actual title.
Rhodes died in June 1965 in Detroit, at the age of 64.

Ad Van Den Hoed Kwartet • King's Clarinet