egroj world: julio 2016
PW: egroj

domingo, 31 de julio de 2016

Shirley Scott • Satin Doll



This 1963 release, which was recorded two years earlier, was one of two Duke Ellington tributes that organist Shirley Scott (1934-2002) recorded for the Prestige label. It was Scott's second album of Duke Ellington compositions after Scottie Plays the Duke (1959). The bare bones session had Scott backed by just bass (George Tucker) and drums (Mack Simpkins) and the music is a little more sedate than what you'll find on most of the organist's LPs. The Satin Doll album has not been released on CD. ~ Guitars and All That Jazz

With George Tucker on bass and Jack Simplkins on drums. A bit more prim, though Scott still burns. ~ by Ron Wynn, AMG.

The Merger of Scott and Ellington is a delight in harmonic contrasts. Miss Scott retains her warm, blues-rooted feeling which gently mingles with the lyric quality of these great Ellington standards, and she is both individual and sophisticated in her interpretations.
Shirley’s ability to attack lyrical tunes without forfeiting her verve, fire or personal feelings of lament, herald her arrival as a major figure in the world of modern jazz. ~ Excerpts from Liner Notes by Les Davis (July 1963).

This LP is another beautiful tribute by Shirley Scott to the great Duke Ellington. For this album Scott remains within a tight trio grouping. George Tucker’s bass lines, backed up by Mack Simpkins’ deft drumming, beautifully accentuate Shirley’s organ romps. In Essence it is another brilliant soul jazz excursion from the 'Queen of the Organ'.


Musik & Eros • Hans-Jürgen Döpp



Music is not only a pleasure for the ear, it is the echo of the heartbeat, breath and desire. Professor Döpp revisits music as the catalyst for dance, love and sex. From the music sheet to dance and through instruments, music is the expression of our profound desires and most violent passions. The text revisits the history of music and art from the dances of the first men to pop and electronic music and through belly dance. Music and Eros take us on a time-travelling journey to discover the interaction of music and sex.
pdf / 256 pages / Language: German / editable text (copy and paste Translator)

Traducción automática
La música no es sólo un placer para el oído, es el eco de los latidos del corazón, la respiración y el deseo. Profesor Dopp revisita música como catalizador para la danza, el amor y el sexo. A partir de la hoja de música para bailar y por medio de los instrumentos, la música es la expresión de nuestros deseos profundos y las pasiones más violentas. El texto retoma la historia de la música y el arte de las danzas de los primeros hombres en el pop y la música electrónica ya través de la danza del vientre. Música y Eros nos llevan en un viaje viajando en el tiempo para descubrir la interacción de la música y el sexo.
pdf / 256 páginas / Idioma: Alemán / texto editable (copiar y pegar en traductor)








sábado, 30 de julio de 2016

Herb Hardesty & His Band • The Domino, Effect Wing and Federal Recordings 1958-61



Review by Richie Unterberger
Just the first paragraph of the liner notes to this CD is enough to make you wonder why Herb Hardesty isn't in the Rock & Roll Hall of Fame in the sideman category, as he played saxophone on numerous Fats Domino classics including "I'm Walkin'," "Blue Monday," and "The Fat Man" (as well as Lloyd Price's "Lawdy Miss Clawdy"). He also did some recordings on his own, with this anthology collecting 20 tracks he cut between 1958 and 1961. The first dozen have never been heard before this compilation, as they were recorded in 1958 (with a lineup including fellow New Orleans sax legend Alvin "Red" Tyler) for an album for Mercury's Wing subsidiary that never came out; the others appeared on obscure singles between 1959 and 1962 (though the final one, "Just a Little Bit of Everything," is an alternate take, as the master tape for the original 45 is lost). All are instrumental, with the exception of a couple songs featuring vocals by Walter "Papoose" Nelson.
Although Hardesty was undeniably a first-rate talent -- one listen to the sax on any of the aforementioned hits by other artists will confirm that -- these recordings are ordinary R&B/rock instrumentals, sometimes with a pronounced Latin feel. They'd be OK for background listening or warm-up dancing in a club, but they really don't have much going for them as interesting compositions (all were written or co-written by Hardesty, though he sometimes gave the credit to his son Michael). As generic music capturing the atmosphere of the time, they do fill the bill, whether it's the smoky sax on the ballad "Soft Lights," or the walking beat on more uptempo party numbers like "Feelin' Good." "Bouncing Ball" in particular echoes the arrangements on Fats Domino hits like "I'm Walkin'," though things usually tend toward a slightly jazzier, less rock-oriented mood. The thorough liner notes give a good account of Hardesty's career as a whole, not just the period covered by the material on this collection.

////////////////////////////////

If you grew up listening to R&B and rock’n’roll during the 1950s, you could not have avoided hearing Herb Hardesty. If you own just one of countless Imperial Fats Domino 45s or 78s, you will own at least two examples of Herb’s craft, as he blew tenor saxophone solos on just about every track Fats cut on Imperial from his first session in 1949 to his last in 1962. Herb’s unique sax signature also appeared on a vast amount of other New Orleans productions throughout the 1950s and early 60s. He also toured with Fats’ road band for four decades, appearing all over the world.

It’s hardly surprising that Herb’s own recording career as a bandleader amounts to no more than the 20 tracks that make up ‘The Domino Effect’, a well-deserved salute to this giant of New Orleans music that, happily, he is still around to enjoy.

While he was on the road with Fats, Herb got noticed and signed as a solo act by the manager of Mercury Records group the Diamonds. Using his in at Mercury, Nat Goodman negotiated a deal for Herb and the other members of the Domino band to cut an album of mostly rockin’ instrumentals for the label’s Wing subsidiary at Cosimo Matassa’s New Orleans studio. For reasons that nobody can remember now, the album was never released – an oversight that Ace is more than happy to rectify 54 years later. Although the tracks are obviously sax-centric, there’s plenty of room for the other members of Herb’s outfit to be heard – it sounds like a Fats Domino album without vocals, which is exactly what it is.

The balance of the tracks here were either sold to or cut for King Records’ Syd Nathan and released on the Federal label over a period of a couple of years. Pretty much all of the same musicians participated in the sessions; although the sound is more 60s, there’s plenty for fans of later-period New Orleans R&B to enjoy. The overall listening experience is well summed up by the closing track, ‘Just A Little Bit Of Everything’, which is what Herb Hardesty and his band serve up throughout.

The great music is supplemented by a book full of gorgeous pictures from Herb’s own collection and testimonials from many of the great musicians he has worked with in his 60-plus years in music, from Dr John to Allen Toussaint to Herb’s most regular and loyal employer Dave Bartholomew. Herb is delighted with and fully supportive of our CD. We’re sure those who continually ask us for more music from the Crescent City will be too. - By Tony Rounce -


Ingfried Hoffmann • Hammond Bond



Ingfried Hoffmann (born January 30, 1935) is a German jazz organist, pianist, trumpeter, arranger and composer. He has released several commercial recordings on a variety of labels, including Columbia Records, Philips Records, Polydor Records, and Verve Records. He has also composed music for several German television films and programs, including most of the music for the German version of Sesame Street and Robbi, Tobbi und das Fliewatüüt.







VA • Thunderbolt!



Thunderbolt! Honkin' R&B Sax Instrumentals 1952-1956 

Warren Lucky And Combo
A1. Paradise Rock
A2. Thunderbolt
A3. Paradise Roll
A4. Fish Bait
Al King And His Kingsmen
A5. Jay Bird
A6. Melancholy Horn
A7. Strollin' Out
B1. Flyin' With The King
B2. A King Is Blue
B3. Big Wind
B4. Royal Crown Blues
Haywood Henry
B5. Sweet Georgia Brown
Al King And His Kingsmen
B6. Easy Ridin'
B7. Joy Ride

Recorded December 4, 1952 - February 15, 1956


Charlie Musselwhite • Stone Blues




Toots Thielemans & Sivuca ‎• Chiko's Bar






Christian Tamburr • Voyage


Samples ...

Christian Tamburr is a multi-instrumentalist, accomplished on the piano and trapset as well as world and orchestral percussion. However, his true talent is exhibited on his instrument of choice, the vibraphone. Confirmed in May of 2001 when in their annual poll of collegiate musicians, Downbeat Magazine awarded him "Outstanding Solo Jazz Performance". Christian is currently the leader of the critically acclaimed Christian Tamburr Quartet, a four-piece acoustic jazz group. After a year and a half of touring around the world, Christian just returned home from working as Musical Director and Pianist for Latin Vocal Legend Julio Iglesias. Starting in January of 2010, Christian will work as Musical Director and Bandleader for a brand new Cirque du Soleil Production.

Christian first started performing jazz at the age of 14. Now 28, he has since had the opportunity to work with many jazz legends including, Ira Sullivan, Kenny Barron, Clark Terry, James Moody, Benny Green, Bucky Pizarelli, Kevin Mahogany, Nicolas Payton, Art Van Damm, Slide Hampton, Bob Mintzer, Milt Hilton, Dick Hyman, Bob Haggart, Mark Murphy, Eric Marienthal, Marcus Printup, and Bunky Green to name a few. Christian has performed as a guest artist with Dave Brubeck, as a solo percussionist with Michael Feinstein, and opened for Harry Connick, Jr. In the summer of 2006 Christian Tamburr and Regent Cruise Lines produced a Baltic Jazz Cruise. For five weeks Christian’s septet toured and performed throughout Scandinavia including performances at Street Life, the prestigious jazz club in downtown St. Petersburg Russia. Over the past four years Christian and his quaret have performed at the Kennedy Center in Washington DC, Lincoln Center in New York City,The Atlanta Jazz Festival, Atlanta Jazz Festival, the Harrington PA Jazz Festival, the New Jersey Jazz Festival, the Cocoa Beach Jazz Festival and the Ravinia Jazz in June residency. In 2008 the group traveled to Japan for a 3-week tour performing on festivals and clubs around the country. In December of 2005 Christian and bassist Elisa Pruett were hired to play for NBA legend Micheal Jordan in Charlotte, NC. In 2002 as a member of the Noel Friedline Quintet, Christian was hired to perform for Julia Roberts at her highly publicized, surprise birthday party in New York City. In winter of 2006, Christian’s first album “ Move” was released as a part of a Starbucks Gift Set, available around the country. In February of 2007, Christian joined Latin vocal star Julio Iglesias performing as his featured pianist and shares as musical director. Although rooted in jazz, Christian’s ability to be diverse in the music industry has allowed him to be successful in multiple genres of performance and recording. The world tour has included stops throughout the US, Mexico, Argentina, Paraguay, The Dominican Republic, Portugal, Sweden, Latvia, Lithuania, France, Spain, and Monaco, South Africa just to name a few. Christian works as a producer, arranger, and writer for many groups of all styles around the country. Famed magicians Penn and Teller hired Christian to write and teach them music for their stage show in Las Vegas. Off the stage, Christian also works as a clinician, teaching high school and college students all around the country. Clinics vary from working with jazz big bands, small groups, and improvisation, to percussion technique for mallets in the concert or marching idiom. Christian is endorsed by Receptor Muse, Promark sticks and mallets, and plays exclusively Musser vibraphones.



Memphis Slim • Boogie Woogie and Blues Played and Sung By Memphis Slim




James Witherite • Modern Organ Trio



Samples ..


Chinese Art • Stephen W. Bushell, pdf / inglés / english


pdf / inglés / 254 págs.











viernes, 29 de julio de 2016

Houston Person • The Party



Review by Ron Wynn
Good soul jazz and blues session, with young lion organist Joey DeFrancesco providing the funky undercurrent to tenor saxophonist Houston Person's thick, authoritative solos and Randy Johnston and Bertell Knox filling the spaces on bass and drums, plus Sammy Figueroa adding some Afro-Latin fiber for additional support.


Shirley Scott • Now's The Time



Review:
Now's the Time is an album by organist Shirley Scott compiling several tracks recorded between 1958 and 1964 and released on the Prestige label in 1967. "This is early Scott, several takes from different sessions for this Prestige release", Allmusic.
Yes once upon a time jazz was a man's world but with gals like Shirley Scott around some of the cats are beginning to get inferiority complexes. Like isn't a woman's place in the kitchen! Not when she happens to be Shirley Scott. Her latest cooking is done on a Hammond, not a stove. ~ extract from Liner Notes by Mark Gardner.


David Orlowsky Trio • Nesiah



The David Orlowsky Trio has established itself as a pioneer in the field of world music. Their “almost weightless music of the moment” (Mittelbayrische Zeitung) exudes the spirit of Klezmer and is permeated by curiosity for new sounds and musical exploration. The trio mostly composes their own music, which they refer to as “chamber.world.music.” The winners of the ECHO Classical Award have wowed audiences at New York City's Carnegie Hall, the Berliner Philharmonie, the Lucerne Festival and other venues around the world.

The musical partners of the David Orlowsky Trio have been Daniel Hope, Per Arne Glorvigen, Avi Avital, the actor Dominique Horwitz, among others.

The David Orlowsky Trio has performed at many major festivals and concert halls, such as the Philharmonie Luxemburg, the Concertgebouw Amsterdam, the Schleswig-Holstein Music Festival, Rheingau Music Festival, Oslo Kammermusikkfestival, Festspiele Mecklenburg Vorpommern, Beethovenfest Bonn, Lucerne Festival, Den Haag Jazz Festival and many more.

Their recordings for Sony Music frequently hit the top of the classical charts and their original compositions are published worldwide by Schott Music/ Advance Music and the music books are frequent bestsellers.
http://www.davidorlowskytrio.com/en#bio



VA • The Most Essential Jazz Organ




Tracks
01. Jimmy Smith - The Cat (03:22)
02. Lou Donaldson - Alligator Bogaloo (06:55)
03. Jimmy McGriff - Lock It Up (05:16)
04. Dr. Lonnie Smith - Seesaw (Remastered) (05:54)
05. Shirley Scott - All Alone (04:43)
06. Larry Young - Paris Eyes (Remastered) (06:42)
07. Grant Green - I'm an Old Cowhand (From the Rio Grande) (06:31)
08. Pat Metheny, Michael Brecker, Larry Goldings - Sound Off (06:05)
09. Joey DeFrancesco, Jeff Lorber - Give It Up (05:52)
10. Bill Doggett - The Kicker (02:42)
11. Stanley Turrentine - My Shining Hour (Remastered) (06:50)
12. Pat Martino - Oleo (Live) (07:01)
13. Baby Face Willette - Willow Weep For Me (Remastered) (08:13)
14. Walter Wanderley - Beach Samba (03:54)
15. Count Basie - K.C. Organ Blues (02:55)
16. James Brown - All About My Girl (06:31)
17. Tony Williams - Vashkar (05:02)
18. Kenny Burrell - I'll Close My Eyes (04:53)
19. Wes Montgomery - James and Wes (08:14)
20. Ike Quebec - I Want a Little Girl (Remastered) (05:27)






Frederic Belinsky • Rusia! Con amor!



One of the most emotional French guitarists, virtuoso musician, brilliant representative of Gypsy Jazz!

«Gypsy Jazz - it’s life in spirit of freedom”. This is how the fans de-scribe this incredible style of music and among them you can find celebrities such the legendary Madonna, the charismatic Antonio Banderas, the famous Woody Allen, and the exotic Shakira. They are all frequent participants and organizers of prestigious shows and festivals dedicated to the Gypsy Jazz.

The Master of sparkling improvisation, Frederic Belinsky, is considered to be one of the best Gypsy jazz guitarists of his generation. “He is a virtuoso with a unique style and his music transports you in a world full of emotions and passion” (Jazz Magazine). A brilliant technique and a sensibility for new harmonies with personal touch define his performance . Frederic is the a honorary guest of many European jazz summits, concerts and festivals «The most popular guitarist of the Champs Elysees» was not only applauded by stars of the French show-biz Alain Delon, Macha Meril, Michel Jonas and Pierre Cardin…, but he has also played for the French President Nicolas Sarkozy, the ex-President of USSR Mikael Gorbachev, the king of Morocco Mohamed VI, and the prince of Monaco Аlbert...

Laureate and medalist of the World Championship of Performing Arts—Worldstars Olympics (Hollywood, USA) Frederic Belinsky has the power to instill a new life in any melody he plays — would it be a Bach's fugue or the “Dark Eyes”, a Jewish ballad or a jazz standard. Guitarist, arranger, and songwriter, he worked with the greatest soloists, big-bands, and orchestras He never interprets the same piece the same way and has that unique talent to surprise and to move his public every time and everywhere he plays.

/////////////////////////////////

Traducción automática
Uno de los guitarristas franceses más emocionales, músico virtuoso, brillante representante de Gypsy Jazz!

«Gypsy Jazz - es la vida en el espíritu de la libertad". Así es como los aficionados de-trazan este increíble estilo de música y entre ellos se pueden encontrar celebridades como la legendaria Madonna, el carismático Antonio Banderas, el famoso Woody Allen, y la exótica Shakira. Son todos los participantes frecuentes y organizadores de espectáculos y festivales prestigiosos dedicados al jazz gitano.

El maestro de la improvisación con gas, Frederic Belinski, es considerado como uno de los mejores guitarristas de jazz gitano de su generación. "Él es un virtuoso con un estilo único y su música te transporta en un mundo lleno de emociones y pasión" (Jazz Magazine). Una técnica brillante y una sensibilidad para las nuevas armonías con toque personal definen su actuación. Frederic es el invitado de honor de muchos europeos de jazz cumbres, conciertos y festivales «El guitarrista más popular de los Campos Elíseos» no sólo fue aplaudido por estrellas del show-biz francés Alain Delon, Macha Meril, Michel Jonas y Pierre Cardin ..., pero también ha jugado para el presidente francés, Nicolas Sarkozy, el ex presidente de la URSS Mikael Gorbachev, el rey de Marruecos, Mohamed VI, y el príncipe de Mónaco Аlbert ...

Laureado y medallista del Campeonato del Mundo de Artes Escénicas-WorldStars Juegos Olímpicos (de Hollywood, EE.UU.) Frederic Belinski tiene el poder de infundir una nueva vida en cualquier melodía que interpreta - sería la fuga de un Bach o los "Dark Eyes", una balada judía o un estándar de jazz. El guitarrista, arreglista y compositor, trabajó con los más grandes solistas, grandes bandas y orquestas Nunca interpreta la misma pieza de la misma manera y tiene ese talento único para sorprender y para mover a su público en todo momento y en todas donde toca.


Don Patterson • Four Dimensions



Review by Richie Unterberger
Patterson leads a quartet with Houston Person on tenor sax, Pat Martino on guitar, and Billy James on drums, all of whom were veterans of Prestige soul-jazz sessions to various degrees. The opener, Gene Ammons' "Red Top," is the longest (ten minutes) and the best of the five cuts, with good soloing by Person prefacing some lengthy, rapid-time stretching out from Patterson. Pat Martino may have been the best of the guitarists to grace Prestige '60s soul-jazz sessions, and he weighs in with his own stellar quick-fingered solo on the lone Patterson original "Freddie Tooks Jr." Indeed, although the record is credited to Patterson, this is really a group effort that gives a lot of solo room to Patterson, Person, and Martino. As Prestige releases in this genre go (and there were many of them, as the Fantasy Legends of Acid Jazz Series testifies), it's nothing out of the ordinary, but it won't be a letdown to fans of the genre.



Low Fidelity Jet-Set Orchestra • Searching For A Bit Of Popularity





Art Decô • Judith Miller, pdf / english / inglés













jueves, 28 de julio de 2016

Tony Monaco, Yosuke Onuma & Gene Jackson • At One



Tony Monaco is a leader in a modest revival of the Hammond B3 organ in jazz. As he has been with so many fledgling jazz organists, Jimmy Smith played a significant role in attracting Monaco to jazz and retaining his interest in the music. Monaco was 12 years old when he first heard Smith and, as a 16th birthday present, got a phone call from the organ giant. The culmination of this association came when Smith invited the young performer to join him at Smith's club. Monaco has also been fortunate to spend time with other jazz organ masters, including Hank Marr and Dr. Lonnie Smith. He started subbing for players, like Marr, in and around Columbus, OH, when he was just 16. Monaco has also been helped along by one of his peers, Joey DeFrancesco, who produced Monaco's first album, Burnin' Grooves, and joined the session on piano. Monaco added horns to his second album, Master Chops T, released in 2002, giving the Hammond organ player much more flexibility to the arrangements. It also allowed him to take full advantage of the rhythmic invention the electric organ allows its players to engage in. A live follow-up, Intimately Live, followed later that year. In addition to his albums as leader, Monaco has recorded with Eric Neymeyer and neo-bop guitarist Mark Elf. Monaco doesn't rely entirely on his jazz work to support his family. He and his brother run and own a concrete construction business. When not performing or building, Monaco listens to other masters of the organ, including Smith, Richard "Groove" Holmes, and Larry Goldings. ~ Dave Nathan


Barney Kessel • Soaring





Review by Scott Yanow
Although guitarist Barney Kessel interprets seven standard ballads on this CD reissue (a trio set with bassist Monty Budwig and drummer Jake Hanna), this is not a ballad album. Most of the songs are taken at faster than usual tempoes with the emphasis on Kessel's chordal (rather than single-note) solos. The guitarist was in peak form around this era as can be heard on a romping version of "I Love You," "Star Eyes," "Like Someone in Love" and "Get Out of Town." In addition he contributes one of his finest originals, "Seagull," a song that deserves to be revived. This underrated set is well worth exploring.






VA • Hot Cinders!






George Shearing Quintet • On The Sunny Side Of The Strip



Review by Scott Yanow
This is one of five live George Shearing Quintet. Superior to the pianist's studio mood music albums of the period, this set is quite bop-oriented with such songs as "Jordu," "Confirmation," "Bernie's Tune" and "Joy Spring" being given the Shearing treatment. Vibraphonist Emil Richards, guitarist Toots Thielemans, bassist Al McKibbon and drummer Percy Brice complete the quintet while as usual the congas of Armando Peraza help out on a couple of Latin pieces.


VA • Ace Records Blues Story




All Music Guide - Steve Leggett
Johnny Vincent founded Ace Records in 1955 after being laid off from his job as an A&R man at Specialty Records -- he had also founded Champion Records earlier in the decade -- and although he based his operations in Jackson, Mississippi, he was also very much in tune with the New Orleans R&B and blues scene, signing and releasing singles by several Crescent City artists, including Huey "Piano" Smith & the Clowns "Rockin' Pneumonia and the Boogie Woogie Flu", Frankie Ford "Sea Cruise", and Jimmy Clanton "Venus in Blue Jeans". But Vincent had several Mississippi blues artists on his roster, too, including Arthur Crudup, Sam Myers, King Edward, Pat Brown, and Willie Clayton, among others, and Ace became one of Mississippi's most successful labels in the '50s and '60s. This two-disc, 36-track set collects some of these rare blues cuts, including ten sides that are making their first appearance on CD.





Dr Lonnie Smith • Jungle Soul



Review by Thom Jurek
When Lonnie Smith cut Boogaloo to Beck in 2003 he made a comeback, though he was never gone in the first place. That record's deeply grooving, funky soul-jazz cut to the chase in a way many jazz organ records hadn't by taking the Blue Note aesthetic of turning the pop tunes of the day -- even those as esoteric as Beck Hansen's -- and turning them into vehicles for jazz improvisation. On Jungle Soul, the great organist and his quartet -- Peter Bernstein on guitar, drummer and percussionist Allison Miller, and rhythm guitarist/producer Matt Balitsaris -- tackle some jazz standards -- "Bemsha Swing," "Willow Weep for Me," and Eddie Harris' bona fide soul-jazz classic "Freedom Jazz Dancer" -- and place them against Marvin Gaye's "Trouble Man," and a handful of Smith originals and come up with a stunner. As the band digs deep into funky twists and turns on the Gaye number, they come out all sleek and smoky on "Simone," carrying the cut in a minor groove. The title cut is a Smith tune that swaggers from East to West with an African folk melody held inside a shimmering soul context. The layered percussion in the band's read of Harris' classic keeps the edges and angles of the original, while lending a finger-popping, booty-shaking strut to its backbeat. The interplay between Bernstein and Smith is taut, and full of playful asides. The strange modal guitar part Bernstein plays on "Bemsha Swing" is in stark contrast to Smith's for the note head, but it gives the entire track a late-night quality that's a bit more contemplative and moody than Monk's signature version. But it works beautifully. In sum, Jungle Soul is among the finer post-1970 records that Smith has cut, and this band is one of those intuitive, tight, and instinctive quartet's that understands their leader's every move.


martes, 26 de julio de 2016

VA • The Blue Note Years, Vol. 3 Organ & Soul 1956-1967



This two CD collection was originally released as part of Blue Note's 60th Anniversary boxed set. Jimmy Smith, who was signed by Alfred Lion after he saw just one of Smith's shows, sets the pace for this chronicle of the organ fever of soul jazz. Other great organists featured include John Patton, Larry Young, and Freddie Roach. Aggressive and funky, this CD documents a sound that borrowed heavily from the blues and would influence jazz and rock well into the next decade. ~by Stacia Proefrock


Billy Taylor • Sleeping Bee





Review by Scott Yanow
Billy Taylor and his 1969 trio (which includes bassist Ben Tucker and drummer Grady Tate) perform four of Taylor's originals, Errol Garner's "La Petite Mambo," Oscar Brown, Jr.'s "Brother Where Are You" and two standards on this MPS set which was last available as a Pausa LP. The enjoyable music swings and fits perfectly into the jazz mainstream of the era.





VA • Rockin' The Spirit



Review by Scott Yanow
After attending an annual boogie-woogie concert organized by Mark Braun (Mr. B.), Monty Alexander headed a recording project that paid tribute to both boogie-woogie and spirituals. Five pianists participated, performing two numbers apiece, with four of the players (all but Alexander) playing a pair of duets. Alexander, Eric Reed, and Johnny O'Neal are better known nationally than Bob Seeley and Mark Braun, but all five pianists fare well, stretching beyond boogie-woogie and spirituals to include a few swing standards and even a bluish duet on Benny Golson's "Whisper Not." Recommended to boogie-woogie fans and the curious.

Five exceptional pianists join forces for an unforgettable evening of stomping boogie-woogie and soulful gospel music. As heard in these performances, both boogie-woogie and gospel are intricately linked. Both can light up a room, warm the heart, and stir emotions like nothing else.

Reviews
Five phenomenal pianists show how close boogie-woogie is to gospel music, united as they are by a common directness and passion. Anyone who saw the movie Ray will remember the scene where Ray Charles and Art Tatum play a piano duet and come to the same conclusion. Johnny O'Neal played Tatum, and boogie is his speciality. In his hands, and in those of contemporary masters Bob Seeley and Mark Braun, the venerable idiom comes ferociously to life. It's hard to believe that one pair of hands can create such power and drive. - The Observer (UK)

Willis Jackson • More Gravy



Review by Alex Henderson
When Willis "Gator" Jackson was recording for Prestige from 1959-1971, many jazz critics tended to dismiss his soul-jazz/hard bop as too simple and basic -- the same critics who felt that Ornette Coleman and John Coltrane were too radical and left of center faulted Jackson for not being left of center enough. The same critics who claimed that Jackson was unchallenging tore Archie Shepp apart because he dared to be challenging. So how did Jackson respond to jazz critics? He ignored them (presumably) and kept cranking out the sort of funky, groove-oriented soul-jazz/hard bop that his fans adored. Recorded in 1963, More Gravy may not have received an abundance of glowing reviews from jazz critics but is still a fine example of his Prestige output. This LP never goes out of its way to be difficult and abstract -- quite the opposite. Jackson wanted to be accessible, and he is exactly that on a program of funky jazz-blues ("Pool Shark," the title song) and heartfelt ballads ("Somewhere Along the Way"). The big-toned tenorman also provides a Latin-flavored number titled "Nuther'n Like Thuther'n," which successfully combines Brazilian and Afro-Cuban elements -- the tune has one foot in the bossa nova and the other in Latin jazz (which, in most cases, means Afro-Cuban jazz, although technically, you could argue that combining jazz with Colombian Cumbia or Dominican merengue is a form of Latin jazz). Thankfully, Jackson has rock-solid backing in trumpeter Frank Robinson, guitarist Pat Martino, organist Carl Wilson (an obvious Jimmy Smith admirer), bassist Sam Jones, and drummer Joe Hadrick. Martino was only 19 when this album was recorded, and he had already developed a fairly distinctive sound. Clearly, the Philadelphia guitarist had spent a lot of time in the shed. More Gravy is among the many Jackson albums that is well worth hearing.


Wynder K. Frog • Into The Fire



Mick Weaver (born 16 June 1944, Bolton, Lancashire, England) is an English session musician, best known for his playing of the Hammond B3 organ, and as an exponent of the blues and funk.Weaver's band performed as Wynder K. Frog and became popular on the student union and club circuit of the mid sixties. A brief merging of this band with Herbie Goins and the Night-Timers took his work to a higher level. Wynder K. Frogg—they are billed under this spelling—appeared on the bill at The Savile Theatre, London on 24 September 1967 supporting Traffic on their first U.K. presentation. Also on the bill were Jackie Edwards and Nirvana. The compere was David Symonds.
When Steve Winwood left Traffic to form Blind Faith, Weaver was recruited to replace him and Traffic became Mason, Capaldi, Wood and Frog, soon shortened to Wooden Frog. They played a few gigs before dissolving three months later when Traffic reformed. After this he recorded with solo artists such as Buddy Guy, Dave Gilmour, Joe Cocker, Eric Burdon, Frankie Miller, Roger Chapman Steve Marriott and Gary Moore as well as Taj Mahal and The Blues Band, also playing keyboards with Steve Marriott's Majik Mijits.

All tracks featured Mick Weaver as Wynder K. Frog, playing a Hammond B3 organ and were recorded in London playing over backing tapes by unnamed session musicians from New York. In the album liner notes Jimmy Miller noted that Weaver had "supplemented the band with trumpet, tenor sax, guitar, bass and drums, Wynder has transformed the organ into a highly enjoyable medium of sound, combining jazzy finesse with popular and commercial phrasing suitable for vast appeal".




Dengue Fever • Swallow The Sun


Dengue Fever is a six-member band from Los Angeles who combine Cambodian pop music and lyrics with psychedelic rock.
more ...
/////////////////////////////////

El tecladista Ethan Holtzman oriundo de Los Angeles, de viaje por Camboya, se subyuga con el sonido de viejos temas de los sesentas de desconocidos y hasta anónimos grupos locales, lo que le da la idea de recrear dicho sonido en su pais natal. Fruto de ello es Dengue Fever, que aparte de tener una vocalista camboyana, nuestro amigo tecladista fiel al sonido interpreta los temas de la banda con el mítico órgano Farfisa y el Optigan, un teclado de fines de los 60 que utilizaba pistas pregrabadas.