jueves, 22 de junio de 2017

Johnny Meijer • It Had To Be You



Oscar Peterson • Reunion Blues



Pianist Oscar Peterson joins up with his old friends, vibraphonist Milt Jackson and bassist Ray Brown, in addition to his drummer of the period, Louis Hayes, for a particularly enjoyable outing. After a throwaway version of the Rolling Stones' "(I Can't Get No) Satisfaction," the all-star quartet performs Jackson's title cut, Benny Carter's ballad "Dream of You," and four standards. Although not up to the excitement of Peterson's best Pablo recordings of the 1970s, this is an enjoyable album.


European Helmets 1450-1650 • The Metropolitan Museum of Art, pdf


pdf / Idioma inglés / 48 págs

Pdf / English language / 48 pages
 





Walter Wanderley • Feito Sob Medida



Wild Bill Davis At The Organ • One More Time



Wild Bill Davis, hammond organ
Paul Gonzales, saxophone
Les Spann, guitar
Calvin Newborn, guitar
Janet Putnam, harp
Grady Tate, drums


Will Matthews • Count On Swingin'



Musicians: Will Matthews (guitar)
Mel Rhyne (Hammond B3)
Bobby Watson (alto sax)
Kenny Phelps (drums).


Charles Kynard • Legends of Acid Jazz



Review by Alex Henderson
Released in 1999 for Fantasy's popular Legends of Acid Jazz series, this reissue unites two of Charles Kynard's LPs of 1970, Afro-Disiac and Wa-Tu-Wa-Zui, on a single 76-minute  album . Both albums had been out of print for a long time, and copies of the organist's Prestige recordings had grown increasingly hard to find over the years. While the trumpet-less Afro-Disiac unites Kynard with tenor saxman Houston Person, guitarist Grant Green, electric bassist Jimmy Lewis and drummer Bernard "Pretty" Purdie, Wa-Tu-Wa-Zui employs Lewis, trumpeter Virgil Jones, guitarist Melvin Sparks and drummer Idris Muhammad. The albums are quite similar, though, and the emphasis is on accessible, groove-oriented soul-jazz, funk-jazz and boogaloos. Infectious numbers like "Bella Donna," "Trippin" and "Zebra Walk" won't appeal to jazz purists, but if you like your jazz drenched in R&B and funk, this album is consistently enjoyable. Kynard, like Charles Earland and other B-3 kings of that era, made jazz that was relevant to R&B fans--if you were a Baby Boomer who was digging James Brown, Marvin Gaye and the Temptations but hadn't yet developed a taste for the hardcore jazz of Phil Woods or Charles Mingus, Kynard was the type of artist who could be your introduction to improvisatory music. "Improvisation" is a key word here--while a lot of the quiet storm, crossover and NAC music that came out in the 1980s and 1990s avoided improvisation, stretching and blowing is the rule on this album. In a nutshell, this is commercial jazz with a brain as well as a backbeat.


Herb Alpert • Definitive Hits



How self-serving can one musical genius be to have a label he co-founded release a collection of his best-loved songs? But this is not just any self-serving genius. This is the guy who brought the world Dolores Ericson covered in shaving foam. This is the self-serving genius who scored the best James Bond film that wasn't really a James Bond film ever. This is the self-serving genius who set the music to elevators and waiting rooms around the world. This is Herb Alpert. From the opening charge of "The Lonely Bull" (complete with homesickness-inducing crowd noise) to the closing washes of "Making Love in the Rain," this album chronicles one of the most prolific and constantly contemporary careers in the music industry. Taking his Tijuana Brass in their jalopied "Tijuana Taxi," Alpert blows from the "Heat Wave"-inspiring "Mexican Shuffle" to the bouzouki blitz of "Zorba the Greek." Perhaps his most famous film-related song, however, is the Burt Bacharach classic "Casino Royale," a song that could inspire even Woody Allen to take on the world's most dastardly criminals. Bacharach also gave Alpert one of his most famous ballads, and one of Alpert's peachiest vocal offerings, with "This Guy's in Love With You." Alpert has a groovy thing going with Nat Adderley's "Work Song" as well. On this collection, Alpert swings from the authentic Latin punch of "Fandango" to the smooth American drive of "Route 101," and from the funky crescendo of "Rise" to the hip pop hops of "Diamonds" and "Keep Your Eye On Me." Along the way, Alpert offers delicious delights like the minor-keyed rag "Whipped Cream," the sweet blooms of "Lollipops and Roses," and a bee-utiful spin through "A Taste of Honey." How sweet it is to have all his hits together at last.




Monguito Santamaria • Hey sister



The Ventures • 24 Greatest Surfin' Guitars



The Bonebrake Syncopators • That Da Da Strain





Pell Mell • Interstate




Info ...



Pat Martino • Remember - A Tribute To Wes Montgomery


Stoned Soul Picnic • Erotic Cakes







Sonny Phillips • Black Magic!





Ron Levy's Wild Kingdom • Greaze Is What's Good



Oscar Peterson • Plays the George Gershwin Song Book



Lou Bennett • Enfin !



Gene Vincent • I'm Back And I'm Proud



Richard 'Groove' Holmes • Living Soul





Excelente disco para apreciar a este héroe de Hammond en vivo.

Excellent album to appreciate this Hammond hero live.


miércoles, 21 de junio de 2017

Oscar Peterson • Supreme Jazz



Memphis Slim & Jean Paul Amouroux • Boogie Woogie Duets



Billy Strange • Secret Agent File



Puede que su nombre suene al de un completo desconocido, pero lo cierto es que ha sido una de las figuras más importantes de la música contemporánea. Guitarrista, compositor, arreglista y productor, Billy Strange escribió grandes clásicos de la música y trabajó para estrellas como Frank y Nancy Sinatra, los Beach Boys, Elvis Presley o Nat King Cole.

Nacido en 1930, Strange empezó en la música a los cinco años, tocando junto a sus padres en una radio de Long Beach (California). Aunque su primer instrumento fue la trompeta, cuando le regalaron una Gibson L-7 su carrera cambió para siempre.

Tras recorrer el suroeste estadounidense en su adolescencia, Billy Strange se instaló en California, donde empezó a tocar y cantar para grupos country del momento, como The Sons of The Pioneers, Roy Rogers o Spade Cooley.

Con el tiempo, se ganó una buena reputación en Los Angeles y comenzó a participar como guitarrista en las sesiones de grabación. Así fue como haría grandes amistades con grupos como los Beach Boys o Jan & Dean, leyendas del surf-rock de la época.

El nombre de Billy Strange figura como coautor, junto a Mac Davis, de A Little Less Conversation de 1968, uno de los clásicos de Elvis Presley, para quien escribió numerosas canciones y con quien tocó en muchas otras.

Su guitarra suena en canciones de Frank Sinatra, Sammy Davis Jr., Wanda Jackson, los Beach Boys y, especialmente, Nancy Sinatra. El tremolo de su guitarra puede escucharse en Bang Bang (My Baby Shot Me Down) y compuso y arregló These Boots Are Made For Walking.




Su relación con los Sinatra fue muy fructífera. Trabajó en la famosa Something Stupid de Frank y a finales de los 60 dirigía la orquesta que Nancy llevaba en sus directos, hasta que en los 70 se instaló en Nashville para hacerse cargo de una empresa de ambos.

En solitario, Billy Strange puso su voz en varias bandas sonoras de programas de televisión y películas de Disney, y lanzó álbumes instrumentales con versiones de grandes éxitos, como You Only Live Twice, de la banda sonora de James Bond.

El trabajo de toda una vida fue reconocido cuando se le introdujo en el Rockabilly Hall of Fame, como merecía uno de los compositores que más han marcado la historia del rock. (europapress.es)




Vince Seneri • The Prince's Groove



Personnel:
Vince Seneri (Hammond B-3 organ), Dave Valentin (flute), Randy Brecker (trumpet), Houston Person (tenor saxophone), Paul Bollenback (guitar), Gary Fritz (percussion), Riche Flores (percussion), Buddy Williams (drums).


Buddy Banks & Bobby Jaspar • Jazz de Chambre



The Three Sounds • Bottoms Up



Gene Harris (p,celeste)
Andrew Simpkins (b)
Bill Dowdy (ds)


Nicola Conte • The Modern Sound of Nicola Conte



The Blue Cats • The Blue Cats




Richard 'Groove' Holmes • Tell It Like It Is


Gene Ludwig & Pat Martino Trio • Young Guns






Review ...


VA • Genuine Excello R&B



Review by Steve Leggett
Jay Miller's Nashville-based Excello Records generated a sound as distinct as any in the history of modern American pop music, favoring an echo-laden, rustic, and swamp-tinged approach to blues, R&B, and gospel that makes every Excello side immediately identifiable. This generous compilation features several rare tracks from Miller's vaults, including such highlights as Silas Hogan's delightfully loose-limbed "Go on Pretty Baby," the odd (and completely compelling) submerged feel of Jimmy Anderson's take on "Frankie and Johnny," a busy and proto-funky "We Gonna Rub" from Joe Johnson, and Slim Harpo's classic "Rainin' in My Heart."


Ray Bryant ‎• Touch



martes, 20 de junio de 2017

Grant Green • Quartets with Sonny Clark



AllMusic Review by Stephen Thomas Erlewine
Mosaic released a four-disc box set titled The Complete Blue Note With Sonny Clark in 1991, rounding up everything that the guitarist and pianist recorded together between 1961 and 1962. Blue Note's 1997 version of the set, The Complete Quartets With Sonny Clark, trims Mosaic's collection by two discs, offering only the quartet sessions (the Ike Quebec sessions, Born to Be Blue and Blue and Sentimental, are available on individual discs). In some ways, this actually results in a more unified set, since it puts Green and Clark directly in the spotlight, with no saxophone to complete for solos, but it doesn't really matter if the music is presented as this double-disc set, the four-disc box, or the individual albums -- this is superb music, showcasing the guitarist and pianist at their very best. All of the sessions are straight-ahead bop but the music has a gentle, relaxed vibe that makes it warm, intimate, and accessible. Grant and Clark's mastery is subtle -- the music is so enjoyable, you may not notice the deftness of their improvisation and technique -- but that invests the music with the grace, style, and emotion that distinguishes The Complete Quartets. Small group hard bop rarely comes any better than this.


J.B. Lenoir • The Chronological

J.B. Lenoir - The Chronological 1951-1954  


J.B. Lenoir - The Chronological 1955-1956




Royce Campbell, Joe Kennedy & Paul Langosch • Get Happy



Review ..


Bill Black's Combo • Solid and Raunchy



Review by Greg Adams
One of three albums the Bill Black Combo released in 1960, Solid and Raunchy is exactly that -- honking, sax-driven rock & roll instrumentals played by a propulsive five-piece band. This is music for teenage dance parties and consequently sticks to million-selling tunes like "Bo Diddley," "Tequila," and "Raunchy." The combo varies their approach at times for variety, introducing songs with an organ ("Don't Be Cruel") or piano ("Blueberry Hill"), but the saxophone always asserts itself after a few bars. The album's suitability as a party disc made it the combo's highest charting. Ultimately, its context is lost today since the time of bobbysoxers and record hops has passed, and most modern listeners will find the repertoire over-worn and uninteresting despite the solid and raunchy performances.




T-Bone Walker • T-Bone Blues



AllMusic Review by Bill Dahl
The last truly indispensable disc of the great guitar hero's career, and perhaps the most innately satisfying of all, these mid-'50s recordings boast magnificent presence, with T-Bone Walker's axe so crisp and clear it seems as though he's sitting right next to you as he delivers a luxurious remake of "Call It Stormy Monday." Atlantic took some chances with Walker, dispatching him to Chicago for a 1955 date with Junior Wells and Jimmy Rogers that produced "Why Not" and "Papa Ain't Salty." Even better were the 1956-1957 L.A. dates that produced the scalding instrumental "Two Bones and a Pick" (which finds Walker dueling it out with nephew R.S. Rankin and jazzman Barney Kessel).


Ramsey Lewis • Choice



lunes, 19 de junio de 2017

Kenny Burrell • God Bless The Child



AllMusic Review by Thom Jurek
Kenny Burrell's guitaristry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless the Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalog. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition "Love Is the Answer" and "Do What You Gotta Do" -- and stroke it smooth and mellow as on the title track, the truly sublime "Be Yourself," and Thad Jones' "A Child Is Born." The Legacy CD remaster also includes the only three outtakes from the session, an alternate of the Jones tune, and two brief but gorgeous solos on "Ballad of the Sad Young Men" and on Kurt Weill's "Lost in the Stars." This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.


Count Basie & His Orchestra • Swingin' The Blues




Classic recordings for Decca were cut between July 1937 and February 1939. The band line-up included the twin tenor sax threat of Lester Young and Herschel Evans, the All American Rhythm Section of Freddy Green (guitar), Walter Page (bass), Jo Jones (drums) and the Count himself on piano.


Les Paul • Crazy Rhythm



Albert King • King Of The Blues Guitar



Review by Dan Forte
Atlantic's original vinyl edition of this was comprised of Albert's Stax singles -- a few from Born Under a Bad Sign, along with "Cold Feet," "I Love Lucy" (two of King's patented monologues), and the beautiful "You're Gonna Need Me." Great stuff. Even greater, though, is the CD reissue, which includes those singles (which didn't appear on any other LPs) and all of Born Under a Bad Sign. Need I say more?

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Traducción Automática:
La edición de vinilo original de Atlantic constaba de los singles de Albert Stax, algunos de Born Under a Bad Sign, junto con "Cold Feet", "I Love Lucy" (dos de los monólogos patentados de King) y el hermoso "You're Voy a necesitarme. " Buena cosa. Aún más grande, sin embargo, es la reedición de CD, que incluye los singles (que no aparecen en ningún otro LPs) y todo el Born Under a Bad Sign. ¿Necesito decir mas?


Clark Terry - Terry Pollard • Cats vs. Chicks



Cats: Clark Terry, tp; Lucky Thompson, ts; Urbie Green, tbn; Horace Silver, p; Tal Farlow, g; Percy Heath, b; Kenny Clarke, d.
Chicks Norman Carson, tp; Terry Pollard, vbs; Corky Hecht, harp; Beryl Booker, p; Mary Osborne, g; Bonnie Wetzel, b; Elaine Leighton, d.
New York, NY, 1958




Herbie Mann • Bossa Nova Ecstasy





Jimmy Witherspoon • Roots