miércoles, 13 de septiembre de 2017

Jimmy Smith • Root Down



Root Down is a 1972 live jazz album by Jimmy Smith, released on the Verve label. It was recorded in Los Angeles on February 8, 1972. It includes the song "Root Down (And Get It)" which was sampled by the Beastie Boys for their song "Root Down."


Howlin' Wolf • His Best



Review by Cub Koda
With the exception of a vinyl compilation issued in the early '80s (His Greatest Sides, Vol. 1), there'd never really ever been a single-disc Howlin' Wolf best-of package available. That all changed with this entry in MCA/Chess' 50th Anniversary series, a 20-track retrospective that serves as the perfect introduction to the man and his music, some of the very best the blues has to offer. While some naysayers will always decry the exclusion -- or inclusion -- of any given number of tracks on any artist's best-of compilation, it's pretty hard to fault what's been collected here. Starting with the two-sided smash that brought him from Memphis to Chicago ("Moanin' at Midnight" b/w "How Many More Years"), this compilation hits all the high points and essential tracks, illustrating how his music developed into the mid-'60s. Eleven of the 20 tunes on here are either written or co-written by Willie Dixon, and Wolf's original takes on "Back Door Man," "Spoonful," "The Red Rooster," "Wang Dang Doodle," and "I Ain't Superstitious" are truly the definitive ones, a place where personality and material symbiotically become as one. Even if you have already have this material, die-hard Wolf fans -- and audiophiles in particular -- will want to investigate this package as the master transfers used here are absolutely stunning, with stereo mixes of "Killing Floor," "Built for Comfort," "Hidden Charms" (with the full-length Hubert Sumlin guitar solo), "Shake for Me," and the long version of "Going Down Slow" being particular standouts. This is a set so essential that it should be on everyone's Top Ten first purchases in building the perfect blues collection. While Wolf's music will take you to many places (both musically and spiritually), here's where you start to absorb it all. [His Best contains the same tracks as the 2007 Geffen release The Definitive Collection].


VA • Hammond Funk #1



Brian Setzer Orchestra • Best Of The Big Band



VA • Art Of 12 String Guitar


James Brown • Gold-Greatest Hits



Oregon • Out of the Woods




Out of the Woods is a studio album by the American jazz group Oregon released in April 1978. The album peaked at number 17 on the Billboard Jazz Albums chart the same year.

AllMusic Review
Long before "New Age" and "World Music" became part of the musical-term language, Oregon was making music that would influence (directly or indirectly) those genres. During the early 1970s, the much-maligned fusion movement in jazz was building up steam, and Oregon, in their quiet, understated way, contributed greatly. The band played acoustically--all the players had jazz backgrounds as well as a strong interest in ethnic musics from around the globe. They all played multiple instruments as well.
Oregon's music might be described as elegant folk melodies and "Third World" rhythms played by a jazz band with the precision and grace of a classical chamber ensemble. OUT OF THE WOODS was originally released in 1978, but it sounds like it came from a time all its own. "Witchi-Tai-To" (composed by the late Jim Pepper) has a captivating, dreamlike feel, and "Reprise" shows the respect they have for the blues. Once you take a stroll in these WOODS, you'll want to lose yourself in them.


The Astronauts • Lost In Space



Surf instrumental band from Bielefeld, Germany.




Yehudi Menuhin, Ravi Shankar & Jean-Pierre Rampal • Improvisations - West Meets East



Wiki:
Ravi Shankar (Benarés, Raj Británico, 7 de abril de 1920) es un músico bengalí conocido mundialmente por ser un virtuoso del sitar. Se le conoce con el título honorífico de Pandit Ravi Shankar.

Discípulo de Allauddin Khan (fundador del Maihar gharana de música hindú clásica), Pandit Ravi Shankar es posiblemente el instrumentista hindú más reconocido, es conocido por ser pionero en la traída del poder de la tradición de música hindú clásica, así como por músico Rosario, 19 de Octubre de 2009.- como por su carisma personal. Su carrera musical atraviesa más de seis décadas y Shankar actualmente sostiene el Récord Guinness por la carrera internacional más larga.

Ravi Shankar es el padre de la cantante estadounidense Norah Jones y la sitarista Anoushka ShankarContenido [ocultar]

Primeros Años
Su casa ancestral es hoy en día Kalia Upozila en el Distrito Narail, Jessore, Bangladesh. El nombre de su madre era Hemanginee, y su hermano mayor Uday Shankar era un bailarín famoso hindú clásico. De adolescente Ravi tocó el sitar con la compañía de baile de Uday Shankar, más notablemente con Anna Pavlova en la Unión Soviética.Amen de su virtuosismo, logro influenciar increíblemente la música occidental abriendo así las puertas de la percepción.

Carrera Musical
Ravi Shankar dejó una posible carrera de baile y comenzando en 1938 pasó largos años de estudio bajo su gurú Khan Allaudin. Su primera presentación en público en la India fue en 1939. El entrenamiento formal acabó en 1944 y trabajó en las afueras de Bombay. Comenzó a escribir canciones para películas y ballet clásico y comenzó una carrera de grabación con el afiliado indio HMV. Se hizo director de música de All India Radio en los años 1950.

Shankar entonces se hizo conocido fuera de la India, primero presentándose en la Unión Soviética en 1954 y luego en el Oeste en 1956. Se presentó en acontecimientos principales como en Edinburgo Festival así como lugares principales como el Royal Festival Hal

George Harrison, miembro de The Beatles, comenzó a experimentar con el sitar en 1965. Los dos se encontraron eventualmente debido a este interés común y se hicieron amigos cercanos, ampliando la fama de Shankar como una estrella pop y como el mentor de Harrison. Esto desarrolló enormemente su carrera. Le invitaron a tocar en lugares que eran insólitos para un músico clásico, como el Monterrey Pop Festival, 1967 en Monterrey, California. Él era también uno de los artistas que tocaron en el Woodstock (1969) y el Concierto para Bangladesh en 1971. Ravi Shankar y Amigos eran también el acto de apertura para la gira de Harrison de los Estados Unidos en 1974.

Shankar ha escrito dos conciertos para sitar y orquesta, composiciones de sitar-violín para Yehudi Menuhin y él, la música para el virtuoso de flauta Jean Pierre Rampal, y la música para Hozan Yamamoto, maestro del shakuhachi (la flauta japonesa), y el virtuoso del koto Musumi Miyashita. Ha compuesto extensivamente para películas y ballets clásicos en India, Canadá, Europa y los Estados Unidos, incluyendo Chappaqua, Charly, Gandhi, y Apu Tryology. Su grabación Tana Mana, lanzado por el sello Private Music en 1987, penetró el género New Age con su combinación única de instrumentos tradicionales con la electrónica. El compositor clásico Philip Glass reconoce a Shankar como una influencia principal y los dos colaboraron para producir Passages, una grabación de composiciones en las cuales cada uno adapta temas compuestos por el otro. Shankar también compuso la parte de sitar en la composición de Glass de 2004, Orión.

En el año 1998 recibió el Polar Music Prize, un premio concedido por la Real Academia de Suecia de Música.

Otros
Ravi Shankar tuvo dos hijas: la cantante Norah Jones (que Ravi Shankar tuvo con la enfermera Sue Jones) y Anoushka Shankar, una de las más destacadas mujeres de la India tocando el sitar, habiendo recibido varias distinciones a lo largo de su carrera.

Discografía
Three Ragas (1956)
Improvisations (1962)
India's Most Distinguished Musician (1962)
India's Master Musician (1963)
In London (1964)
Ragas & Talas (1964)
Portrait of Genius (1964)
Sound of the Sitar (1965)
Live at Monterey (1967)
In San Francisco (1967)
West Meets East (1967)
At the Monterey Pop Festival (1967)
The Exotic Sitar and Sarod (1967)
A Morning Raga / An Evening Raga (1968)
The Sounds of India (1968)
In New York (1968)
At the Woodstock Festival (1969)
The Concert for Bangladesh (1971)
Raga (1972)
In Concert 1972 (1973)
Transmigration Macabre (1973)
Shankar Family & Friends (1974)
Music Festival From India (1976)
Homage to Mahatma Gandhi (1981)
Räga-Mälä (Sitar Concerto No. 2) (1982)
Pandit Ravi Shankar (1986)
Tana Mana (1987)
Inside The Kremlin (1988)
Passages with Philip Glass (1990)
Concert for Peace: Royal Albert Hall (1995)
Chants of India (1997)
Concerto for Sitar & Orchestra con André Previn (1999)
Full Circle: Carnegie Hall 2000 (2001)
Between Two Worlds (Documental dirigido por [Mark Kidel]) (2001)
Flowers of India (2007)

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Source Wiki:
Ravi Shankar has been on stage from the age of 10 and has travelled widely a dancer and a musician. He performed publicly in India in 1939. He finished his formal training in 1944 and worked out of Mumbai (Bombay). He began writing scores for film and ballet and started a recording career with HMV's Indian affiliate. He became music director of All India Radio in the 1950s. From 1946 onwards he composed music for films. Some of his scores include the ones for Satyajit Ray's Apu Trilogy and Richard Attenborough's Gandhi. He also composed the tune for Saare Jahan Se Achcha. Ravi Shankar then became well known to the music world outside India, first performing in the former Soviet Union in 1954 and then the West in 1956. He performed in major events such as the Monterey Pop Festival and at major venues such as the Royal Festival Hall.

Already performing in major concert halls all around the world, Shankar, having attained pop cultural fame, was invited to play venues that were unusual for a classical musician, such as the 1967 Monterey Pop Festival in Monterey, California, with Ustad Allah Rakha on tabla. He also performed at the Woodstock Festival in 1969, and with George Harrison was one of the organizers of The Concert for Bangladesh in 1971, in an attempt to raise awareness of the growing crisis (see 1970 Bhola cyclone, and Bangladesh Liberation War. Ravi Shankar asked George Harrison for his help to raise funds for Bangladesh. Ravi Shankar & Friends co-headlined Harrison's 1974 tour of North America with mixed reviews. His final working album with Harrison was on a 1997 album, Chants of India, where Harrison developed an interest in chant music.

After Harrison's death on 29 November in 2001, Shankar, his daughter, Anoushka, along with Paul McCartney, Ringo Starr, Jeff Lynne, Eric Clapton, Tom Petty, Billy Preston, among many others attended the Concert for George in London, where Shankar dedicated the memorial to Harrison.

Shankar has criticized facets of the Western reception of Indian music. On a trip to San Francisco's Haight-Ashbury district after performing in Monterey, Shankar wrote,“I felt offended and shocked to see India being regarded so superficially and its great culture being exploited. Yoga, Tantra, mantra, kundalini, ganja, hashish, Kama Sutra? They all became part of a cocktail that everyone seemed to be lapping up!”

He has written violin-sitar compositions for Yehudi Menuhin and himself, music for flute virtuoso Jean-Pierre Rampal, music for Hozan Yamamoto, master of the shakuhachi (Japanese flute), and koto virtuoso Musumi Miyashita. He has composed extensively for films and ballets in India, Canada, Europe, and the United States, including Chappaqua, Charly, Gandhi (for which he was nominated for an Academy Award), and the Apu Trilogy.


Windows, a book about stained & painted glass, pdf ingles



Windows, a book about stained & painted glass [1897]
pdf / 294 MB / 430 págs. / idioma: inglés
pdf / 294 MB / 430 pages. / English language

TABLE OF CONTENTS.BOOK I.
THE COURSE OF CRAFTSMANSHIP.
Chap. Page
I. The Beginnings of Glass 1
II. The Making of a Window 5
III. Glazing 15
IV. Early Mosaic Windows 32
V. Painted Mosaic 43
VI. Glass Painting (Mediæval) 59
VII. Glass Painting (Renaissance) 67
VIII. Enamel Painting 77
IX. The Needle-point in Glass Painting 87
X. The Resources of the Glass Worker (A RECAPITULATION) 95

BOOK II.
THE COURSE OF DESIGN.
XI. The Design of Early Glass 111
XII. Medallion Windows 123
XIII. Early Grisaille 137
XIV. Windows of many Lights 151
XV. Middle Gothic Detail 162
XVI. Late Gothic Windows 178
XVII. Sixteenth Century Windows 201
XVIII. Later Renaissance Windows 220
XIX. Picture Windows 236
XX. Landscape in Glass 251
XXI. Italian Glass 260
XXII. Tracery Lights and Rose Windows 272
XXIII. Quarry Windows 283
XXIV. Domestic Glass 296
XXV. The Use of the Canopy 311
XXVI. A Plea for Ornament 317

BOOK III.
BY THE WAY.
XXVII. The Characteristics of Style 322
XXVIII. Style in Modern Glass (a Postscript) 354
XXIX. Jesse Windows, and other Exceptions in Design 360
XXX. Story Windows 371
XXXI. How to see Windows 380
XXXII. Windows worth Seeing 385
XXXIII. A Word on Restoration 404




 


martes, 12 de septiembre de 2017

Jimmy Smith • Talkin Verve Roots of Acid Jazz



Review by Stephen Thomas Erlewine
Designed to appeal to hip-hop and acid jazz fans, not jazz purists, Talkin' Verve: Roots of Acid Jazz collects 14 tracks Jimmy Smith cut for Verve during the late '60s. Comprised of pop covers and funky workouts, the music is "jazzy," not jazz -- there's little improvisation on the record, but there is a lot of hot vamping, with Smith creating dense, funky chord clusters and bluesy leads. It's music that is devoted to the groove, and while a few of these cuts fall flat -- "Ode to Billie Joe" has no funk in it, no matter how hard you try -- but for the most part Talkin' Verve is soulful fun. Not much of this sounds like acid jazz, especially since the rhythms are a little stiff, but it's enjoyable lite funk, and it's more palatable in the compilation than it is on their original albums.


Herbie Mann • The Best Of Herbie Mann





Ultra-Lounge Vol. 6 • Rhapsodesia



From Amazon:
Standouts include The Mallet Men's hypnotic "Smoke Gets in Your Eyes," Julie London's steamy "Go Slow," Jackie Gleason's misty, longing "Tenderly" (check out his wonderful set, 'The Romantic Moods of Jackie Gleason') and great George Shearing's sweeping, dramatic "If I Should Lose You."

Milt Buckner (who did "The Beast," one of the best tracks on Vol.4) turns in another winner with the sexy, silky, seductive "Turquoise," although much of the praise is due to the saxophonist. I totally agree with one of the below reviews about Les Baxter's "Lunar Rhapsody." It sounds like a spacey fluff piece at the beginnins, but when that theremin flows in, you're taken away... "Girl Talk" is probably the most memorable song here, if only for the reason that the tune will worm its way into your brain and never leave. The liner notes call it "a pink powder puff of cushioned insinuation." You can't describe it any better than that. It recalls memories of Santo and Johnny's era-defining "Sleepwalk." Perhaps the compiler thought this too, because a version of that song isn't long after. The gently swinging introduction lets you know something special is ahead, and it is. This is a great cover, although I must confess I've never heard a bad one. (The Brian Setzer Orchestra does an incredible Grammy-winning version on their 'Dirty Boogie' CD.) And you know it wouldn't be complete without a cover of "Fever." (The original by Peggy Lee is on Volume 5.) With its pounding opening, its naughty muted trumpet, and chiming, climbing vibes, this is easily the jazziest entry on this volume, with its snazzy, slightly audacious feel.

Al Anthony's enchanting "Ebb Tide" puts you under a spell. When you hear this one, it's best to just sit back, close your eyes, and let the music wash over you like ocean waves. This, lounge lizards, is mood music at its greatest.

A great late-night soundtrack (along with Volume 4), this is one everyone should hear.


Reuben Wilson Trio • Revisited



For any organist mining the soul-jazz vein, it's tough to escape the long shadow of Hammond B-3 titans such as Jimmy Smith, Charles Earland, Richard Groove Holmes and Jimmy McGriff. On the other hand, invoking the memory of a few of the masters doesn't hurt an artist in reaching fans who crave sounds that stop short of Larry Young's mid 1960s, saxophonist John Coltrane-influenced innovations and fusion oriented work.

In many respects, Revisited bears the weight of this storied past and violates none of the rules. Wilson recorded a number of releases on Blue Note in the late 1960s through early 1970s, yet has never received the recognition he deserves. The recording includes covers of Misty, Holmes's monster hit single from 1965, as well as Smith's venerated Back at the Chicken Shack, released back in 1963. Wilson's Revisited trio brings the right credentials to the project. Guitarist Bob DeVos has worked with just about every major soul-jazz organist. Several years ago he launched an organ trio that carefully extended the genre's range without marring its roots. Drummer Vince Ector toured extensively with Earland, led organ-inclusive groups and, more recently, was an important part of organist Akiko Tsuruga's band.

It's not a surprise that Wilson's trio pays homage to the past; it's that it succeeds in doing it on its own terms. This is one of those rare instances in which some very good musicians make an all-too-familiar style sound fresh and engaging. Scrubbed clean of every trace of soul-jazz excess—like a screaming chord held for many bars, or one simple phrase repeated for near an entire chorus—the record is a very appealing mixture of economy, precision and high spirits. Instead of opting for some of the well worn, crowd pleasing tricks of the trade, Wilson's trio generates considerable momentum by exercising a degree of restraint and exhibiting a razor-sharp rapport.

The disc's eight tracks vary in mood and emphasis—from the funky See See Rider, to a straightforward ballad rendition of Autumn In Vermont, to a burning, up tempo Wee. The opener, Here We Go, exemplifies the trio's strengths. The twelve bar head is played twice at a brisk tempo. While Wilson states the symmetrical, riff-like melody, DeVos' chords chop at and slide around the organist, adding a tasteful layer of rhythmic tension. For the first twelve bars, Ector makes a point of lying back, discreetly adding accents in key places only. The second time around he's noticeably more assertive, inserting brief fills and single strokes that stand on their own and engage Wilson.

DeVos's five chorus solo is remarkable for the tight rein he keeps on his visceral side, while building momentum in a subtle, almost imperceptible manner. He never wastes a note, and there's real muscle beneath a deceptively smooth surface. Taking his sweet time, DeVos eventually reaches his desired destination—a climax that doesn't feel labored or excessive. Often working from familiar blues and R & B phraseology, Wilson takes several sturdy choruses. DeVos' effusive chording makes the music jump without detracting from Wilson or affecting the trio's deep pocket. The track's end feels a bit ragged, as if it's undecided as how to finish things off. Not to worry. Like their illustrious predecessors Wilson, DeVos and Ector aren't interested in perfection, but rather in washing away the dust of everyday life, and maybe even making us feel good. And on those terms, they succeed.


The Art Van Damme Quintet • Blue World



Billy Preston • The Most Exiting Organ Ever



The Most Exciting Organ Ever is the first album by Billy Preston. The fully instrumental album was released in 1965, several weeks before Preston's nineteenth birthday. Extra songs recorded during the sessions of The Most Exciting Organ Ever were released in the next album.


Howlin' Wolf • The Blues Collection



The Dave Brubeck Quartet • Dave Digs Disney



Dave Digs Disney is a studio album by Dave Brubeck Quartet. The album features jazz renditions of songs from Disney animated films including Alice in Wonderland, Pinocchio, Snow White and the Seven Dwarfs and Cinderella.

The original LP was issued only in mono, though stereo tapes were recorded at the time. The stereo mixes of the album's tracks weren't widely available until later re-releases.


Quincy Jones • Talkin' Verve





VA • Hammond Internationale



Selection by / Compilado por:
http://funky16corners.com/


Bob Thiele & Gabor Szabo • Light My Fire



Barbara Dennerlein • Spiritual Movement No.2



As an encore to her critically acclaimed "Spiritual Movement No.1", "Spiritual Movement No.2" (Bebab 250974) was released in October 2008, and takes jazz on the mighty pipe organ to a level never before heard. On this spectacular live recording, Barbara plays jazz compositions -mostly her own- on the massive Schuke pipe organ, in the world famous Kaiser-Wilhelm-Gedächtnis Church in Berlin. For those that still cannot believe it's possible to make this 4-manual, 5000 pipe monster really swing, a few minutes spent listening to her ultra-cool version of "Satisfaction" will soon convince them otherwise. Only Barbara could take a tired old war horse like "Satisfaction" and breathe life (and funk!) into it on an instrument most people associate only with church music!

Album Notes
From the “Queen of the Instruments” to the Queen of the Pipe Organ
\"With \"Spiritual Movement No. 2\" Barbara Dennerlein honours one of the most historically significant places in Germany: the Emperor William Memorial Church in Berlin. Built around 1900, it was largely destroyed by a hail of bombs in 1943 and 1944. Restored and expanded it has become a global icon of architectural history and a dramatic symbol of Germany’s reconstruction. Its Schuke-Organ, built in 1962/63 and most recently modified in 2005, has four manuals, 63 stops, and 5000 pipes, and during a concert on November 16th, 2007 it had Barbara Dennerlein at the console.
It is Barbara Dennerlein’s indisputably unique artistry to make the powerful pipes, voluminous manuals, and weighty pedals more tractable for the turbulent syncopations of jazz. Even prior to the new millennium she began her ambitious project to create a musical cosmos for jazz on the pipe organs of this world. Her journey has always been characterized by a respect for the challenge, an immersion into the myriad worlds of these instruments, and an ability to surmount all the pitfalls associated with their registrations and mechanics. Nevertheless, \"Spiritual Movement No. 2\" reveals: no longer is she an artist seeking to conquer the \"Queen of all Instruments.\" Rather, she is now the \"Queen of the Pipe Organ\" who deftly reigns over her instrument as a vital means for expressing her musical intentions.
Barbara Dennerlein enters the exalted choir loft and lays down some furious and \"Funkish\" music – so energetically, that out of habit one might think of a Hammond B3 in a jazz club. Of course the reality is that only a magnificent instrument such as the pipe organ can do justice to such a grandiose pedal bass solo. Through such artistry and technique Barbara Dennerlein has created an unrivaled and unique selling point within the entire world of jazz.
Barbara\'s music effects the complete transformation of 5000 organ pipes to a jazz instrument with no \"ifs\" \"ands\" or \"buts.\" The result is a phenomenal groove. Barbara Dennerlein’s uncompromising pursuit of intensity, drive, and the intoxication of timbre are on display in her blues compositions takes things yet again to the next level like an improvised thunderstorm of uncommon originality and gradually speed. It’s a spectacular piece performed by an absolutely extraordinary talent. This CD comes with a promise, each time one listens to it he is apt to discover a new aspect of his own musical world.\"

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Traducción Automática:
Como un bis a su aclamado "Movimiento Espiritual No.1", "Movimiento Espiritual No.2" (Bebab 250974) fue lanzado en octubre de 2008, y toma el jazz en el poderoso órgano de la pipa a un nivel nunca antes escuchado. En esta espectacular grabación en vivo, Bárbara toca composiciones de jazz -sobre todo las suyas- en el enorme órgano de Schuke, en la mundialmente famosa Iglesia Kaiser-Wilhelm-Gedächtnis de Berlín. Para aquellos que todavía no pueden creer que es posible hacer este 4-manual, 5000 monstruo de tubería realmente swing, unos minutos pasados escuchando a su versión ultra-cool de "Satisfacción" pronto los convencerá de lo contrario. ¡Sólo Barbara podría tomar un viejo caballo de guerra cansado como "Satisfacción" y respirar vida (y funk!) En él en un instrumento que la mayoría de la gente asocian solamente con música de iglesia!




Bob Snyder • Sunday at the Grand



Gospel interpretado en un clarinete muy bien tocado.
Gospel interpreted in a clarinet very well played.


Lenny Dee • Dee-Latin Hi-Fi Organ



Leonard George DeStoppelaire (January 5, 1923 – February 12, 2006), better known as Lenny Dee, was a virtuoso organist who played many styles of music. His record albums were among the most popular of easy listening and space age pop organists of the 1950s through the early 1970s. His signature hit, Plantation Boogie, charted as a Top 20 hit in 1955. He also had a gold record with 1970's Spinning Wheel.
Dee played a variety of songs in numerous styles. He played original compositions, popular songs, and novelty tunes, and was a master of improvisation. Although his unique style was a pop/boogie-woogie blend, he also played ballads, country and western, jazz, rock, and patriotic songs.
more info ...


Hirofumi Asaba • Easy Like



Jazz Guitarist in Tokyo, Japan.
His playing is a blend of modern and swing styles of jazz, and is strongly inspired by Barney Kessel and Charlie Christian.
His upbeat, swinging guitar playing and beautiful chord solos entertain music lovers of all genres and truly stands alone in today’s jazz scene.
Hirofumi was born in Tokyo. In 1986, he started playing piano at age five, and he has been playing the guitar since he was fourteen years old.
His playing has spanned genres, including punk, rockabilly, rock and roll,ska, and reggae music.
He has traveled with his guitar to New Orleans,Cuba, Jamaica, Australia, and Southeast Asia, jamming with many people along the way.
In Japan, he worked in a jazz bar, where he met many great jazz musicians, including Yoshiaki Okayasu, one of the greatest jazz guitarists in Japan. Hirofumi studied jazz under Okayasu for four years.
In April 2015 , Okayasu will produce Hirofumi’s first album.
In 2013, Hirofumi received a special judgement award at Asakusa Jazz Contest in Tokyo, Japan.




The Cook Trio • Moonlight



Acoustic Gypsy Jazz in the style of legendary guitarist, Django Reinhardt. Enter the nattily dressed Cook brothers, natives of these parts, who, Frankenstein-like, raise Reinhardt back to life through their acoustic guitar trio. Formed in April 2005, the Cook Trio consists of Ian and Jason Cook and Kyle Jones, who were brought together by their common love of Reinhardt's passionate music and anarchic spirit.


Murales Tibetanos / Tibetan Mural, pdf


Formato pdf - 422MB / 165 pág / Idioma: inglés
Format pdf - 422MB / 165 pages / Language: English



viernes, 8 de septiembre de 2017

Buddy Cole • Have Organ, Will Swing



 Edwin LeMar "Buddy" Cole (December 15, 1916 – November 5, 1964), was a jazz pianist and orchestra leader. He played behind a number of pop singers, including Rosemary Clooney, Jill Corey, Johnnie Ray and The Four Lads, who recorded for Columbia Records. As "Buddy Cole and his Trio" he recorded the albums Some Fine Old Chestnuts and New Tricks with Bing Crosby.
Buddy Cole was born in Irving, Illinois, and started his musical career in the theater playing between movies. He moved to Hollywood and played with a couple of bands, most notably the Alvino Rey big band, before becoming a studio musician. Joining the John Scott Trotter orchestra as a pianist in 1947, he worked closely with Bing Crosby for a number of years and in 1954 he began a daily radio show with Crosby supported by a trio comprising Vince Terri on guitar, banjo etc., Don Whittaker on bass and Nick Fatool on drums. Cole played piano and electric organ. He and Crosby built up a large library of songs which could then be inserted into the show. Cole also recorded a similar library of songs with Rosemary Clooney (with whom he had previously toured) and these songs together with those of Crosby's were employed in The Bing Crosby – Rosemary Clooney Show (1960-1962). Albums with his combo were recorded on piano and Hammond organ.


Fake Cover


Jimmy Ponder • Steel City Soul



Review by Dave Nathan
32Jazz continues to reissue much of the former Muse label material; compiled here, much to the company's credit, are 11 tracks from Jimmy Ponder's days at Muse. As another product from Pittsburgh, one of the cradles of jazz, he honors that city through the title of this release, Steel City. Ponder is one of those few who strum the guitar with his thumb, like Wes Montgomery; also like Montgomery, he gets a very warm and soft sound from the stringed box. On this album, Ponder shows he is equally facile with romantic, soulful material, like "You Are too Beautiful," where he is backed by ace pianist Benny Green, and on the Duke Ellington classic "Solitude," where Big John Patton's organ and Bill Saxton's flute take the lead. Ponder defines his affinity to swing on, of all pieces, "Softly as a Morning Sunrise" with Mark Soskin's hot piano going head to head with Ponder's guitar. There's also an extended drum solo by Roger Humphrey on this track. The Pittsburgh native's compositional skills are represented on four cuts. His tunes run the gamut from the upbeat "Johnny's Place" to the pensive "A Tribute to a Rose," while his approach to "This Bitter Earth" makes one imagine what it would have been like if Ponder had somehow teamed up with Dinah Washington for a recording of this soul-driven tune. Nonetheless, he is joined on this album by top-flight players from Muse's very talented stable. In addition to those already mentioned, Houston Person, Lonnie Smith, and rhythm section men like Peter Washington and Victor Jones make important contributions. Bill Saxton's tenor drives an atypically fast version of "I Only Have Eyes for You," which is the dominant improvised excursion here.
Although he has been taken to task by some critics for emulating the style of Wes Montgomery to the detriment of developing his own style, on this album, Ponder shows he is a fine guitar stylist in his own right.


The Ventures • Surfing




VA • Bossa Nova Jazz Instrumentals



Bossa Nova, meaning literally "New Trend" in Portuguese, is a style of Brazilian music. Bossa nova acquired a large following in the 1960s. Since its birth, the Bossa Nova movement contributed with its style and a number of songs to the standard Jazz repertoire. This Jazz sub-genre is listed here separately from the Latin sub-genre of Bossa Nova because of the substantial Jazz techniques and improvisational methods that can be found in this music, differentiating it from its Latin counterpart.