PW: egroj

miércoles, 15 de noviembre de 2017

Joe Venuti • Sliding By

Violinist Joe Venuti, 73 at the time of this recording and only a little more than a year away from his death, was in typically swinging form for this quintet set with Dick Hyman (who doubles on piano and organ), guitarist Bucky Pizzarelli, bassist Major Holley and drummer Cliff Leeman. In addition to the six standards, there are four lesser-known Venuti compositions performed by this fine group. The music alternates between romantic ballads and stomps such as "Sweet Georgia Brown" and "Clarinet Marmalade."- by Scott Yanow, AMG
It's difficult to think of superlatives to use in describing Joe Venuti's s playing. All of the words have been used so many times that they've lost their surprise. To put it simply, Joe was the first jazz violinist, and after sixty years of playing and nearly as many years of recording he is still the best. No musician in jazz has so completely dominated the style of his instrument. - by Sam Charters.

Ananda Shankar • Arpan Om Sai Ram

Bio & +

Slim Harpo • Buzzin' The Blues - The Complete Slim Harpo

Slim Harpo made his impressive entrance into the world of blues recordings in 1957. Here was a man with an unforgettable name, a strong song – I’m A King Bee – and a finely-crafted minimalist style, at once familiar and novel. In 1961 Slim Harpo made a crossover entry into the American Rhythm ‘n’ Blues and Popular Music charts when Rainin’ In My Heart became one of those barely-categorisable hits that just couldn’t be ignored. Then came Baby, Scratch My Back, a soulful rhythmic number that led to tours with the rock elite. The story of Slim Harpo and his music is among the most fascinating in all blues and Rhythm ‘n’ Blues. Harpo’s music had timeless and mellow qualities that made his sound both authentic and accessible. By many benchmarks he was a success, and for periods in his life he was in the spotlight, yet little, really, is known of him beyond his fading circle of musicians, friends, and family in Baton Rouge, Louisiana.

Born in 1924, he was among the last of the original down-home bluesmen, but also one of the first to register hits in the popular music charts. Harpo lived, worked, and performed most of his life in Louisiana, but he was feted in the rock music circles of New York and Los Angeles when he did appear there in his last few years. Apparently an unassuming and calm man, he nevertheless developed a very polished and slick stage appearance. He died at the age of forty-five, leaving behind one of the most consistently good and coherent bodies of blues recordings. Harpo made music that was ‘pure’ blues in a number of forms but also borrowed from and wandered into soul and country styles without losing face.

It’s easy to listen to, easy to love, but real. It has an underlying intensity that continues to make it appealing to generations of performers who have recorded Harpo’s songs down the years. Slim Harpo’s songs were recorded in Crowley, Louisiana by pioneering record man J. D. Miller, among others, and issued on Nashville’s Excello label. Down the years his songs have been covered by artists as diverse as the Rolling Stones, Otis Redding, the Grateful Dead and Hank Williams Jr. His sound and style is at the forefront of the music that became known as ‘swamp blues’ or ‘swamp pop.’

Stephane Grappelli • Les Valseuses

Prado Blues Band • Blues & Swing

Igor Prado (guitar, vocals)
Yuri Prado (drums)
Ivan Márcio (harmonica & vocals)
Marcos Klis (bass)
Special guests:
Flávio Naves, Adriano Grineberg, Nuno Mindelis, Steve Guyger
Jamie Wood, Johnny Rover, J.J Jackson, Enrico Crivellaro

The New Dimensions • The Best Of

Richard ''Groove'' Holmes • Groove

Organ – Richard "Groove" Holmes
Drums – Ron Jefferson
Guitar – George Freeman
Piano – Les McCann
Saxophone [Tenor] – Ben Webster
Trombone – Lawrence "Tricky" Lofton

Earl Bostic • Alto Magic In Hi-Fi A Dance Party With Bostic

Ray Barretto ‎• Señor 007

Review by Jason Ankeny
The kind of wrongheaded gimmick record that works brilliantly almost in spite of itself, Ray Barretto's Señor 007 cashes in on the craze for all things James Bond by recasting composer John Barry's intrigue-laden themes as hard-driving Latin jazz groovers. Barretto's bold, widescreen arrangements and punishing rhythms ratchet the music's intensity to new levels while also expanding the potent sensuality implicit in Barry's compositions. Familiar melodies like "Goldfinger," "Thunderball," and the ubiquitous "James Bond Theme" seem fresh and new all over again -- and the cover, complete with Barretto in a classic espionage tableau, is alone worth the price of admission.

VA • The Specialty Story #2

martes, 14 de noviembre de 2017

Cal Tjader • Primo

Tom Rigney and Flambeau • Back Streets

Artist Biography by Linda Seida
Fiddler Tom Rigney has contributed more than a quarter-of-a-century to roots music in San Francisco. After graduating from Harvard with a Masters in fine arts, he went on to play the fiddle for a band named Back in the Saddle. That stint brought him a Bammie (Bay Area Music Award) in the early '80s, thanks to his performance on the group's first album. The band independently issued one of Rigney's compositions, "Time & Again," which became a regional hit. When Back in the Saddle folded, Rigney moved on to Queen Ida & the Bon Temps Zydeco Band. While touring with the group, he came to fully appreciate the music of Louisiana, specifically zydeco, Cajun, and some sounds of New Orleans. He took his new appreciation for Louisiana's music to his next venture, a band called the Sundogs that teamed Rigney with T.J. Politzer and Joe Paquin. Rigney and the Sundogs put out more than half-a-dozen albums and spent more than a dozen years together. They took their mixture of blues, Cajun, and roots music to stages and festivals throughout the U.S., as well as in Europe and Canada. Upon leaving the Sundogs, Rigney pulled together a new outfit, Flambeau. The band consists of guitarist Danny Caron, accordionist and pianist Caroline Dahl, drummer Jimmy Sanchez, and bassist Steve Parks. Rigney composes most of the band's music, but Flambeau also plays several of the old zydeco and Cajun favorites. In addition to recording with his bands, Rigney also has a solo effort to his credit. Chasing the Devil was released in 1998 by Parhelion. Rigney, son of the late San Francisco Giants infielder and manager Bill Rigney, was raised in the Bay Area.

Hernán Oliva • El Violín Del Jazz

Nació el 4 de julio de 1913 en Valparaíso, Chile. Comenzó sus estudios de violín a los 8 años, en medio de una familia de no músicos (su padre era político, y su madre, ama de casa), llegando a dominarlo rápidamente.
Hacia 1927 ingresó a la orquesta de Ernesto Lavagnino, y hacia 1935 cruzó a Mendoza. Trabajó pocos meses en la radio LV 10 de Cuyo, con su orquesta.
Migró hacia Buenos Aires, donde Luis Lavagnino, hermano de Ernesto, le consiguió trabajo como acompañante de Betty Caruso y Fanny Loy, en Radio Belgrano. El 15 de septiembre ingresó a la orquesta de René Cóspito, haciendo los bailables de Radio Belgrano y el té en Gath y Cháves.
Hacia 1940 pasó al grupo que tocaba en la boite La Chaumiere, con Enrique "Mono" Villegas en piano, David Washington en trompeta, y el inglés Phillips en saxo.
Al año siguiente pasó a la orquesta de Oscar Alemán. Disputas musicales y económicas terminaron con una reyerta, que los separó definitivamente.
Hacia 1944 ingresó a trabajar con los Cotton Pickers de Ahmed Ratip. Luego con Tito Alberti y José Finkel formaron la Jazz Casino, debutando en 1951 en el club Villa Crespo, con Lorna Warren como cantante.
De allí pasó al restaurante El Caballito Blanco, tocando lo que viniera. Según declaraba Oliva, la aparición del Club del Clan había desplazado al jazz como música bailable, y por lo tanto comercial.
Falleció en la madrugada del 17 de junio de 1988, a punto de cumplir 75 años. Apareció tirado en una vereda del barrio de Palermo, abrazado al estuche de su violín.


He was born on July 4, 1913 in Valparaiso, Chile. He began studying violin at age 8, amid a family of non-musicians (his father was a politician, and his mother, housewife), coming to dominate quickly. By 1927 he joined the orchestra of Ernesto Lavagnino, and in 1935 crossed Mendoza. He worked a few months in the Cuyo LV 10 radio, with his orchestra.He migrated to Buenos Aires, where Luis Lavagnino, brother of Ernesto, he got a job as a sideman with Betty Caruso and Fanny Loy, on Radio Belgrano. On September 15 he joined the orchestra of René Cospito, doing the dance of Radio Belgrano and tea in Gath and Chaves.By 1940 the group spent playing in the boite La Chaumiere, with Enrique "Mono" Villegas on piano, David Washington on trumpet and sax Phillips in English.The following year he became the orchestra of Oscar Aleman. Musical and economic disputes ended with a brawl, which definitely separated.By 1944 he began working with the Cotton Pickers Ahmed Ratip. After Tito Alberti and José Finkel formed the Jazz Casino, debuting in 1951 at the club Villa Crespo, with Lorna Warren as a singer.From there he went to the restaurant El Caballito Blanco, playing whatever came. As stated Oliva, the appearance of the Club of the Clan had moved to jazz and dance music, and therefore commercial.He died on the morning of June 17, 1988, about to turn 75 years. It appeared lying on a sidewalk in the neighborhood of Palermo, hugging his violin to the case.

VA • Bikini World!

Can't get enough of these surf comps! Bikini World is especially hip as it includes a passel of artists that usually avoid the hi-fi world of the compact disc, including Phantom Surfers, Untamed Youth, and the Trashwomen, as well as a bunch of bands I'd never heard of like The Royal Knightmares, The Hillbilly Soul Surfers, and Sir Bald Diddley & his Hounourable Right Big Wigs (well, that's how they spell it). As a collection, it's uniformly hot spit, especially Untamed Youth's blow torch summer epic, "Tube City" and the painfully-punned "Surfs You Right" by Finland's finest, Laika & the Cosmonauts. "Scalpin' Party" by Jackie & the Cedrics has some of the most percolating percussion I've ever encountered, but, disappointingly, they just fade out instead of come up with a proper ending. "XKE!" from Seattle's own Boss Martians, is, as you might expect, eerie and extradimensionally cool. You may think you've heard this stuff a million times, but we both know that's not enough. Gnarly. --John Chandler

Gabor Szabo • Faces

Hungarian born jazz guitarist Gabor Szabo arrived in America in the late 1950s, having fled the anti-communist uprising in his homeland. By the early 1960s, he had begun to establish himself as one of jazz's rising stars, joining drummer Chico Hamilton's group in 1960. He left Hamilton in 1965 and briefly played in a group co-led with tenor saxophonist Charles Lloyd before going out on his own as a solo artist. Between 1965 and 1977, he recorded a string of solo albums for the Impulse, Blue Thumb, Skye, CTI and Mercury labels. Faces, recorded for Mercury in 1977, is very much a jazz-fusion album. Produced by trombonist and ex-Crusader Wayne Henderson, the rhythm section was drawn from the soul-jazz-funk band Pleasure with whom Henderson was working at the Fantasy label. The music is built on irresistible, earthy funk grooves that allow Szabo plenty of space to spin long, elegant guitar lines and meticulously constructed solos, both of which were his trademarks. Largely overlooked on its original release, Faces is now revealed as a minor classic within the jazz-fusion genre.

VA • Crossing the Pond_An Hour of Transatlantic Hammond Heavies

Selection by / Compilado por:

Lou Donaldson • Sentimental Journey

Tony Kinsey Quintet • Time Gentlemen Please

Artist Biography by Eugene Chadbourne

This drummer and composer's initial training came at him from both sides of the Atlantic Ocean, reflecting the unique nature of his younger days. Tony Kinsey toiled as a seaman on ships with transatlantic routing. At port in New York City, Kinsey partook of drum lessons with Bill West. Back home in Birmingham, England, Kinsey had been studying piano since a tyke; the drums he had taught himself with a local player named Tommy Webster also providing pointers. Kinsey went onto a splendid career on the British jazz scene, backing national names such as Johnny Dankworth as well as visiting stars, among them Lena Horne and Ella Fitzgerald as well as others -- pianist Oscar Peterson, scat singing Sarah Vaughan -- whose tempo preference nodded at the diabolical. The drummer took charge of his own proceedings on a regular basis during the '50s at London's Flamingo Club. Throughout that decade he performed at European jazz festivals, contexts including bebop, swing, and jazz poetry.
Between 1950 and 1977 he logged more than 80 recording sessions in the jazz genre alone, more than proving his ability in other styles when demanded. In the meantime, he pursued a compositional muse, developing an individual approach to chamber music. A Kinsey string quartet is part of the soundtrack to On the Bridge, a short film, not a meeting place for a ransom drop or instructions to a piano player. Speaking of the latter, Kinsey provided plenty of his own reports in a busy series of writing assignments, including big-band charts and arrangements and incidental music heard in at least 100 commercials. The most recent project of note for Kinsey is an extended musical theater work based on a book by George Elliot. He also continues to play drums.

Sam Lazar • Space Flight

Space Flight is an album recorded by organist Sam Lazar on June 1, 1960
for Argo Records.This was Lazar's debut recording, and the second
recording by guitarist Grant Green.

Bass – Willie Dixon
Drums – Chauncey Williams
Guitar – Grant Green
Organ – Sam Lazar

Dave ''Baby'' Cortez • Rinky Dink

lunes, 13 de noviembre de 2017

Emily Remler • Take Two

Herbie Mann • Unchain My Heart [single]

A Herbie Mann siempre lo he asociado con el jazz y el bossa nova, pero en este disco interpreta un repertorio mas "moderno" , al menos en los arreglos. Unchain my heart la hizo famosa RAY CHARLES y la retomo hace unos anos JOE COCKER. En cambio GLORY OF LOVE es una composicion de Billy Hill de 1936.

Ramsey Lewis • An Hour With The Ramsey Lewis Trio

An Hour with the Ramsey Lewis Trio is an album by Ramsey Lewis' Trio featuring tracks recorded in 1959 and released on the Argo label.

Michal Urbaniak • Jazz Legends

Once Poland's most promising import in the jazz-rock 1970s, Michal Urbaniak's chief value in retrospect was as a fellow traveler of Jean-Luc Ponty, a fluid advocate of the electric violin, the lower-pitched Violectra, and the Lyricon (the first popular, if now largely under-utilized wind synthesizer). Like many Eastern European jazzmen, he would incorporate elements of Polish folk music into his jazz pursuits, and his other heroes range from the inevitable Miles Davis to Polish classicist Witold Lutoslawski. His electric violin was often filtered with a gauze of electronic modifying devices, and on occasion, he could come up with an attractively memorable composition like "Satin Lady." Urbaniak began playing the violin at age six, followed by studies on the soprano and then tenor saxophones. His interests in jazz developed chronologically from Dixieland to swing to bop as he grew up, and he studied at the Academy of Music in Warsaw while working in various Polish jazz bands and playing classical violin. In 1965, he formed his own band in Scandinavia with singer Urszula Dudziak (later his wife), returning to Poland in 1969 to found Constellation, which included pianist Adam Makowicz. Having won a scholarship to the Berklee College of Music upon being voted Best Soloist at the 1971 Montreux Jazz Festival, Urbaniak made the U.S. his home in 1973. He soon formed a popular jazz-rock group called Fusion, recording for Columbia and Arista in a Mahavishnu Orchestra/Ponty fashion, with Dudziak adding darting, slippery scat vocals. This group lasted until 1977, and Urbaniak's profile would never be as high again, although he performed with Larry Coryell in 1982-1983, led the new electric group Urbanator in the 1990s, and has performed and recorded in other styles ranging from bop to free jazz into the 21st century. ~ Richard S. Ginell

Album Review
Violinist Urbaniak performs "Stella By Starlight," "Stardust" and four originals on this 1985 live recording from the Village Vanguard. Reissued on CD, the set finds Urbaniak joined by pianist Mike Gerber, bassist Ron Carter and drummer Lenny White. Although the leader's violin is electrified and sometimes a bit distorted (a la Jean-Luc Ponty), this is essentially an acoustic set. However, the versions of the two standards (both over 11 minutes) seem stretched out with little excitement occurring, while Urbaniak's more concise compositions are just not all that memorable. An OK but largely forgettable effort.

Dick Hyman • Un Millón De Cuerdas

Otis Spann • Walking The Blues

Review by Thom Owens
Walking the Blues is arguably the finest record Otis Spann ever cut, boasting 11 cuts of astounding blues piano. On several numbers, Spann is supported by guitarist Robert Jr. Lockwood and their interaction is sympathetic, warm, and utterly inviting. Spann relies on originals here, from "Half Ain't Been Told" to "Walking the Blues," but he also throws in a few standards ("Goin' Down Slow," "My Home Is in the Delta") that help draw a fuller portrait of his musicianship. Most importantly, however, is the fact that Walking the Blues simply sounds great -- it's some of the finest blues piano you'll ever hear.

domingo, 12 de noviembre de 2017

Cal Tjader • Soulful Vibes

Hampton Hawes • Northern Windows

Northern Windows is an album by jazz keyboardist Hampton Hawes recorded for the Prestige label in 1974.

Brian Setzer • Rockabilly Riot Vol. 1 - A Tribute To Sun Records

Ambition has always been a major ingredient in the success of Brian Setzer. And Brian Setzer, as everyone knows, is a rockabilly guitar-slinging maverick. We knew it when he suddenly popped up in the very early 80's with The Stray Cats, playing the kind of pure rock music that had gone by the wayside for nigh on three decades. One might say Setzer began the rockabilly revival, which paved the way for other cool music movements like the swing revival, and even could possibly be to blame for a bit of the alt-country movement. The man is a master of the wailing Gretsch 6120, even having a signature model of the venerable axe named for him. The legend of Brian Setzer went from rockabilly punk rocker to big band leader and many points in between… but the circle has come full back, and on his latest release, Rockabilly Riot!, Setzer returns to playing the music that obviously played such an intense influence on him in his early years.

Rockabilly Roit! is a collection of 23 classic rockabilly tracks that were originally recorded for the Sun Records label in the mid 50's. Setzer and his band - Bernie Dresel on drums, Mark Winchester on upright bass, and Kevin McKendree on piano - pay homage to a time when American music was on the move, with a fresh and exciting taste. Setzer picked some of the best of the Sun tracks - not only the most popular - but some real closet gems as well, and did faithful recreations of the songs, much as they were played way back when. The result is a collection of ageless songs with a clean brilliance that would be hard to attain from old master tapes. The songs run the gamut from the ever-popular "Blue Suede Shoes"and "Put Your Cat Clothes On", to rockabilly scorchers like "Red Hot", chicken pickin' classics such as "Just Because", and even down-tempo tracks like "Sweet Woman" and the surf-guitar sounds of "Red Cadillac & A Black Moustache". In other words, all the bases are covered… thick… with plenty of echo and guitar tone to spare.

These songs are so true to the originals that they have an inherent sense of nostalgic beauty. The tracks will leave you glad to be alive, and wondering why you have neglected the rockabilly classics for so long in your own life… and hopefully send you on a quest to find more of this prime American music. But the best thing about Rockabilly Riot! is that it's volume 1. Which means hopefully in the near future, we'll get even more of these great tracks played by this fantastic band. -Embo Blake

Antonio Carlos Jobim • Stone Flower

Milt Buckner • Boogie Woogie U.S.A

sábado, 11 de noviembre de 2017

Billy Lee Riley • Big Harmonica Special

Billy Lee Riley (October 5, 1933 – August 2, 2009) was an American rockabilly musician, singer-songwriter, and record producer. His most memorable recordings include "Rock with Me Baby" and "Red Hot".
full bio

Kenny Burrell • The Common Ground

Linda Dachtyl • A Late One

The Hammond B3 “wonder woman” is back! Linda Dachtyl presents her third recording on the Chicken Coup label, and it’s tastier than ever, produced by the great Tony Monaco! Along with a couple of surprises, Linda brings her brand of swing and funk to a varied program, with some great horn work along the way.

Jay McShann & Milt Buckner • Kansas City Memories

Review by Ken Dryden:
Jay McShann and Milt Buckner join forces for this CD compilation of two earlier Black & Blue LPs recorded in the early 1970s. While McShann is indelibly associated with both blues and boogie-woogie, Buckner is better known as the swing pianist and organist who popularized the locked-hands style of playing adopted by many later keyboardists. Unfortunately, these sessions aren't nearly as successful, since the two players don't really complement one another's playing all that well. That's not to say the music (which primarily consists of originals by McShann) isn't enjoyable. Buckner seems more at home on organ in the up-tempo blues "My Chile," which also adds guitarist Clarence "Gatemouth" Brown, and tenor saxophonist Arnett Cobb. Buckner returns to piano for the soulful "T'ain't Nobody's Business If I Do," with Al Casey taking over on guitar. But the sessions clearly would have worked even better had McShann been the sole pianist.

Brother Jack McDuff •‎ Legends Of Acid Jazz

Review by Richie Unterberger
While these 12 selections were originally released on six different albums between 1965 and 1969, all of them were cut during July 1964: nine at a New York studio session, and three (embellished by Benny Golson big-band arrangements) live at Stockholm. Thus it makes for a thematically coherent compilation, every track featuring a young George Benson on guitar and Joe Dukes on drums; Red Holloway plays tenor sax on all but two songs. It's top-drawer soul-jazz, recommended to those who might find some of McDuff's other releases too homogenous, as his B-3 travels through diverse moods here: the uptempo blues of "Scufflin'," the slow-burning funk of "Our Miss Brooks," R&B/soul in the cover of "I Got a Woman." The closing "Lexington Avenue Line" is the oddest track, though quite a good one, sounding like a movie soundtrack theme with its dramatic strings.

Herbie Mann & Sam Most • Herbie Mann-Sam Most Quintet

Floyd Smith • Relaxin' With Floyd

Personnel: Floyd Smith (guitar); Wild Bill Davis (organ); Chris Columbus (drums)

Lalo Schifrin • Mannix

Lowell Fulsom • Soul

Lowell Fulson (31 de marzo de 1921-6 de marzo de 19991 ), también conocido como Lowell Fullsom y Lowell Fulsom, fue un compositor y guitarrista de blues, especialmente del West Coast blues, del cuyo estilo es considerado, junto con T-Bone Walker, pionero.
Nacido en Tulsa, Oklahoma, con 18 años de edad, tocó brevemente en una banda liderada por Alger "Texas" Alexander antes de trasladarse a California. Tras su servicio militar, tuvo un éxito de ventas con "Three O'Clock Blues" en 1948. En la década de 1950, lideró una banda que incluía a Ray Charles y Stanley Turrentine, y otra banda con David "Fathead" Newman.


Lowell Fulson (March 31, 1921 – March 7, 1999)[1] was a big-voiced blues guitarist and songwriter, in the West Coast blues tradition. Fulson was born in Tulsa, Oklahoma. He also recorded for business reasons as Lowell Fullsom and Lowell Fulsom. After T-Bone Walker, Fulson was the most important figure in West Coast blues in the 1940s and 1950s. more ...

Charlie Dennard • 5 O'Clock Charlie

On this recording, Dennard showcases seven original compositions and three cover tunes that capture the simple, organic quality of musicians playing together in the moment. In the late 1990’s, Charlie had a standing gig at New Orleans’ famous Funky Butt with his band, then called 5 O’Clock Charlie. This recording marks a return to those roots, just as Charlie has returned to New Orleans after touring the world. This recording is groove-based, funky and fun.

viernes, 10 de noviembre de 2017

VA • Rockabilly Rules The Essential Rockabilly Collection [3CDs]

Ike Quebec • Soul Samba

Soul Samba (aka Bossa Nova Soul Samba) is an album by American saxophonist Ike Quebec recorded in 1962 and released on the Blue Note label. It was Quebec's final recording before his death in January 1963.

Review by Scott Yanow
This was veteran tenor saxophonist Ike Quebec's final recording as a leader. It was cut in October 1962 and produced by Alfred Lion a little more than three months before the saxophonist's death. Bossa Nova Soul Samba was recorded and released during the bossa nova craze, as Brazilian music was first brought to the attention of pop listeners via Stan Getz and Charlie Byrd's smash hit with Tom Jobim's "Desafinado," on their Jazz Samba record for Verve in February. After that, seemingly everyone was making a bossa nova record. Quebec's effort is a bit unusual in that none of the musicians (guitarist Kenny Burrell, bassist Wendell Marshall, drummer Willie Bobo, and percussionist Garvin Masseaux) was associated with Brazilian (as opposed to Afro-Cuban) jazz before this, and that there isn't a single tune written by Jobim on the set. Quebec emphasizes warm, long tones (reminiscent of Coleman Hawkins in a romantic fashion), and his sidemen play light and appealing but nonetheless authoritative bossa rhythms. Standout tracks here include Burrell's own "Loie," which opens the disc, "Goin' Home," based on a tune by classical composer Antonin Dvorák and arranged by Quebec -- he does the same with "Liebestraum" two tunes later -- and the stunning "Favela," by the crack composing team of Joraci Camargo and Heckel Tavares. The result is high-quality melodic Brazilian dance music with Burrell shining in particular.

VA • Soul On

Billy Larkin & the Delegates,  Merl Saunders,  Hank Jacobs,  Bill Black’s Combo,  Johnny Hammond Smith, Brother Jack McDuff ...

Selection by / Compilado por:

Blue Mitchell • H.N.I.C. Pts 1&2 [single]

Cal Tjader ‎• Latin Kick

Nils Tibor • Hammond Hit Parade

Rhoda Scott • Encore, Encore, Encore

Organist Rhoda Scott has been living in France for the last few decades, and this set of standards was recorded there in 2002. Scott has always favored unusual groups, either a trio with drums and sax or a duo with a drummer, and here she is paired with veteran French percussionist Lucien Dobat. The set begins with lighter readings of "Mack the Knife" and "New York, New York" before digging deep into Johnny Griffin's "Sweet Sucker." She takes a nice vocal turn on "Don't Worry 'Bout Me," where she exhibits that rare fragile poignancy similar to Jimmy Scott's voice, but the focus is still on her Hammond playing, which even on this ballad is hard-hitting and aggressive, full of all the electric church fervor that has been part of the instrument since Jimmy Smith first brought it to prominence so long ago. Sure, that's part of the instrument's characteristic sound, but few people, maybe Jimmy McGriff and pre-fusion Jack McDuff, bring it out as fully as Scott does. Despite there being no bass player on this date, or almost any of Scott's recordings for that matter, her pedal work makes the absence a non-issue. She gets so involved in a swinging soul-jazz workout of "Sunrise, Sunset" that it begs for a full reading of all of Fiddler on the Roof's hoary classics. Dobat shines on "Sunrise," but is often relegated to the role of respectful timekeeper. Even though this is Rhoda Scott's show, it would be nice to hear her partner her step out of the nightclub shadows a bit. Scott's own "Do What'cha Gotta Do" and a solemn version of "It Might As Well Be Spring" are highlights as well. The set ends with two versions of "In the Mood," the second titled "In the Mood Bis" as a nod to her adopted French home, but after the solid middle that this record delivers, the impression the closer leaves is slight. Encore, Encore, Encore... is a welcome return to U.S. shores from expat Scott. Hopefully there will be more to come in the future from this underappreciated organ heavyweight.
- Wade Kergan

This album by organist and singer Rhoda Scott and drummer Lucien Dobat resembles a hard-cooking club set. For American audiences, Scott-New Jersey native, Manhattan School of Music graduate, student of Nadia Boulanger and Paris resident since 1968-may be a new and pleasing discovery. Based on this session, she could capably hold her own in a cutting contest among top jazz organists.
Scott walks the bass pedals barefooted, and she builds from chorus to chorus with a sure sense of direction and climax. Her powerhouse arsenal includes big, washing glisses; big-band-like block chords; and an array of tonal stops. Dobat aids with a strong backbeat and well-placed kicks.
On the opener, "Mack the Knife," they work a steady, swinging groove through several key changes. Three tunes later comes a vocal, "Don't Worry 'Bout Me," in a voice reminiscent of Jimmy Scott. "Do What'cha Gotta Do," a catchy, easy-swinging Basielike original, appears down the line. "If I Should Lose You" moves along at in impressive clip. Scott has a distinctive approach to each tune; one might call it an arranger's touch and an entertainer's sense of pacing. Encore... is a most enjoyable album.
- Owen Cordle