PW: egroj

viernes, 30 de junio de 2017

Jimmy Smith • Bluesmith



Richard ''Groove'' Holmes • Hot Tat



“Richard Groove Holmes had less than two years to live when he recorded Hot Tat, but the Hammond B-3 great gives little or no indication that his health was in decline on this enjoyable, though not essential, soul-jazz date. Much of the time Holmes is in a relaxed mood and generally favors what is essentially mood music, but mood music with integrity. Most of the players heard on 1988's Blues All Day Long are employed on this album, including tenor saxophonist Houston Person, trumpeter Cecil Bridgewater, guitarist Jimmy Ponder, and percussionist Ralph Dorsey. But this time, Holmes works with bassist Wilbur Bascomb instead of handling all of the bass work himself, and employs Greg Bandy in place of Cecil Brooks III. Hot Tat will be of interest primarily to "Groove" Holmes' diehard fans; for more casual listeners, Blues All Day Long would be a better introduction to his Muse output.” Alex Henderson, ALL MUSIC GUIDE.


Bill Doggett • Honky Tonk a la Mod





Funk Inc. • Funk Inc.



Artist Biography by Alex Henderson
 Highly regarded in soul-jazz circles, organ combo Funk, Inc. has specialized in a very accessible, groove-oriented blend of jazz, funk and R&B. The group was founded in Indianapolis in 1969 by organist Bobby Watley, who recruited tenor saxman Eugene Barr, guitarist Steve Weakley, drummer Jimmy Munford and conga player Cecil Hunt. In the early 1970s, the original lineup came to the attention of Bob Porter, a well respected producer who signed Funk, Inc. to Prestige and paved the way for the band to record five albums for that label. After stressing improvisation on its first three albums Funk, Inc., Chicken Lickin' and Hangin' Out, Funk, Inc. started to lose its way in the mid-1970s and turned to heavier production, more arranging and background vocals. This slicker approach led to tension within the group, and Funk, Inc. broke up in 1976. Watley continued to play live gigs on his own in the Midwest, and it wasn't until the mid-1990s that he would organize a new Funk, Inc. lineup.




With Britain's acid jazz scene having focused attention on Funk, Inc.'s work, Watley organized a new lineup that included Hunt and newcomers Teddy Patterson (alto & tenor sax), Doug Swanigan (guitar) and Phil Brines (drums). Sadly, original members Munford and Barr had died. With this lineup in place and Funk, Inc. recording for Prestige once again, the band entered the studio in 1995 and recorded its first album in 21 years, Urban Renewal.




Little Milton • Sings Big Blues



Artist Biography by Steve Huey
He may not be a household name, but die-hard blues fans know Little Milton as a superb all-around electric bluesman -- a soulful singer, an evocative guitarist, an accomplished songwriter, and a skillful bandleader. He's often compared to the legendary B.B. King -- as well as Bobby "Blue" Bland -- for the way his signature style combines soul, blues, and R&B, a mixture that helped make him one of the biggest-selling bluesmen of the '60s (even if he's not as well-remembered as King). As time progressed, his music grew more and more orchestrated, with strings and horns galore. He maintained a steadily active recording career all the way from his 1953 debut on Sam Phillips' legendary Sun label, with his stunning longevity including notable stints at Chess (where he found his greatest commercial success), Stax, and Malaco.
James Milton Campbell was born September 7, 1934, in the small Delta town of Inverness, MS, and grew up in Greenville. (He would later legally drop the "James" after learning of a half-brother with the same name.) His father Big Milton, a farmer, was a local blues musician, and Milton also grew up listening to the Grand Ole Opry radio program. At age 12, he began playing the guitar and saved up money from odd jobs to buy his own instrument from a mail-order catalog. By 15, he was performing for pay in local clubs and bars, influenced chiefly by T-Bone Walker but also by proto-rock & roll jump blues shouters. He made a substantial impression on other area musicians, even getting a chance to back Sonny Boy Williamson II, and caught the attention of R&B great Ike Turner, who was doubling as a talent scout for Sam Phillips at Sun. Turner introduced the still-teenaged Little Milton to Phillips, who signed him to a contract in 1953. With Turner's band backing him, Milton's Sun sides tried a little bit of everything -- he hadn't developed a signature style as of yet, but he did have a boundless youthful energy that made these early recordings some of his most exciting and rewarding. Unfortunately, none of them were hits, and Milton's association with Sun was over by the end of 1954. He set about forming his own band, which waxed one single for the small Meteor label in 1957, before picking up and moving to St. Louis in 1958.




In St. Louis, Milton befriended DJ Bob Lyons, who helped him record a demo in a bid to land a deal on Mercury. The label passed, and the two set up their own label, christened Bobbin. Little Milton's Bobbin singles finally started to attract some more widespread attention, particularly "I'm a Lonely Man," which sold 60,000 copies despite being the very first release on a small label. As head of A&R, Milton brought artists like Albert King and Fontella Bass into the Bobbin fold, and with such a high roster caliber, the label soon struck a distribution arrangement with the legendary Chess Records. Milton himself switched over to the Chess subsidiary Checker in 1961, and it was there that he would settle on his trademark soul-inflected, B.B. King-influenced style. Initially a moderate success, Milton had his big breakthrough with 1965's "We're Gonna Make It," which hit number one on the R&B charts thanks to its resonance with the civil rights movement. "We're Gonna Make It" kicked off a successful string of R&B chart singles that occasionally reached the Top Ten, highlighted by "Who's Cheating Who?," "Grits Ain't Groceries," "If Walls Could Talk," "Baby I Love You," and "Feel So Bad," among others.
The death of Leonard Chess in 1969 threw his label into disarray, and Little Milton eventually left Checker in 1971 and signed with the Memphis-based soul label Stax (also the home of his former protégé Albert King). At Stax, Milton began expanding his studio sound, adding bigger horn and string sections and spotlighting his soulful vocals more than traditional blues. Further hits followed in songs like "Annie Mae's Cafe," "Little Bluebird," "That's What Love Will Make You Do," and "Walkin' the Back Streets and Cryin'," but generally not with the same magnitude of old. Stax went bankrupt in 1975, upon which point Little Milton moved to the TK/Glades label, which was better known for its funk and disco acts. His recordings there were full-blown crossover affairs, which made "Friend of Mine" a minor success, but that label soon went out of business as well. Milton spent some time in limbo; he recorded one album for MCA in 1983 called Age Ain't Nothin' But a Number, and the following year found a home with Malaco, which sustained the careers of quite a few old-school Southern soul and blues artists. During his tenure at Malaco, Milton debuted the song that would become his latter-day anthem, the bar band staple "The Blues Is Alright," which was also widely popular with European blues fans. Milton recorded frequently and steadily for Malaco, issuing 13 albums under their aegis by the end of the millennium. In 1988, he won the W.C. Handy Award for Blues Entertainer of the Year, and was also inducted into the Blues Hall of Fame.




Billy Butler • Night Life



Frank Wess • The Flute Mastery of Frank Wess




Matt Bianco • Free Soul - Drive With Matt Bianco





Japanese Ceramics from the Tanakamaru Collection



Grant Green • Sunday Morning (RVG-edition)



 



Red Norvo Trio • Move !



 



Personnel
Red Norvo - vb
Tal Farlow - g
Charles Mingus - b


Freddie McCoy • Gimme Some!



Walter Wanderley • Samba Swing



alter José Wanderley Mendonça (Recife, Brasil 12 de mayo de 1932- San Francisco, EE. UU. 4 de septiembre de 1986), conocido como Walter Wanderley, fue un organista, pianista y compositor brasileño de jazz y bossa nova. Entre sus éxitos mas famosos están los temas " Batucada y Samba de Verão del compositor Marcos Valle. wiki

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Walter Wanderley (12 May 1932 – 4 September 1986) was an organist and pianist, born in Recife, Brazil and best known for his lounge and bossa nova music.
Already famous in his native country by the late 1950s, he became an internationally renowned star through his collaboration with the singer Astrud Gilberto and her husband, João Gilberto. During 1966–1967, he recorded three notable albums on the Verve label with the a trio consisting of Walter, Claudio Slon (drums) and Jose Marino (bass). These albums, Rainforest, Cheganca and Astrud Gilberto's A Certain Smile, A Certain Sadness were produced in the United States by Creed Taylor, who initially brought the Trio to the U.S. to record. Wanderley's U.S. recording of Summer Samba reached #26 on the Billboard charts in the summer of 1966.
After the Trio disbanded (though they were briefly reunited in 1971 for "The Return of the Original" on Canyon Records), Wanderley himself continued to record albums on Verve, A&M/CTI, and GNP Cresendo. During this time he also made numerous personal appearances, including a concert tour of Mexico.
Wanderley was known for his smooth style and mastery of the Hammond B-3 organ. He died of cancer in 1986.
He was married to Isaurinha Garcia, one of the most popular singers in Brazil.




Funk Inc. • Hangin' Out



Artist Biography by Alex Henderson
 Highly regarded in soul-jazz circles, organ combo Funk, Inc. has specialized in a very accessible, groove-oriented blend of jazz, funk and R&B. The group was founded in Indianapolis in 1969 by organist Bobby Watley, who recruited tenor saxman Eugene Barr, guitarist Steve Weakley, drummer Jimmy Munford and conga player Cecil Hunt. In the early 1970s, the original lineup came to the attention of Bob Porter, a well respected producer who signed Funk, Inc. to Prestige and paved the way for the band to record five albums for that label. After stressing improvisation on its first three albums Funk, Inc., Chicken Lickin' and Hangin' Out, Funk, Inc. started to lose its way in the mid-1970s and turned to heavier production, more arranging and background vocals. This slicker approach led to tension within the group, and Funk, Inc. broke up in 1976. Watley continued to play live gigs on his own in the Midwest, and it wasn't until the mid-1990s that he would organize a new Funk, Inc. lineup.




With Britain's acid jazz scene having focused attention on Funk, Inc.'s work, Watley organized a new lineup that included Hunt and newcomers Teddy Patterson (alto & tenor sax), Doug Swanigan (guitar) and Phil Brines (drums). Sadly, original members Munford and Barr had died. With this lineup in place and Funk, Inc. recording for Prestige once again, the band entered the studio in 1995 and recorded its first album in 21 years, Urban Renewal.




Pierre Auguste Renoir, biografía español pdf



Pierre Auguste Renoir -  Peter  Feist


Pierre-Auguste Renoir (1841-1919) es hoy en día aclamado universalmente: los museos se enorgullecen de sus pinturas, y a sus retrospectivas acuden multitudes. Su trabajo muestra el arte más despreocupado, sensual y luminoso. Renoir nunca quiso nada feo en sus obras ni ninguna acción dramática. «Me gustan los cuadros que hacen que quiera pasear por ellos cuando son un paisaje o pasar mi mano por el pecho o la espalda si es una mujer», afirmaba. Toda la obra de Renoir está dominada por la representación de la mujer. Una y otra vez pintó «esas ninfas de labios carnosos» (Mallarmé) e inventó una nueva imagen de la feminidad. Prolífico pintor —creó varios miles de obras a lo largo de su vida— es quizás el más apreciado de entre los impresionistas.

Peter H. Feist
Estudió historia del arte, historia y arqueología en Halle, donde fue profesor adjunto de 1952 a 1958 y se doctoró en 1958. Trabajó en la Universidad Humboldt de Berlín desde 1958 hasta 1981; posteriormente fue director del Instituto de Estética y Arte de la Academia de Ciencias de la RDA en Berlín Oriental desde 1982 hasta 1990. Feist ha publicado numerosos libros de historia y teoría del arte, entre los que se incluyen Pierre-Auguste Renoir y, como coautor, El impresionismo, ambos de TASCHEN. Actualmente reside y trabaja en Berlín.




jueves, 29 de junio de 2017

Cal Tjader • Tjader



Bomboras • Head Shrinkin' Fun



Recorded in just seven days on Rob Zombie's Zombie A Go-Go label, the Bomboras' fourth album is a compilation of 15 tracks (only two of which are longer than three minutes), comprised almost entirely of fast, furious instrumentals that combine the surf of Dick Dale and the frenzy of the Ramones with a decidedly dark overtone. Of course, this all adds up to goofy fun; you almost expect to hear a surf version of the Munsters theme (which is, actually, covered by Los Straitjackets on Halloween Hootenanny on the same label). Based in Southern California, Shane Van Dyke on bass, Dave Klein on drums, Gregg Hunt on lead guitar, Jake Cavaliere on organ, and Johnny De Villa on rhythm guitar churn out rollicking concoctions that don't come up for air with a psychotic bent that is raw and instantly accessible. It's great party music, whether you're at the beach, home, or a club, and it's a perfect CD to have on hand for Halloween. ~ Bryan Buss Recorded at For The Record, Orange, California. Includes liner notes by Bob Morris. Personnel: Gregg Hunt (guitar); Jake Cavaliere (organ); Dave Klein (drums, background vocals); Jim Monroe (background vocals). Audio Mixer: Scott Humphrey. Liner Note Author: Bob Morris. Recording information: For the Record, Orange, CA. Photographer: Reggie Ige. The Bomboras: Jake Cavaliere (vocals, organ); Shane Van Dyke (vocals, bass); Gregg Hunt, Johnny De Villa (guitar); Dave Klein (drums, background vocals). Additional personnel: Jim Monroe (background vocals).








Sidney Bechet • Vogue V5014-V5042 [singles]


Añejo vinilo ...

Tracks: 
1 Bechet Creole blues (Sidney Bechet) 3:07
2 Anita birthday (Sidney Bechet) 2:39
Vogue V5014 v3017/8
14.10.1949
3 Porter love song (Waller) 3:22
4 You rascal you (Theard) 2:57
Vogue V5142 52 v.4336/4340
05.11.1952


Freddie McCoy • Peas 'N' Rice



Biography: by Steve Huey
Soul-jazz vibraphonist Freddie McCoy was never a hit with the critics, spending most of his time laying down coolly funky grooves and covering contemporary R&B and pop tunes (or doing original material in a similarly accessible vein). However, his albums later became underground collector's items among acid jazz and rare-groove enthusiasts. McCoy started out with Johnny "Hammond" Smith in 1961, then signed with Prestige and cut his first album, Lonely Avenue, in 1963. Over the next five years, McCoy cut seven albums for the label, highlighted by 1965's Spider Man, 1967's Beans and Greens, and 1968's Listen Here. His groups usually featured pianist/organist Joanne Brackeen, in some of her first work after temporarily retiring to raise her family. McCoy later recorded for the small Buddah subsidiary Cobblestone, debuting with Gimme Some!, a circa-1971 jazz-funk session featuring some trippy electric piano work. However, the label was short-lived, and McCoy disappeared from jazz after its demise.




The Jazz Crusaders • Live At The Lighthouse



Review by Scott Yanow
Because the Jazz Crusaders in the early '70s dropped the "Jazz" from their name and later in the decade veered much closer to R&B and pop music than they had earlier, it is easy to forget just how strong a jazz group they were in the 1960s. This CD reissues one of their rarer sessions, augmenting the original seven-song LP program (highlighted by "Blues Up Tight," "Doin' That Thing," and "Milestones" with previously unissued versions of "'Round Midnight" and John Coltrane's "Some Other Blues." the Jazz Crusaders (comprised of tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and, during this period, bassist Leroy Vinnegar) are heard in prime form. Felder shows the strong influence of Coltrane, Henderson recalls J.J. Johnson, Sample displays the most originality and the quintet on a whole (with its tenor-trombone frontline) sounds quite distinctive. An excellent set of primarily straight-ahead (but soulful) jazz.




Oleg Plotnikov • My little Rolly




Oleg Plotnikov ( 1950 , Chelyabinsk , Rusia) Oleg estudió piano, teoría musical y composición en su ciudad natal . Desde los quince años toca el piano profesionalmente. A lo largo de su carrera se ha centrado en varios estilos de jazz , AO Nueva Orleans, Boogie Woogie , etc Mainstream Durante diez años en la antigua Unión Soviética Oleg su propia big band , que también organizó todas las propias piezas. Paralelamente a su carrera internacional de jazz , él era activo como compositor "serio" y escribió la música de teatro y obras orquestales. En 1978 Oleg hizo cargo de la dirección de la famosa orquesta ruso viejo estilo ' Uralsky All Stars . Con esta banda se construyó hasta el año 2000 en toda Europa una sólida reputación . Esta banda tocó en casi todos los principales clubes y festivales en muchos países. Desde hace varios años Oleg Plotnikov , ahora doce años que viven en los Países Bajos , se concentra principalmente en sus propias cualidades reconocidas , es decir, como uno de los pianistas de jazz más versátiles de Europa.
Traductor de Google

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Oleg PLOTNIKOV is a Russian jazz pianist now residing in Holland. I couldn’t find any information on the Net and the record sleeve is useless. The only information is that he is/was the piano-player in The Uralsky all Stars, a Dixieland / Swing aggregation. That put me off a bit as i dislike Dixieland as much as I like boogie woogie.
So here it is!
Do not expect avant-garde or even modal music here, this album is a decent boogie woogie / swing album with a dash of (Oh so very mild) funk (Watermelon Man). One could question his choice of numbers (Blueberry Hills ...!).
Anyway, if you like boogie woogie pianists, this album should make you happy. Oleg Plotnikov has a solid left hand. A pianist friend of mine once told me that despite its apparent simplicity boogie woogie was a difficult and physically demanding style: just try holding those fast moving bass notes during 6:30 minutes (as in My Little Rolly), you’ll feel it deep in your muscles !


Mark Hummel • Harmonica Party Vintage Mark Hummel



This album showcases Mark Hummel's Chicago-influenced harp playing on some excellent original tunes, and he reinterprets some classics by Johnny Otis, Jimmy Rogers and Charles Brown. This set is classic Mark Hummel and features West Coast giants Ron Thompson and Rusty Zinn.


Blue Harlem • Hot News!



Blue Harlem have been widely regarded as one of the top swing/jump-blues bands on the London scene for over 15 years. They have become regular favourites at venues such as the world famous Ronnie Scott's, The100 Club, The Hippodrome, Hideaway, Jitterbugs and many, many more.
They enjoy an international reputation - 2007 found them launching the 4th International Film Festival of Dubai and in 2008, they were personally invited by Baz Luhrmann to perform for the launch of his 1940's blockbuster movie ‘Australia’.
They have been invited on three separate occasions to perform at Highgrove House charity balls for the Prince’s Trust. They have an enviable reputation as a party band, having played for society soirees all over the UK - including Buckingham Palace, Annabel’s, The Sands Venue and Burgh Island. They also regularly perform abroad, appearing at jazz festivals in Spain, Norway, Belgium and Germany.
Blue Harlem launched the career of rising star Imelda May, and are now proud to feature as their vocalist the sensational Sophie Shaw. Blue Harlem is led by Al Nicholls on Tenor Sax and features Paul Eldridge on Piano, Sandy Burnett on Double Bass, Sam Brown on Drums, Gethin Liddington on trumpet and Horace Cardew on Baritone Sax.
 web: http://www.blueharlem.co.uk/


Quartette Trés Bien • Sky High



The Quartette Trés Bien was an American jazz combo based in St. Louis led by pianist Jeter Thompson. The group started to play around 1960 and began recording in the mid '60s. Jeter Thompson played with Jimmy Forrest, Oliver Nelson and Emmett Carter in his early years. The bassist of the group is Richard Simmons, the drummer Albert St. James who accompanied also Charlie Parker, Tab Smith and Jimmy Forrest. Percussionist Percy James added a latin flavor to the quartette who played more than ten years, before splitting. Jeter Thompson is still active leading for a few years the Trio Tres Bien with brothers Harold Thompson (bass) and Howard Thompson (drums). Discography: Boss tres bien' Decca Kilimanjaro' Decca Spring into spring' (1964) Decca Sky high' (1965) Decca Stepping out !' Decca Bully !' (1965) Atlantic In motion' (1966) Decca Where it's at' (1966) Decca Here it is !' (1966) Decca Four of a kind' (1967) Decca Our thing' (1967) Decca Coming together' (2004) as The Trio Tres Bien




Sonny Rhodes • I Don't Want My Blues Colored Bright




Artist Biography by Richard Skelly
Blues guitarist, singer, and songwriter Sonny Rhodes is such a talented songwriter, so full of musical ideas, that he's destined to inherit the to seats left open by the untimely passing of blues greats like Albert King and Albert Collins.
Born November 3, 1940 in Smithville, TX, he was the sixth and last child of Le Roy and Julia Smith, who were sharecroppers. Rhodes began playing seriously when he was 12, although he got his first guitar when he was eight as a Christmas present. Rhodes began performing around Smithville and nearby Austin in the late '50s, while still in his teens. Rhodes listened to a lot of T-Bone Walker when he was young, and it shows in his playing today. Other guitarists he credits as being influences include Pee Wee Crayton and B.B. King. Rhodes' first band, Clarence Smith & the Daylighters, played the Austin area blues clubs before Rhodes decided to join the Navy after graduating from high school.
In the Navy, he moved west to California, where he worked for a while as a radio man and closed-circuit Navy ship disc jockey, telling off-color jokes in between the country and blues records he would spin for the entertainment of the sailors.





Rhodes recorded a single for Domino Records in Austin, "I'll Never Let You Go When Something Is Wrong," in 1958, and also learned to play bass. He played bass behind Freddie King and his friend Albert Collins. After his stint in the Navy, Rhodes returned to California while in his mid-twenties, and lived in Fresno for a few years before hooking up a deal with Galaxy Records in Oakland. In 1966, he recorded a single, "I Don't Love You No More" b/w "All Night Long I Play the Blues." He recorded another single for Galaxy in 1967 and then in 1978, out of total frustration with the San Francisco Bay Area record companies, he recorded "Cigarette Blues" b/w "Bloodstone Beat" on his own label. Rhodes toured Europe in 1976, and that opened a whole new European market to him, and he was recorded by several European labels, but without much success. His European recordings include I Don't Want My Blues Colored Bright and a live album, In Europe. In desperation again, Rhodes went into the studio again to record an album in 1985, Just Blues, on his own Rhodesway label.
Fortunately, things have been on track for Rhodes since the late '80s, when he began recording first for the Ichiban label and later for Kingsnake. His albums for Ichiban include Disciple of the Blues (1991) and Living Too Close to the Edge (1992).
More recently, Rhodes has gotten better distribution of his albums with the Sanford, Florida-based Kingsnake label. Aside from his self-produced 1985 release Just Blues (now available on compact disc through Evidence Music), his best albums include the ones he's recorded for Kingsnake, for these are the records that have gotten Rhodes and his various backup bands out on the road together throughout the U.S., Canada, and Europe. They include The Blues Is My Best Friend, and his 1995 release, Out of Control. On these albums we hear Rhodes, the fully developed songwriter, and not surprisingly, both releases drew high marks from blues critics.


Fats Navarro Dexter Gordon • Savoy, 1947 [single]



Tracks:
1 Dexter Gordon and his Boys: Dextrose (Dexter Gordon) 3:02
Dexter Gordon, tenorsax
Fats Navarro, trompet
Tadd Dameron, piano
Nelson Boyd, bas
Art Mardigan, drums
New York, 22.12.1947

2 Fats Navarro and his All Stars: Nostalgia (Theodore 'Fats' Navarro) 2:41
Fats Navarro, trompet
Charlie Rouse, tenorsax
Tadd Dameron, piano
Nelson Boyd, bas
Art Blakey, drums
New York, 05.12.1947


The Hula Girls • The Curse Of The Tiki



American Art Posters of the 1890s in The Metropolitan Museum


36 MB - pdf / Idioma inglés








miércoles, 28 de junio de 2017

Blue Harlem with Imelda May • Talk to Me



Imelda May leads fabulous 9-piece Jump Blues aces Blue Harlem through a sensational swingin’, jumpin’ and rockin’ 15 track album. With three saxophones keeping things swingin’, featuring tenor-saxman Al Nicholls ex-Big Town Playboys/King Pleasure/Ray Gelato.
On Talk To Me Imelda and the boys serve up some of the finest Jumpin’ Jive you’re ever gonna hear.
web: http://www.blueharlem.co.uk/


 



Frank Frost • Harpin' On It



Review by Stephen Thomas Erlewine
WestSide's 13-track collection Harpin' on It: The Complete Jewel Recordings compiles all of the songs Frank Frost cut for the Louisiana label in the mid-'60s. While these sides aren't as down-and-dirty as his earlier material for Sun, they're still enjoyable, revved-up juke joint blues. If anything, he stretches the form a little bit here, getting a little funkier with the rhythms, a little rockier in the guitar, and all the production sounds a bit more modern, more like the mid-'60s (which, ironically enough, means it doesn't sound as timeless as his earlier recordings). Throughout it all, Frost's great harp is front and center, and his playing is always first-rate, even when the material is a little pedestrian. Fortunately, he hit the mark more often than not while on Jewel -- most notably on instrumentals, plus the great Slim Harpo takeoff, "My Back Scratcher" -- which is why this is worth hearing.


 



Al McKibbon • Black Orchid



Artist Biography by Jason Ankeny 

Noted for his rich, resonant tone and metronomic precision, Al McKibbon was one of the premier bassists of the early bebop era, supporting giants like Dizzy Gillespie, Coleman Hawkins, and Thelonious Monk in addition to collaborating with percussionist Chano Pozo to forge the sound of Afro-Cuban jazz. Born January 1, 1919, in Chicago, McKibbon was the son of a minister who played tuba and guitar, often with Al's mother on piano accompaniment. The family relocated to Detroit in 1921, where McKibbon's older brother later played with the Midwest Territorial Orchestra and recommended that his younger sibling adopt the bass. While a student at Detroit's Cass Tech, McKibbon studied bass and piano, and by 17 was gigging steadily at the local nightclub the B&C. Later, he backed Kelly Martin at the Conga Club, followed by a stint with Jimmie Lunceford's former saxophonist Ted Bruckner. In 1943, Lucky Millinder headlined Detroit's Paradise Theater, and when Millinder and band left town for a date in New York City, they took McKibbon with them. The bassist eventually settled in the Big Apple, making his first studio recordings with Millinder before signing on with Tab Smith.

In October 1945 McKibbon joined Hawkins, whose band included Monk on piano. Via Hawkins, the bassist also landed a spot on Norman Granz's first Jazz at the Philharmonic tour, which also featured Lester Young and Buck Clayton. Although McKibbon's tenure with Hawkins was relatively brief, his collaboration with Monk spanned decades -- he played on some of the legendary pianist's earliest headlining recordings, and was featured during his landmark run at Minton's Playhouse. In 1946, McKibbon joined J.C. Heard's band during its stint at New York's Café Society, and the following year he was hired by Dizzy Gillespie to replace bassist Ray Brown, who'd alienated his bandmates by beginning a romance with singer Ella Fitzgerald. McKibbon roomed on tour with Cuban-born percussionist Pozo, and despite their language barrier, the two men created the rhythmic template that would become the foundation for Afro-Cuban jazz, beginning with their work on Gillespie's seminal "Manteca" and continuing across Latin-inspired sessions including "Cubano Be," "Cubano Bop," and "Guarichi Guaro."

Although the Gillespie band splintered in 1949, McKibbon remained immersed in Latin music for the duration of his career. After playing on Miles Davis' groundbreaking Birth of the Cool sessions, he worked briefly with Count Basie, Earl Hines, and Johnny Hodges before settling in with the George Shearing Quartet in 1951, the beginning of the pianist's own exploration of Afro-Cuban music. McKibbon spent seven years behind Shearing, followed by a year with Cal Tjader, another bandleader who grabbed the Latin baton. The bassist relocated to Los Angeles in 1958, working for over a decade as a session player and also recording for film and television. In the early '70s he returned to the road alongside Gillespie and Monk on the Giants of Jazz tour -- in 1971, he also played on Monk's final recording date. Sometime later McKibbon acquired a bass created by Jacob Steiner, "the German Stradivarius," in 1650 -- his tone grew even richer and more robust in turn, and in time he moved into classical performance, in 1992 traveling to the Mojave Desert to play with a symphony orchestra recording Beethoven's Ninth amid the sandy desolation. Only in 1999 did McKibbon finally release his first LP as a leader, Tumbao Para los Congueros de Mi Vida. He died July 29, 2005, at age 86.


 



Dave Baby Cortez • Tweetie pie



David Cortez Clowney, known by the stage name Dave "Baby" Cortez (born August 13, 1938, Detroit, Michigan), is an American pop and R&B organist and pianist.

Clowney attended Northwestern High School in Detroit. His father played the piano, and encouraged him to pursue a musical career. Clowney played the piano for 10 years, then he took up the organ.

Clowney made his first record in 1956 under his own name but it was not until three years later that he scored a major success using the stage name Dave "Baby" Cortez. His instrumental, "The Happy Organ", was the first pop/rock hit to feature the electronic organ as lead instrument; it featured drummer Gary Hammond and was co-written by noted celebrity photographer James J. Kriegsmann and frequent collaborator Kurt Wood. The guitar solo is by session musician Wild Jimmy Spruill. The 45 rpm single was the first instrumental No. 1 on Billboard magazine's Hot 100 chart. Clowney became the first African-American artist to have an instrumental #1 hit. Before making his big break with an instrumental record, Clowney had sung with two doo-wop groups, the Pearls and the Valentines.

The original 45 rpm single was released on the independent Clock Records label but the LP which featured it was released by RCA Victor by arrangement with Clock.

Cortez had another Top Ten hit in 1962 with "Rinky Dink" on Chess Records. This record became well known in the UK as the signature tune of the Saturday afternoon programme Professional Wrestling, introduced by Kent Walton, although few knew the name of the tune or the artist. The song has a strong resemblance to 1957's "Love Is Strange" by Mickey & Sylvia, since it used the same guitar riff.

In 2011, after a 39-year hiatus from recording, Cortez returned with a new album on Norton Records backed by Lonnie Youngblood and His Bloodhounds, including underground luminary Mick Collins of the Dirtbombs and the Gories.
wiki




VA • Autour De Minuit - Bossa Nova



 



Astrud Gilberto, Baden Powell, Caetano Veloso, Elis Regina, Gal Costa, jazz, Joao Gilberto, Jobim, Stan Getz, Lalo Schifrin, Coleman Hawkins ...


Melvin Sparks • Spark Plug





Review by Richie Unterberger
Sparks used a similar soul-jazz approach as he had on his previous Prestige session (Sparks!), revamping the lineup to put Reggie Roberts on organ and a young Grover Washington, Jr. on tenor sax (Idris Muhammad remained behind the drums). He also introduced some compositions of his own this time around; three of the five numbers are Sparks originals. It's more relaxed, funky, occasionally bluesy jazz with guitar and organ to the fore, very much of a piece with the Prestige soul-jazz "house" sound circa 1970. Pleasant fare, although it does tend to fade into suitable background music instead of attracting attention or intense scrutiny.


James Brown • Grits & Soul



Review by Kurt Edwards Grits and Soul finds James Brown in serious Ray Charles mode, drawing inspiration from Charles' big band and organ playing. The results are pure James Brown, of course; his personality has always been too strong to allow any one influence to achieve top billing. Like Brother Ray, the band is razor sharp, no doubt from the endless one-nighters, and the strong hand of their leader. The jazz backgrounds of most of the players are in evidence here, especially on their steady if unspectacular take of Lee Morgan's "Sidewinder." Where they really shine is on "Grits," a slow, throbbing, burbling blues that continually threatens to boil over before simmering down. Guitarist Les Buie's tasteful solo acts as a counterpoint to the wild organ solo by Alvin "Fats" Gonder. James Brown also plays organ on Grits and Soul, but this solo seems almost refined when compared to Brown's individualistic take on the instrument. This is a strong representation of the band, including many of the players soon to be name-checked during the "Soul Brother Number One" career phase who are present here, including Bernard Odum, Maceo Parker, and his brother Melvin. "Grits & Soul" was also a slick way for Brown to sidestep his contractual obligations with King Records, as there are no vocals on this release.


The Mariners • Demon Surf





VA • Autour De Minuit - Piano Bar





Ahmad Jamal, Bobby Timmons, Claude Bolling, McCoy Tyner, Oscar Peterson, Sonny Clark, The Three Sounds,


Terry Gibbs • The Family Album



VA • Autour De Minuit - Saxophone Ballads





Ben Webster, Coleman Hawkins, Gerry Mulligan, John Coltrane, Lester Young, Stan Getz ...


Messer Chups • Bermuda 66





American Musical Instruments, pdf



American Musical Instruments in The Metropolitan Museum of Art

Texto en inglés, pdf / 32 MB - 226 págs. - pdf

Language: English, pdf / 32 MB - 226 p. - pdf