PW: egroj

jueves, 31 de agosto de 2017

Shirley Scott • Shirley's Sounds



Reviews:
Shirley Scott, the queen of jazz organ (fellow Philadelphian Jimmy Smith, a major influence, is, of course, the once and future king), began her reign during the late 1950s, the peak of the "soul-jazz" era. Almost all of the performances herein are taken from the May 1958 session for Prestige Records that was her first as a leader and yielded the LPs Great Scott! and Shirley's Sounds. With these two albums Scott (1934-2002) kicked off a lengthy relationship with Prestige. Though she let her feet do the bass-line walking when playing live, "Scottie" preferred to use a bassist when in the studio, and in George Duvivier she had one of the finest and most flexible. On these 16 vintage trio selections (Arthur Edgehill was her regular drummer), Scott's sophisticated swinging (and hard swing, as well--check out "Bye Bye Blackbird"), sustained bluesy grooves, and ability to elicit a variety of sounds from her instrument are but three reasons why she became one of Prestige's most popular artists.

There's a good reason why Scott's second album as a bandleader sounds very much like her first, Great Scott!, for both albums were cut at the same May 23, 1958, session. On Shirley's Sounds, Scott's again backed by the rhythm section of George Duvivier on bass (though George Tucker takes over the instrument for one number, "Bye Bye Blackbird") and Arthur Edgehill on drums. Like its predecessor, it's superior early organ jazz, full-sounding but streamlined owing to the trio format. Devoted entirely to outside compositions, the tracks capture both her virtuosic skill on the organ and her taste, squeezing the bluesiest inflections out of a standard like "Summertime." "(Back Home Again In) Indiana" is the cut that cooks the hardest, and blues colors are a big part of her interpretations of "Baby Won't You Please Come Home" and "I Can't See for Lookin'." ~ by Richie Unterberger


Shirley Scott - Organ
George Duvivier - Bass
George Tucker - Bass (#A4)
Arthur Edgehill - Drums


Ultra-Lounge Vol. 2 • Mambo Fever



From Amazon:
Imagine yourself on a wrap-around porch of some grand house basking in the warmth of a summer sunset. Maybe you are simply lounging on a beach with a cocktail in one hand and the hand of the one you love in the other. Perhaps you are in a tuxedo or flaming red cocktail dress and having a wonderfully dry martini (shaken, not stirred) before you get ready to head to the dance floor.
If any of those situations are real or just party of your dreams, this CD from Ultra-Lounge is for you. Rare is the day when you will find some neon decorated, pseudo-tropical paradise lounge or restaurant where drinks were served in coconut cups with little umbrellas. But you can hear the music from them. This CD has the Mambo interwoven in each and every song. You can literally see the band in their white jackets and the lavish costumes on the showgirls as they entertain you.
Yma Sumac drops in for a two song trip down memory lane. You can hear the passion and the fun in her voice. Mariah Carey eat your heart out. The organ tracks are quite amusing, and the Glow Worm Cha Cha will change your life. (Well, not really, but it shouldn't be missed.)
If you ever wanted to visit the famed Coconut Grove or be part of the action with Ricky Ricardo's Band, you need to order this CD. Even if you find that the music is just a throw-back to the days when people in limos were movie stars (and not two girls from Encino using daddy's credit card), it is still a hilarious and joyour romp threw yesteryear.
Fix a highball, add a slice of pineapple, play this CD, and enjoy life.


Howlin' Wolf • The Real Folk Blues



Walter Wanderley • O Samba É Mais Samba Com Walter Wanderley



Herbie Mann • Right Now LP



Leroy Holmes And His Orchestra • Leroy Holmes Goes Latin Bossa



Leroy Holmes
Real Name: Alvin Holmes
LeRoy Holmes (born September 22, 1913, Pittsburgh, Pennsylvania – July 27, 1986, Los Angeles, California) was an American songwriter, composer, arranger and conductor.
Holmes studied music at Northwestern University in Evanston, Illinois and the Juilliard School in New York, before working with a number of bandleaders during the 1930s and early 40s. These included Ernst Toch, Vincent Lopez, and Harry James
After serving as a lieutenant in the US Navy during the Second World War, he moved to Hollywood, where he was hired by MGM Music Studios as a house arranger and conductor, before later moving to United Artists. During his time with MGM, he backed numerous vocalists, including Judy Garland, and in 1954 made what is possibly his best known recording, a version of the theme to the film The High and the Mighty. The song is known for its distinctive accompanying whistling, which was provided by Fred Lowery. Holmes provided the orchestration for Tommy Edwards epic 1958 hit "It's All In The Game", and tried rock and R&B with his backing to the Impalas "Sorry (I Ran All The Way Home)". Holmes also wrote the theme song to the television series International Detective.
He moved to United Artists Records in the early 1960s, where he contributed to many compilations of movie themes, released albums under his own name and backed a succession of singers, notably Connie Francis, Gloria Lynne, and Shirley Bassey. In addition, he produced albums for a number of United Artists acts, including the Briarwood Singers.
Most notable of these were a solid collection of Morricone tunes from spaghetti Westerns, For a Few Dollars More, and several LPs featuring some wonderful soft pop arrangements of movie themes, including the space age pop favorite, "Mah-nah Mah-nah."


James Taylor Quartet • Don't Mess With Mr. T



David Grisman & Martin Taylor • Tone Poems II



Review by Ken Dryden
David Grisman doesn't stick exclusively to mandolin on this top-notch duo date with guitarist Martin Taylor, playing mandola, mandocello, tenor guitar, and guitar as well. As on this album's predecessor, the two artists play a different vintage instrument on each track, though the music this time is much more familiar to jazz fans. The interpretations of such classics as "Swanee," "Anything Goes," "Blue Moon," and "Over the Rainbow" are consistently both stunning and fresh. The gems among the jazz compositions include Django Reinhardt's "Tears" and a tour de force arrangement of Chick Corea's "Crystal Silence." Two surprising tracks are the usually trite "Mairzy Doats" (an irritating song that was a huge hit in the '40s) and the very snappy take of the often tedious "Besame Mucho"; when musicians the caliber of Grisman and Taylor can make something out of unpromising songs like these, it demonstrates how gifted they are. Highly recommended.

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Tone Poems 2 is an album by American musicians David Grisman and Martin Taylor, released in 1995. It is Grisman's follow-up to his collaboration with guitarist Tony Rice on Tone Poems. This is a more jazz-oriented recording, on which Grisman and Taylor play on a variety of vintage fretted classic instruments (altogether they use 41 guitars, mandolins, mandolas, tenor guitars and mandocellos).   https://en.wikipedia.org/wiki/Tone_Poems_2https


Pete Jolly Trio & Friends • Sweet September



Peter Appleyard • The Vibe Sound



Peter Appleyard, OC (26 August 1928 – 17 July 2013) was a British–Canadian jazz vibraphonist, percussionist, and composer. He spent most of his life living and performing in the city of Toronto where for many years he was a popular performer in the city's nightclubs and hotels. He also played and recorded with many of the city's orchestras and been featured on Canadian television and radio programs. In the early 1970s he drew wide acclaim for his performances with Benny Goodman's jazz sextet with which he toured internationally. In 1992, he was made an Officer of the Order of Canada in recognition of his being an "internationally renowned vibraphonist who has represented the Canadian jazz community across North America, Europe, the Middle East and Australia".

more ... https://en.wikipedia.org/wiki/Peter_Appleyard


Maurita Murphy Marx & Michele Ramo • Te Amo Brazil



Diccionario de Símbolos - Juan Eduardo Cirlot, pdf español



478 págs. / pdf / 155MB




miércoles, 30 de agosto de 2017

Jimmy Smith • Cool Blues



Cool Blues is a live album by American jazz organist Jimmy Smith featuring performances recorded at Small's Paradise in New York City in 1958 but not released on the Blue Note label until 1978. The album was rereleased on CD with three bonus tracks recorded at the same performance.


Willie Bobo ‎• Bobo's Beat


Lenny Dee • Plays the Organ Songs Everybody Knows



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.
from: https://en.wikipedia.org/wiki/Lenny_Dee


Wynton Kelly • It's All Right



Bass – Paul Chambers
Congas – Candido
Drums – Jimmy Cobb
Guitar – Kenny Burrell
Piano – Wynton Kelly


The Rhythm Rockets • Come Ride The Rocket


Dick Hyman • Fantomfingers



Pete Jolly Trio & Friends • Sweet September



Johnny Hodges & Wild Bill Davis • Jazz Tribune


Charles Earland • Organomically Correct



Review by Al Campbell
Organomically Correct revisits selections from three of Charles Earland's late-'70s Muse recordings. While most fans of "The Mighty Burner" treasure his Prestige dates released earlier in the decade, his sessions for Muse contained as much gritty funk without the fusion-ish over-production Earland toyed with that marred recordings like Intensity. The musicians on these tracks are spectacular, including tenor saxophonists George Freeman, Frank Wess, or Houston Person; guitarist Jimmy Ponder or Melvin Sparks; and Grady Tate or Walter Perkins on drums. Of the 12 tracks, nine are Earland originals, alongside Wayne Shorter's "Infant Eyes" and the standards "Undecided" and "Old Folks." Fans of organ jazz or funk should check this out.

Charles Earland: organ; George Coleman, Houston Person, Mack Goldsbury: tenor sax; Frank Wess: flute and tenor sax; Bill Hardman: trumpet; Jimmy Ponder, Melvin Sparks: guitar; Walter Perkins, Bobby Durham, Grady Tate: drums; Ralph Dorsey, Lawrence Killian: percussion.


Barbara Carroll • Just Couldn't Say Goodbye


Jimmy Ponder • Come On Down



Biography:
An excellent guitarist, and sometimes vocalist, with a soulful sound and the ability to uplift any funky jazz date, Pittsburgh native Jimmy Ponder has appeared on many recordings during his long career, over 80 as a sideman and 15 as a leader. Ponder, a self taught musician, began playing guitar when he was 14 and considers Wes Montgomery and Kenny Burrell to be his two main early influences and Thornel Schwartz later on. After hearing Montgomery, he would abandon the use of a pick and, like his mentor, play with his thumb. Offered a job with Charles Earland after having only played guitar three years, Ponder waited until he graduated from high school and then spent three years with the organist's group, recording several dates with Earland. He worked and recording with Lou Donaldson, Houston Person, Donald Byrd, Stanley Turrentine and Jimmy McGriff and in the early 1970's moved to New York (from Philadelphia), leading his own groups. Ponder has since recorded as a leader in the 1970's for Cadet, ABC/Impulse, TK, CBS and Toshiba, in the 80's for Milestone and in the 90's for Muse and his current label HighNote. Ponder currently resides in Pittsburgh, PA. ~ All About Jazz.

Editorial Review
Ponder is an undervalued modern jazz guitarist who has command over all the nuances and shadings of blues. This 1990 session is festooned with intelligent and decidedly bluesy contributions from saxophonist Houston Person, organist Lonnie Smith, and drummer Winard Harper. The ten-minute title track is a Vesuvius of Hammond lava, molten guitar bends, spewed tenor ash, and hot percussion magma. ~ Frank John Hadley 1993 -- From Grove Press Guide to Blues on CD
Source: https://www.amazon.com/exec/obidos/ASIN/0802133282/$%7B0%7D


Xavier Cugat • Plays Continental Hits



Herbie Mann • Plays The Roar of the Greasepaint & The Smell of the Crowd



Red Norvo • Mister Swing





Kenneth Norville (Beardstown, 31 de marzo de 1908 - Santa Mónica, 6 de abril de 1999), Red Norvo, vibrafonista, xilofonista y director estadounidense de jazz.
Conocido como Mr. Swing (junto con su mujer Mildred Bailey, conocida asimismo como Mrs.Swing), fue una de las grandes figuras de la época del swing tocando el xilófono; en 1943 empezó a tocar el vibráfono y, aunque no alcanzó las cotas de popularidad de otros maestros como Lionel Hampton, su presencia en el mundo del jazz fue constante tanto como músico como líder de pequeñas orquestas.
Bio completa ...

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Red Norvo (March 31, 1908 – April 6, 1999) was one of jazz's early vibraphonists, known as "Mr. Swing". He helped establish the xylophone, marimba and later the vibraphone as viable jazz instruments. His major recordings included "Dance of the Octopus", "Bughouse", "Knockin' on Wood", "Congo Blues", and "Hole in the Wall".
Bio ...




Ultra-Lounge Vol. 3 • Space Capades



From Amazon:
This is it. The essence of the space age refined into one convenient package. All of the ultra-lounge titles are so campy they're cool, but for my money, nothing else so perfectly captures the mood of late '50s-early '60s America as the Space Capades CD. Transport yourself back to a time when bigger was better, the Atom was our friend and the superiority of The American Way was unquestioned. 'Though it may be campy now, there is actually an amazing amount of musical talent on this CD, as well as the other Ultra-Lounge titles. When we think '50s and '60s music today, most of us think Rock 'N' Roll. In those days, though, Rock was just a fad-- disposable kid music. All the SERIOUS contemporary artists were doing the sort of thing you hear on this CD. Its ironic, then, that most of these artists and their music have been passed over by posterity, while the early rockers have become legendary. Whatever your musical taste, if you are open to something different, and especially if you have a soft spot for martinis, pearls, and the '59 Imperial, you will like this CD.


Antoni Gaudi I Cornet - A Life Devoted to Architecture



Antoni Gaudí, cuando la arquitectura es arte.
pdf / 221 págs. / 256 MB / Idioma: Francés

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Antoni Gaudí, when architecture is art.
Pdf / 221 pp. / 256 MB / Language: French


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Antoni Gaudi. Toute l'architecture
Pdf / 221 pp. / 256 Mo / Langue: Français 














martes, 29 de agosto de 2017

Trudy Pitts • These Blues Of Mine



These Blues of Mine is the second album by jazz organist Trudy Pitts which was recorded in 1967 and released on the Prestige label.


Ray Bryant • The Madison Time & A Hollywood Jazz Beat



Although he could always play bop, Ray Bryant's playing combined together older elements (including blues, boogie-woogie, gospel, and even stride) into a distinctive, soulful, and swinging style; no one played "After Hours" quite like him. The younger brother of bassist Tommy Bryant and the uncle of Kevin and Robin Eubanks (his sister is their mother), Bryant started his career playing with Tiny Grimes in the late '40s. He became the house pianist at The Blue Note in Philadelphia in 1953, where he backed classic jazz greats (including Charlie Parker, Miles Davis, and Lester Young) and made important contacts. He accompanied Carmen McRae (1956-1957), recorded with Coleman Hawkins and Roy Eldridge at the 1957 Newport Jazz Festival (taking a brilliant solo on an exciting version of "I Can't Believe That You're in Love with Me"), and played with Jo Jones' trio (1958). Bryant settled in New York in 1959; played with Sonny Rollins, Charlie Shavers, and Curtis Fuller; and soon had his own trio. He had a few funky commercial hits (including "Little Susie" and "Cubano Chant") that kept him working for decades. Bryant recorded often throughout his career (most notably for Epic, Prestige, Columbia, Sue, Cadet, Atlantic, Pablo, and Emarcy), and even his dates on electric piano in the '70s are generally rewarding. However, Bryant was heard at his best when playing the blues on unaccompanied acoustic piano. After a lengthy illness, Ray Bryant died in Queens, New York on June 2, 2011; he was 79 years old. ~by Scott Yanow


Sir Charles Thompson • Sir Charles Thompson And The Swing Organ



Ultra-Lounge Vol. 16 • Mondo Hollywood



From Amazon:
One of the weirdest and most fun entries in the series. 'Seance On A Wet Afternoon' & 'Experiment In Terror' sound like what the Addams family might play at their twist parties; spooky yet very danceable! Other highlights include: a swingin', Tijuana Brass-style version of 'Moon River', funny teen exploitation movie music like 'Hot Rod Rumble' & 'Beat Girl', the smooth as silk Billy May take on 'Girl Talk', the proto-muzak 'Man And A Woman', and one of my personal favorites... Ferrante & Teicher's 'Barbarella'! The strange 'whooshing' voices at the end of the track really take you to outer space!

So, if you like the campier and stranger enries in the series, you'll love this one!


The Mar-Keys • Damifiknow!



The Mar-Keys:
Steve Cropper, Raymond Jackson, Robert Johnson, Harold Beane, Teenie Hodges (guitar), Andrew Love (tenor saxophone),Wayne Jackson (trumpet), Sidney Kirk (piano), Booker T. Jones (keyboards), Donald "Duck" Dunn, Roland Robinson (bass), Al Jackson, Jr., Jerry Norris (drums).


Pattern Design • Lewis Foreman Day, 1903 pdf inglés



Formato jp2 - 299 pág. - 103MB
visualizar con ACDSee / photoshop o similar

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Format jp2 - 299 p. - 103MB
Visualize with ACDSee / photoshop or similar