egroj world: enero 2018
PW: egroj

miércoles, 31 de enero de 2018

VA • Blues Harp Boogie-25 Years Of Blues Harmonica



Tony Kinsey • The 78s



Joe Harriott, alto; Bill Le Sage, piano & vibes; Sammy Stokes, bass; Tony Kinsey, drums.


Anoushka Shankar • Home



Editorial Reviews
Four-time Grammy nominated Anoushka Shankar is one of today´s most distinguished and versatile classical cross-genre sitar performers and composers. Her unique approach to classical music and world music genres is both highly artistic and commercially appealing to a wide audience.
fter Traveller and Traces of You this pure Indian classical album is Anoushka´s third release on Deutsche Grammophon and 8th solo album recorded right at her HOME studio in London.
Inspired by her classical upbringing and teaching by her legendary father, Maestro Ravi Shankar this album offers both meditative and virtuoso Indian classical raga for Solo Sitar with ensemble.
With Home Anoushka continues her journey exploring modern and fresh ways to reinterpret and keep alive the beautiful musical traditions of India, as taught to her by her father Ravi Shankar.

Alaap Run time: 11:08
The slow, rhythm-free and serene unfolding of the raga s character. Raga Jogeshwari is a creation of Ravi Shankars; however, this entire raga performance is an improvisation.

Jod,Jhala
Run time: 10:14
A pulse and rhythm is introduced in the jod, gradually building up to a climax in the jhala.

Gat in Rupaktaal
Run time: 15:27
The tabla enters here, playing rupaktaal, a popular rhythmic cycle of seven beats. This gat is composed by Anoushka, and Tanmoy and Anoushka use the gat and rhythmic cycle as a framework for their improvisations.

Aochar, Dadra, Teentaal,Coda
Run time: 18:26
As is traditional, the final piece is played in a lighter, more romantic mood. After a short alaap known as aochar, Anoushka introduces a gat in ektaal of twelve beats, and then slowly accelerates the tempo to an intense climax during the second gat, played in teentaal of sixteen beats. An exciting tabla solo is featured near the end of teentaal, and, unusually, Anoushka adds a short coda at the end, again in ektaal.

Ravi Shankar once said: There is a saying in Sanskrit - Ranjayathi iti Ragah - which means, that which colors the mind is a raga. With Home Anoushka does just that.




Gerard Gibbs & Reorgan'yz • Livin' & Learnin'



Album Notes:
Gerard William Gibbs, born November 16, 1967, has been a lover of jazz ever since his father introduced him at the tender age of three to the music of the late jazz organist, Richard "Groove" Holmes. At age of seven, when he later had the opportunity to meet Holmes, Gerard grew to idolize Holmes. He knew then that one day, he would play jazz just like his idol.
Gerard Gibbs, born and raised in Detroit, Michigan, is a product of the Detroit Public Schools. He began his musical training in classical piano at the age of nine. Although he took to this musical style fairly quickly, his interest in performing jazz never waned. In the summer of 1981, while recovering at home from corrective leg surgery, Gerard received a surprise visit from "Groove" Holmes. Holmes took an immediate interest in Gerard and began to show him all the "tricks of the trade." Until Holmes' death in 1991, Gerard had the kind of friendship and mentoring relationship with this international jazz organist that only others can dream about.
In 1996, Gerard was again fortunate. He met another master jazz organist, Jimmy Smith. He was introduced to Smith while attending his concert at the Bluebird Inn in Detroit. Smith took a liking to Gerard as well, and began to show him some of his techniques. Since that time, Gerard's friendship with Jimmy Smith up until his death in 2005 will be another mentorship that will forever be treasured. Gerard also has had opportunities to rub shoulders with jazz organists Joey DeFrancesco, Jimmy McGriff, and the late Jack McDuff. In September of 1999, Gerard had the opportunity to jam with the "Mighty Burner", the late Charles Earland. Later in September of 2000, Gerard cultivated another organ alliance and mentoring relationship with the great Dr. Lonnie Smith. All of these encounters have contributed to Gerard's development as a versatile musical artist skilled beyond his years.
Currently, Gerard performs nationally and internationally on the concert circuit with saxophonist James Carter. He also regularly lends his talents to the hot contemporary jazz group: Pieces Of A Dream. While at home in Detroit, Gibbs remains busy as he raises his young son, Tyler Landon Gibbs and leads his newly- renamed jazz group: Gerard Gibbs & REORGAN’YZ. In August of 2001, Gerard released his debut CD entitled, “To Be Or Not To B-3” with his organ trio in commemoration to his first mentor, the late Richard "Groove" Holmes. It was released under the auspice of the previous name: Gerard Gibbs & ORGANized Crime. In December of 2003, Gerard answered his calling to musicianship by retiring from the City of Detroit as a Senior Assistant Architectural Engineer after 12 years of dedicated service. In late August of 2004, Gerard released his sophomore recording with Gerard Gibbs & REORGAN’YZ entitled, “Livin’ & Learnin’”. Finally, Gerard anticipates the Summer 2007 release of his third project dedicated to his son entitled, “Blues For Tyler”.


Junior Wells • You're Tuff Enough



Another period of the veteran Chicago harp man's career that awaits CD documentation -- and one of the most exciting. Wells's late-'60s output for Bright Star and Mercury's Blue Rock subsidiary frequently found him mining funky James Brown grooves (with a bluesy base, of course) to great effect -- "Up in Heah" and his national smash "You're Tuff Enough" are marvelous examples of his refusal to bend to purists' wishes (though there's a glorious version of Bobby Bland's blues-soaked "You're the One" that benefits handily from Sammy Lawhorn's delicate guitar work). ~Review by Bill Dahl


Jeff Golub With Brian Auger • Train Keeps A Rolling



Jeff Golub (guitar); Brian Auger (Fender Rhodes piano, Hammond b-3 organ); Dave Woodford (flute, baritone saxophone); Mindi Abair (alto saxophone); Steve Madaio (trumpet); Nick Lane (trombone); Steve Ferrone (drums); Luis Conte (percussion).


Johnny Dankworth & His Orchestra • EP 8570



Rhoda Scott • Live At The Club Duc Des Lombards



martes, 30 de enero de 2018

Clifton Chenier • Black Snake Blues



Ernest Ranglin • Wranglin'



Ernest Ranglin (born 19 June 1932) is a Jamaican guitarist and composer who established his career while working as a session guitarist and music director for various Jamaican record labels including Studio One and Island Records. Ranglin played guitar on many early ska recordings and helped create the rhythmic guitar style that defined the form. Ranglin has worked with Theophilus Beckford, Jimmy Cliff, Monty Alexander, Prince Buster, the Skatalites, Bob Marley and the Eric Deans Orchestra. He is noted for a chordal and rhythmic approach that blends jazz, mento and reggae with percussive guitar solos incorporating rhythm 'n' blues and jazz inflections. https://en.wikipedia.org/wiki/Ernest_Ranglin


The Bent Scepters • Hellevator Music



Delbert Bump Jazz Organ Trio • Organ~Ization



Although somewhat obscure, Delbert Bump is a fine organist in the tradition of Jimmy Smith. Organ-Ization music is bluesy and swinging style is soulful and perfectly suited to this set of mostly basic originals. Organ-Ization songs Guitarist Steve Homan offers a contrasting solo voice and some solid rhythm playing while drummer Babtunde keeps the proceedings swinging with solid forward momentum. The music is a bit derivative and perhaps predictable, but it is enjoyable overall and easily recommended to fans of Jimmy Smith and the grooving jazz organists of the 1960s.


Johnny Lytle • Good Vibes



Good Vibes is an album by American jazz vibraphonist Johnny Lytle which was recorded in 1981 for the Muse label.


The Stingrays • Don't Fear The Reverb



Review by Tom Schulte
A surfing romp through the Blue Oyster Cult's "Don't Fear the Reaper" leads off this instrumental surf guitar album, and it's also the title track. Straight out of southern California, this enthusiastic teenage trio offers up the sounds that made famous the Venture's influential surf album. Their heavy surf sound is definitely in the Dick Dale tradition and influenced by the proto-rock experimentation of Link Wray.


Motifs Celtiques • David Balade



Imelda May • Love Tattoo



Ray Bryant • Ray Bryant Trio [Epic - LN 3279]



Billy Vaughn • A Current Set Of Standards



Ben Woods • Surf Flamingo



Ben Woods is a true master Flamenco guitarist and innovator. A protagonist of authentic Spanish Flamenco guitar, yet best known for his unique Flamenco-Metal style, Ben plays many music and guitar festivals, clinics and concerts around the world. He is not only an impressive musician, but a wonderfully engaging entertainer. With a strong online presence (over 2 million youtube views) and his acoustic arrangements of Rock/Metal/Surf/Flamenco material, Ben’s performance is always a big draw and the highlight of any event.
http://www.guitarworld.com/acoustic-nation-ben-woods-plays-flamenco-metal-tarantula-presented-guitar-salon-international


Angelo Debarre & Marius Apostol • Complicité



Angelo Debarre (guitar) – Marius Apostol (violon) – Tchavolo Hassan (rythmic guitar) – Antonio Licusati (double bass) - Raangy Debarre (rythmic guitar) - invité possible : Constantin Lacatus (cymbalum)

Les grandes stars de la guitare manouche héritiers de Django Reinhardt se comptent sur les doigts d'une main. Avec ce nouvel album Complicité, Angelo Debarre a voulu composer à 4 mains avec le violoniste virtuose Marius Apostol. Au-delà de la technique évidente, les ?uvres atteignent des sommets de lyrisme en prouvant si cela est nécessaire les talents de compositeurs de ces deux musiciens.


Sidney Bechet • Jazz & Blues Collection



Allen's All Stars • Terry Gibbs Captain



Kenyon Fields • Cohearance





lunes, 29 de enero de 2018

Althea Rene • In the Flow



VA • Acid Jazz Presents Riot On 103rd Street Funk



The Devin Kelly Organ Trio • First Things First



Devin Kelly is a freelance percussionist based in King Ferry, New York. A native of Ithaca, New York, Mr. Kelly has shared the stage with Clark Terry, Bob Brookmeyer, Barry Harris, Gary Foster, Bob Sheppard, Bill Cunliffe, Bobby Militello, Peter Bernstein, Larry Koonse, Mark Soskin, Stacy Rowles, Sam Most, John Campbell, Julie Kelly, Judy Wexler and many other jazz luminaries. Notable performance venues include The Blue Note NYC, Chris' Jazz Cafe in Philadelphia, Lighthouse Cafe in Hermosa Beach, as well as the Rochester, San Jose, Lewiston, Northwest and Dubai Jazz Festivals.
Mr. Kelly’s "New York-based organ trio" is made up of Rochester, New York based guitarist Bob Sneider (Chuck Mangione, Nat Adderley, Gene Ludwig & Lou Donaldson) and Elmira, New York based organist Dino Losito (Houston Person, Eric Alexander, Nancy Kelly & Joe Romano). Devin's "California-based organ trio" features guitarist Gary Solt (Nancy Wilson, Clark Terry, Don Rader) & organist Joe Bagg (Anthony Wilson, Jon Daversa, Larry Coryell & Bill Holman).
In addition to playing jazz, Devin works as a studio percussionist for Sonicsmiths & Cinesamples, sampling software companies based in Los Angeles & New York City. Many leading television, film and video game composers use their products.   


Pierre ''Baro'' Ferret • Swing Valses - d'Hier et d'Aujourd'hui



In the days when I was recording the first 78 rpm records of the great jazz guitarist Django Reinhardt for the Swing label, I had the opportunity to listen to, and record, another guitarist of no less outstanding talent : Baro Ferret. He was revolutionizing the musette waltz. Unfortunately, his work went on almost unnoticed, causing him to give up his musical career not long afterwards. Some thirty years later once again I came across one of his records, cut in 1938 for a French label, which had not considered it worthy of release at the time. I was struck by the intricacy and freshness the music still conveyed. Sharing my lucky find with others inspired a new search for Baro Ferret. We discovered that not only was the old master still alive, but that he had remained the best interpreter of that specific style. That’s how this recording began -
End of quote from Charles Delaunay.


Escher Maurits Cornelius • Works



pdf / 80págs

VA • Lost Legends Of The Surf Guitar - Vol.2



Harry Babasin & The Jazz Pickers • For Moderns Only



Harry Babasin - cello
Buddy Collette - flute
Don Overberg - guitar
Bob Harrington - vibes & drums
Bill Douglas - drums


Phil JL Robert & 3Kindred Spirit • Boogaloo Zoo



domingo, 28 de enero de 2018

Lou Donaldson • Good Gracious



Review by Stephen Thomas Erlewine
Good Gracious may be Lou Donaldson's record, but guitarist Grant Green and organist John Patton steal the show. Working with a tight, soulful groove laid down by drummer Ben Dixon, the guitarist and organist trade hot lines that often steal the thunder from Donaldson, who nevertheless turns in a robust, tuneful performance. Donaldson's tone is richer and fuller than it is on many of his early-'60s records, and he really connects with the laid-back R&B grooves and soul-jazz vamps on Good Gracious, turning in melodic, memorable solos. However, Grant and Patton take the songs even further with their intense solos and fills; Patton, in particular, sounds on fire even when the tempo is mellow. Good Gracious still falls prey to some of the lazy tempos that pop up on most Lou Donaldson records, but it remains one of his finest soul-jazz sessions.


sábado, 27 de enero de 2018

Slim Harpo • Essential Blues



In the large stable of blues talent that Crowley, LA, producer Jay Miller recorded for the Nashville-based Excello label, no one enjoyed more mainstream success than Slim Harpo. Just a shade behind Lightnin' Slim in local popularity, Harpo played both guitar and neck-rack harmonica in a more down-home approximation of Jimmy Reed, with a few discernible, and distinctive, differences. Harpo's music was certainly more laid-back than Reed's, if such a notion was possible. But the rhythm was insistent and, overall, Harpo was more adaptable than Reed or most other bluesmen. His material not only made the national charts, but also proved to be quite adaptable for white artists on both sides of the Atlantic, including the Rolling Stones, Yardbirds, Kinks, Dave Edmunds with Love Sculpture, Van Morrison with Them, Sun rockabilly singer Warren Smith, Hank Williams, Jr., and the Fabulous Thunderbirds.

A people-pleasing club entertainer, he certainly wasn't above working rock & roll rhythms into his music, along with hard-stressed, country & western vocal inflections. Several of his best tunes were co-written with his wife Lovelle and show a fine hand for song construction, appearing to have arrived at the studio pretty well formed. His harmonica playing was driving and straightforward, full of surprising melody, while his vocals were perhaps best described by writer Peter Guralnick as "if a black country & western singer or a white rhythm & blues singer were attempting to impersonate a member of the opposite genre." And here perhaps was Harpo's true genius, and what has allowed his music to have a wider currency. By the time his first single became a Southern jukebox favorite, his songs were being adapted and played by white musicians left and right. Here was good-time Saturday-night blues that could be sung by elements of the Caucasian persuasion with a straight face. Nothing resembling the emotional investment of a Howlin' Wolf or a Muddy Waters was required; it all came natural and easy, and its influence has stood the test of time.

He was born James Moore just outside of Baton Rouge, LA. After his parents died, he dropped out of school to work every juke joint, street corner, picnic, and house rent party that came his way. By this time he had acquired the alias of Harmonica Slim, which he used until his first record was released. It was fellow bluesman Lightnin' Slim who first steered him to local recordman J.D. Miller. The producer used him as an accompanist to Hopkins on a half-dozen sides before recording him on his own. When it came time to release his first single ("I'm a King Bee"), Miller informed him that there was another Harmonica Slim recording on the West Coast, and a new name was needed before the record could come out. Moore's wife took the slang word for harmonica, added an "o" to the end of it, and a new stage name was the result, one that would stay with Slim Harpo the rest of his career.

Harpo's first record became a double-sided R&B hit, spawning numerous follow-ups on the "King Bee" theme, but even bigger was "Rainin' in My Heart," which made the Billboard Top 40 pop charts in the summer of 1961. It was another perfect distillation of Harpo's across-the-board appeal, and was immediately adapted by country, Cajun, and rock & roll musicians; anybody could play it and sound good doing it. In the wake of the Rolling Stones covering "I'm a King Bee" on their first album, Slim had the biggest hit of his career in 1966 with "Baby, Scratch My Back." Harpo described it "as an attempt at rock & roll for me," and its appearance in Billboard's Top 20 pop charts prompted the dance-oriented follow-ups "Tip on In" and "Tee-Ni-Nee-Ni-Nu," both R&B charters. For the first time in his career, Harpo appeared in such far-flung locales as Los Angeles and New York City. Flush with success, he contacted Lightnin' Slim, who was now residing outside of Detroit, MI. The two reunited and formed a band, touring together as a sort of blues mini-package to appreciative white rock audiences until the end of the decade. The new year beckoned with a tour of Europe (his first ever) all firmed up, and a recording session scheduled when he arrived in London. Unexplainably, Harpo -- who had never been plagued with any ailments stronger than a common cold -- suddenly succumbed to a heart attack on January 31, 1970. ~by Cub Koda.


Melody Maker All Stars • Waxing the Winners [1951-52-53]



Vic Ash, Victor Feldman, Ronnie Scott, Johnny Dankworth ...


Lettuce • Crush



Lettuce is a funk band that originated in Boston, Massachusetts in 1992. Its members consist of guitarists Eric Krasno and Adam "Shmeeans" Smirnoff, Neal Evans (Keyboards, Hammond B-3 Organ, Piano), Adam Deitch (Drums/Percussion), Erick "E.D." Coomes (Bass), Ryan Zoidis (Saxophone), and partial-member Rashawn Ross (Trumpet). In 2011, Trumpeter Eric "Benny" Bloom replaced Rashawn Ross in the band. They are known for their energetic live shows.


Dorothy Ashby • Jazz After Midnight



Finn Ziegler • Live A La Fontaine



Martin Denny • The Versatile Martin Denny



viernes, 26 de enero de 2018

Michel Petrucciani Trio • Live In Stuttgart [VIDEO]



Michael Petrucciani (Piano)
Antony Jackson (Bass)
Steve Gadd (Drums)


Mike Mainieri & Marnix Busstra Quartet • Trinary Motion



Mike Mainieri (Vibraphone); Marnix Busstra (Guitars, bouzouki, sitar); Eric van der Westen (Double-bass); Pieter Bast (Drums).


Ron Levy's Wild Kingdom • Green-Eyed Soul



Funk and Soul music is the heart of Ron's Kingdom. He presents compositions of his own, interpreting them in his very own style of soul jazz organ: 70's sounds mixed up with modern harmonies. To be mentioned is the extended rhythm section consisting of drums and percussion which drive the funky rhythms.


VA • Italian Bossa - Cocktail Music From the 60's and 70's



Gypsy Jazz Swing Ensemble • Django Manouche



VA • Lost Legends Of The Surf Guitar - Vol.1



Francis Coppieters Selection • Colours In Jazz



Pianist Francis Coppieters recorded as early as 1943 with Roger Rose et son Orchestre de L'Heure Bleue.
In 1949, he records 4 tracks for an album with Toots Thielemans & the "Quartet du Hot Club de Belgique", with Toots on guitar, Jean Warland on bass and John Ward on drums.
The same year, he is a member of the Jack Sels Big band.
From1949 trough 1951, he is a member of the band of Hazy Osterwald. In 1952, he can be heard on a Jacques Pelzer recording; in 1953, with Buck Clayton and the orchestra of Mickey Bunner, and also with René Thomas, Bobby Jaspar and Jacques Pelzer.
In Germany, bandleader Kurt Edelhagen, who had heard him with Hazy Osterwald, hires him in April 1957 to join the Kurt Edelhagen Big Band, with his friend Jean Warland on bass, Stuff Combe on drums, Jimmy Deuchar on trumpet, saxophonists Derek Humble, Jean-Louis Chautemps, Eddie Busnello, etc...
He becomes one of the composers of the band (besides Francy Boland, Rob Pronk, Heinz Kiessling und Bora Rokovic. etc...)
In 1957, he appears on the album "Kurt Edelhagen Presents" (recorded July 10-13, 1957 in Cologne, Germany, Polydor LPHM 46052), with the participation of Milo Pavlovic, Fritz Weichbrodt, Dusko Gojkovic (tp), Jimmy Deuchar (tp, arr), Ken Wray, Helmut Hauck, Manfred Gatjens, Christian Kellens (tb), Derek Humble (as,arr), Franz von Klenck (as), Bubi Anderhold, Jean-Louis Chautemps (ts), Eddie Busnello (bars), Francis Coppieters (p, arr), Johnny Fischer (b), Stuff Combe (d, arr), Kurt Edelhagen (ld), Heinz Gietz, Rob Pronk (arr).
In 1958, he appears with the Edelhagen band on singer Caterina Valente's album "A Toast to the girls" (Polydor LPHM 46074, reissued as Decca DL 8755).
He spent thus most of the following years of his career in Germany, playing the piano, writing, doing numerous studio sessions (a.o. in Cologne) for all kinds of ensembles.
He played with numerous bands and soloists, such as the WDR big band, a.o. a production led by Friedrich Gulda, the band of drummer Klaus Weiss, Slide Hampton, Lucky Thompson, Wilton Gaynair, Jiggs Whigham, etc...
In 1975, he records the album "Piano viberations" (KPM records), in quartet with Sadi (vibes), Roger Vanhaverbeke (bass) and Freddy Rottier (drs) or Jean Warland (bass) and Charly Antolini (drs).
A complete musician, he appears and is the musical director of jazz bands, but also dance bands, operette orchestras, etc...
In 1986, he records as a leader the album "Colours In Jazz" (Intersound ISST 184) with a.o. Rolf Römer (sax), Klaus Osterloh (tp), Jean Warland (b) and Klaus Weiss on drums.
He also appears on the compilation CD "Between or beyond the Black Forrest".
He taught jazz piano at the Kölner Musikhochschule.
He wrote in German a theory book on piano improvisation (available via Schott) :
Francis Coppieters / Carlo Bohländer (Publisher): "Anleitung zur Improvisation Piano".
Francis Coppieters died after a long illness in Germany in the nineties.
http://www.jazzinbelgium.com/