egroj world: agosto 2018
PW: egroj

viernes, 31 de agosto de 2018

J.B. Hutto • Hipshakin



iTunes ...


The Exotics • Twangy Surf & Spy Themes



Formed in 1994, The Exotics have kept the sound of the Sixites Go-Go beat alive. Touring in support of their 1996 debut "Go Go Guitars," & 2009's "Lost Album," they've traveled the nation from coast to coast. The band recently released "Twangy Surf & Spy Themes," an all original retrospective containing new, remixed, & favorite tracks.


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Dominic Frontiere • El Dorado Accordian



iTunes ...


Dominic Frontiere (born June 17, 1931, New Haven, Connecticut, USA – died December 21, 2017, Tesuque, New Mexico, USA) was an American composer, arranger, and jazz accordionist. He is known for composing the theme and much of the music for the first season of the television series The Outer Limits (1963-1965).


Codex Seraphinianus - Luigi Serafini - pdf



Si bien es un libro bastante loco e ilegible, las ilustraciones lo valen. La Wiki dice al respecto:
El Codex Seraphinianus es un libro escrito e ilustrado por Luigi Serafini nacido en Roma el 4 de agosto de 1949. Comenzó su carrera como arquitecto, pero es famoso alrededor del mundo por sus propuestas artísticas un poco fuera de lo normal. Además del codex, también es autor de la "Pulcinellopedia Piccola".
Durante treinta meses transcurridos entre 1976 y 1978, el arquitecto italiano Luigi Serafini dio forma al Codex Seraphinianus, un libro ilustrado de casi 400 páginas sobre un mundo inventado, escrito en la lengua y el alfabeto de dicho mundo. Es una extraña enciclopedia escrita en un lenguaje inventado e indescifrable sobre temas tan variopintos como botánica, zoología, máquinas, razas, deportes y costumbres de un mundo imaginario que parece salido de una pintura de El Bosco, Escher, Dalí o Magritte.
Serafini opera en varios ambientes: ha trabajado en escultura, cerámica, composición, teatro, etc., y además tuvo una breve incursión en el diseño industrial ligado al cine -trabajó en ciertos diseños para la película de Federico Fellini, "La voce della luna", con Roberto Benigni y Paolo Villaggio. Además de ser escritor para varias revistas italianas.
El idioma del codex es 100% inventado, pero algunos criptógrafos y especialistas señalan que puede que tenga algún significado. Esto, es por el hecho de que el codex contiene en 2 de sus folios algunas frases incoherentes en francés e inglés:
"...orgiaque girl emerged and guessed, the first day on the dam of Balbeo... " " still " " sculptor... to remember... here still " " here... wounded eyes " in bulk then: " to cross, aillor, it is, you, impassioned, USA, well, to believe, I, belief, by..."
Ellas están en el capítulo "Writing", el cual es uno de los más interesantes del libro.
También es preciso señalar el hecho de que parece levemente basado en el cuento de Borges, "Tlön, Uqbar, Orbis Tertius".
Luigi Serafini, sin embargo, se niega a señalar qué trato de decir, al menos eso estipula su testamento, en el cual indica que el libro será explicado después de su muerte.
Secciones:
Zoología: Una sección en la que se muestran las distintas especies de este mundo, resaltando criaturas con forma de ala y cuerpo de engranaje. Y una tabla de medidas biológicas.
Botánica: En esta parte del codex se muestran bizarras especies, como árboles con forma de silla y fumarolas que se transforman en flores.
Teología (aunque parece más un estudio exhaustivo de razas): muestra desde seres formados con desechos biológicos, hasta humanos vistiendo trajes hechos con señales de tránsito. Cabe señalar el desarrollo bastante más adelantado en cuanto a dibujo con respecto a otras secciones.
Costumbres (también incluye deportes y geografía): en esta parte se encuentran algunos folios impresionantes que muestran ubicaciones inverosímiles, aunados a algunos paisajes basados en lugares conocidos -como el Gran Cañón de Colorado, y las Cataratas del Niágara-.
Física: Aquí el libro parece entrar a un mundo donde rige la física de los cuadros de Escher o Dalí. Vemos arcoiris líquidos, la antigravedad, y un diagrama complejo de lo que se entiende es la antimateria.
Este libro es, al final de cuentas, un objeto de estudio indispensable tanto para criptólogos como para diseñadores, por el conjunto tan inusual de temas y la manera como el autor los retrata.
Fuente: http://es.wikipedia.org/wiki/Codex_Seraphinianus

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While it is a pretty crazy and illegible book, the illustrations are worth it. The Wiki says about it:
Codex Seraphinianus, originally published in 1981, is an illustrated encyclopedia of an imaginary world, created by the Italian artist, architect, and industrial designer Luigi Serafini during thirty months, from 1976 to 1978. The book is approximately 360 pages long (depending on edition), and written in a cipher alphabet in a constructed language.
Originally published in Italy, the book has since been released in several countries.

Contents:
1 Description
2 Writing system
3 Contents
4 Editions
5 Reception
6 See also
7 References
8 External links

Description:
The book is an encyclopedia in manuscript with copious hand-drawn, colored-pencil illustrations of bizarre and fantastical flora, fauna, anatomies, fashions, and foods. It has been compared to the still undeciphered Voynich manuscript, the story "Tlön, Uqbar, Orbis Tertius" by Jorge Luis Borges, and the artwork of M. C. Escher and Hieronymus Bosch.
The illustrations are often surreal parodies of things in the real world: bleeding fruit; a plant that grows into roughly the shape of a chair and is subsequently made into one; a copulating couple that metamorphoses into an alligator; etc. Others depict odd, apparently senseless machines, often with a delicate appearance, kept together by tiny filaments. There are also illustrations readily recognizable as maps or human faces. On the other hand, especially in the "physics" chapter, many images look almost completely abstract. Practically all figures are brightly coloured and rich in detail.

Writing system
The writing system (possibly a false writing system) appears modeled on ordinary Western-style writing systems (left-to-right writing in rows; an alphabet with uppercase and lowercase letters, some of which double as numerals). Some letters appear only at the beginning or at the end of words, a feature shared with Semitic writing systems. The curvilinear letters of the alphabet are rope- or thread-like, displaying loops and even knots, and are somewhat reminiscent of letters of the Sinhalese alphabet.
The language of the book has defied complete analysis by linguists for decades. The number system used for numbering the pages, however, has been cracked (apparently independently) by Allan C. Wechsler and Bulgarian linguist Ivan Derzhanski, among others. It is a variation of base 21.
In a talk at the Oxford University Society of Bibliophiles held on 11 May 2009, Serafini stated that there is no meaning hidden behind the script of the Codex, which is asemic; that his own experience in writing it was closely similar to automatic writing; and that what he wanted his alphabet to convey to the reader is the sensation that children feel in front of books they cannot yet understand, although they see that the writing does make sense for adults.

Contents
The book is divided into eleven chapters, partitioned into two sections. The first section appears to describe the natural world, dealing with flora, fauna, and physics. The second deals with the humanities, the various aspects of human life: clothing, history, cuisine, architecture and so on. Each chapter seems to treat a general encyclopedic topic. The topics of each separate chapter are as follows:
The first chapter describes many types of flora: strange flowers, trees that uproot themselves and migrate, etc.
The second chapter is devoted to the fauna of this world, depicting many animals that are surreal variations of the horse, hippopotamus, rhinoceros, birds, etc.
The third chapter deals with what seems to be a separate kingdom of odd bipedal creatures.
The fourth chapter deals with something that seems to be physics and chemistry, and is by far the most abstract and enigmatic.
The fifth chapter deals with bizarre machines and vehicles.
The sixth chapter explores the general humanities: biology, sexuality, various aboriginal peoples, and even shows examples of plant life and tools (such as pens and wrenches) grafted directly into the human body.
The seventh chapter is historical. It shows many people (some only vaguely human) of unknown significance, giving their times of birth and death. It also depicts many scenes of historical (and possibly religious) significance. Also included are examples of burial and funereal customs.
The eighth chapter depicts the history of the Codex's alien writing system.
The ninth chapter deals with food, dining practices, and clothing.
The tenth chapter describes bizarre games (including playing cards and board games) and athletic sports.
The eleventh chapter is devoted entirely to architecture.
After the last chapter there is a table of contents or an index, followed by something that resembles an afterword, except the writing there seems sloppy and rushed.
There are a few lines of text written in French on two plates in the sixth chapter. It is a quote from Marcel Proust's "A la recherche du temps perdu: Albertine disparue" (In Search of Lost Time: Albertine Gone). The words scattered on the floor of the picture are from the same book.








Lonnie Smith • Keep On Lovin'



Review by Jason Ankeny
Lonnie Smith embraces fusion for Keep on Lovin', forsaking his signature Hammond B-3 for the Fender Rhodes. Although the record veers close to mainstream R&B by virtually any metric, drawing obvious inspiration from Stevie Wonder classics like Innervisions, it's a natural progression for Smith and a solid addition to his discography. Paired with arranger Brad Baker (of jazz-funk cult icons B. Baker Chocolate Co.), Smith even assumes vocal chores on a handful of tracks, furthering the Stevie comparisons. Purists will no doubt cry foul, but in truth the record's electric sheen isn't so far removed from his Blue Note heyday, and the energy and creativity of his playing demand respect regardless of context.

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Revisión por Jason Ankeny
Lonnie Smith adopta la fusión para Keep on Lovin ', renunciando a su firma Hammond B-3 para el Fender Rhodes. Aunque el disco gira muy cerca del R & B convencional con prácticamente cualquier métrica, sacando inspiración obvia de los clásicos de Stevie Wonder como Innervisions, es una progresión natural para Smith y una sólida incorporación a su discografía. Junto con el arreglista Brad Baker (de los íconos de culto jazz-funk B. Baker Chocolate Co.), Smith incluso asume tareas vocales en un puñado de canciones, lo que favorece las comparaciones de Stevie. Los puristas sin duda llorarán, pero en verdad el brillo eléctrico del disco no está tan alejado de su apogeo Blue Note, y la energía y la creatividad de su juego exigen respeto independientemente del contexto.



iTunes ...


Bolling & Baxtresser • Suite for Flute & Jazz Piano



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jueves, 30 de agosto de 2018

Al Caiola • Greasy Kid Stuff



Discogs ...


Manual de Guitarra • Ralph Denyer en Español



Es una guía completa para aprender a tocar la guitarra desde los acordes más sencillos a las improvisaciones más avanzadas, con un método de enseñanza exclusivo que combina las instrucciones paso a paso con las fotografías explicativas realizadas para este libro, y un diccionario de acordes que incluye más de 800 posiciones fáciles de aprender y un texto claro y conciso.


King Crimson • Beat



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Lepistö & Lehti • Helsinki



Lepistö&Lehti is a fresh Helsinki-based duo of talented and sought-after instrumentalists Pekka Lehti (double bass) and Markku Lepistö (accordion). The duo operates at the forefront of contemporary acoustic music with a distinct Nordic folk/jazz influence and a strong sense of musical dialogue. The Lepistö&Lehti sound is characterised by the players’ remarkable confidence and vision, which gives the music distinctively personal edge.


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Llyod Glenn • After Hours





Piano 'C' Red • Flat Foot Boogie



Artist Biography by AllMusic
b. James Wheeler, 14 September 1933, Montevallo, Alabama, USA. By day a cab driver, in the evenings James Wheeler transforms himself into Chicago boogie-woogie legend, Piano C. Red. His first yearnings to be involved in music were inspired by his mother, who sang spiritual songs around the house. He was tutored by a local piano player known as Fat Lilly, who was initially reluctant until Wheeler bribed him with moonshine whiskey. Wheeler moved to Chicago in 1956. He began his recording career with Chess Records in 1963, recording versions of "Slow Down And Cool It" and "Hundred And Two". He also shared a stage with many of the blues greats of the time, including Elmore James, Muddy Waters and Memphis Slim. However, like many of his ilk, he never enjoyed access to a full-time recording contract. By the 90s, when he finally began to achieve more than local acclaim, he had retired to performing only occasional sets at selected Chicago restaurants and cafés. Despite this, he and his Flat Foot Boogie Band consistently play engaging, Little Richard/Ray Charles-styled pop-blues well into the early hours. Among his best compositions is the autobiographical "Cab Drivin' Man", which was also the title of his debut album.

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Traducción Automática:
Biografía del artista por AllMusic
James Wheeler, 14 de septiembre de 1933, Montevallo, Alabama, EE. UU. Durante el día, un conductor de taxi, por las noches, James Wheeler se transforma en la leyenda del boogie-woogie de Chicago, Piano C. Red. Sus primeros anhelos de participar en la música fueron inspirados por su madre, que cantó canciones espirituales en la casa. Fue instruido por un pianista local conocido como Fat Lilly, que inicialmente se mostró reacio hasta que Wheeler lo sobornó con whisky moonshine. Wheeler se mudó a Chicago en 1956. Comenzó su carrera discográfica con Chess Records en 1963, grabando versiones de "Slow Down And Cool It" y "Hundred And Two". También compartió escenario con muchos de los grandes del blues de la época, incluidos Elmore James, Muddy Waters y Memphis Slim. Sin embargo, como muchos de su tipo, nunca tuvo acceso a un contrato de grabación a tiempo completo. En la década de los 90, cuando finalmente comenzó a lograr más que elogios locales, se había retirado a realizar ocasionalmente series en restaurantes y cafés de Chicago. A pesar de esto, él y su banda Flat Foot Boogie tocan consistentemente pequeños pop-blues de estilo Little Richard / Ray Charles bien entrada la madrugada. Entre sus mejores composiciones se encuentra el autobiográfico "Cab Drivin 'Man", que también fue el título de su álbum debut.

Discogs ...


Furniture • Encyclopedia of furniture, of all times / Enciclopedia del mueble, de todas las épocas



Antique, classic and contemporary furniture
English language, pdf format / 50MB / 560 pages

 
Muebles de estilo antiguo, clásico y contemporáneo
Idioma inglés, formato pdf / 50MB / 560 págs

Tal Farlow • The Swinging Guitar Of Tal Farlow



Review by Scott Yanow
In the mid-'50s, guitarist Tal Farlow led one of his finest groups, a drumless trio with pianist Eddie Costa and bassist Vinnie Burke. The same band would record the album Tal a week or two later. With Burke contributing a constant walking bass, the interplay between Farlow and Costa is always exciting, whether they are playing unisons or trading off. This 1999 CD reissue not only has the original seven selections but "Gone With the Wind" (which was left off of the original LP due to lack of space) plus three full-length alternate takes that are basically on the same level as the masters. Among the highpoints are "Taking a Chance on Love," "Yardbird Suite," "Like Someone in Love," and Farlow's lone original, "Meteor," which utilizes the chord changes of "Confirmation." Hot bebop that is easily recommended.

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Traducción Automática:
Revisión por Scott Yanow
A mediados de los años 50, el guitarrista Tal Farlow dirigió uno de sus mejores grupos, un trío sin batería con el pianista Eddie Costa y el bajista Vinnie Burke. La misma banda grabaría el álbum Tal una semana o dos después. Con Burke contribuyendo con un bajo andante constante, la interacción entre Farlow y Costa es siempre emocionante, ya sea que estén jugando unisons o trading off. Esta reedición de CD de 1999 no solo tiene las siete selecciones originales, sino "Lo que el viento se llevó" (que quedó del LP original debido a la falta de espacio) más tres tomas alternativas completas que básicamente están en el mismo nivel que los maestros . Entre los puntos culminantes están "Tomando la oportunidad de amar", "Yardbird Suite", "Like Someone in Love" y el solitario original de Farlow, "Meteor", que utiliza los cambios de acordes de "Confirmation". Bebop caliente que se recomienda fácilmente.


iTunes ...


The Clee-Shays • The Dynamic Guitar Sounds Of



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George Wright • Favorite Organ Solos - George Wright On The Hammond Organ



George Wright
Born: August 28, 1920, Orland, California, USA
Died: May 10, 1998, Glendale, California, USA
Was an American organist, possibly the most famous virtuoso of the theatre organ of the modern era.
Wright was best known for his virtuoso performances on the huge Wurlitzer theater pipe organs at the famed Fox Theater on Market Street in San Francisco and the ornate Paramount Theaters in both New York and Oakland. He was in constant demand during the 1940s, '50s and early '60s, playing at concerts and recitals around the world.


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Memphis Slim • Alone With My Friends



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miércoles, 29 de agosto de 2018

Focus • The Best of, Hocus Pocus

Paul Smith Quartet • Softly, Baby



Paul Smith (San Diego, 17 de abril de 1922 - Torrance, 29 de junio de 2013)1​2​ fue un pianista de jazz. Ha actuado en varios géneros de jazz, más típicamente bebop. Sin embargo, también se ha presentado en cool jazz, swing y pop tradicional.
Nació en San Diego, California. Después de presentarse en sus inicios con Johnny Richards en 1941 y pasar un par de años en el ejército, trabajó con Les Paul (1946-1947) y Tommy Dorsey (1947-1949), antes de mudarse a Los Ángeles y convertirse en un músico de sesión.
Smith grabó temas musicales con frecuencia, tanto con su trío y como solista. Además se ha presentado con artistas como Dizzy Gillespie, Anita O'Day, Buddy DeFranco, Louie Bellson, Steve Allen, Stan Kenton, Mel Tormé y otros.
Entre 1956 y 1978, Smith se desenvolvió como director de orquesta y pianista de Ella Fitzgerald.​
Smith es autor de una serie de libros educativos y CDs, la mayoría de los cuales se centran en explicar su enfoque particular del piano de jazz. Estaba casado desde hace más de 50 años con la cantante y pianista Annette Warren, con quien a menudo actuó y grabó.

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Paul Thatcher Smith (April 17, 1922 - June 29, 2013) was an American jazz pianist. He performed in various genres of jazz, most typically bebop, but is best known as an accompanist of singers, especially Ella Fitzgerald.
Smith was born in San Diego, California to parents, Lon Smith and Constance Farmer, who were vaudeville performers and encouraged his interest in music. He began studying piano at age 8, and led a jazz band in high school and became a professional musician at 19 with the Johnny Richards band.
Later life and career
After playing with Richards in 1941 and spending 1943 to 1945 in the military, Smith worked with Les Paul (1946–1947) and Tommy Dorsey (1947–1949) before moving to Los Angeles and becoming a studio musician. Studio work took up much of his time: he worked as a staff musician for NBC and Warner Brothers, and for many years he was the musical director for Dinah Shore’s daytime talk show.
Smith recorded frequently both with his trios and as a soloist. In addition he is featured on work of artists such as Dizzy Gillespie, Anita O'Day, Buddy DeFranco, Louie Bellson, Steve Allen, Stan Kenton, Mel Tormé and others. He was the musical director on The Steve Allen Comedy Hour television show in the 1960s.
Between 1956 and 1978, Smith was active as a conductor and pianist for Ella Fitzgerald, although he continued to work with her until the early 1990s.
Smith authored a number of educational books and CDs, most of which focus on explaining his particular approach to jazz piano.
He also worked on film scores and his playing can be heard on the soundtracks of They Shoot Horses, Don't They? and Nickelodeon among some others.
Smith died on June 29, 2013, in Torrance, California of heart failure. He was 91 and performed in Southern California nightclubs, including The Velvet Turtle in Redondo Beach during the 1980s and the Terranea Resort hotel until his death. He is survived by his wife of 54 years Annette Warren; his daughter, actress Lauri Johnson; two sons, Gary and Paul; eight grandchildren; and two great-grandchildren.


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Robert Maxwell • Harpist's Holiday



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The Harmonicats • In The Land Of Hi-Fi



Jerry Murad's Harmonicats were an American harmonica-based group. Originally they were named The Harmonica Madcaps and the group consisted of Jerry Murad (chromatic lead harmonica), Bob Hadamik (bass harmonica), Pete Pedersen (chromatic), and Al Fiore, (chord harmonica). They reformed later as a trio with Murad, Fiore, and bass harmonica player Don Les.
Pederson and Gail Wallace remained contributors to the group throughout its existence, working on arrangements and occasionally recording.
Their 1947 recording of "Peg O' My Heart" brought them to public attention and sold over one million copies by 1950, reaching #1 on the U.S. Billboard chart.


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Lenny Dee • Sing-Danny's Song ...



Discogs ...


Zoe Rahman • Kindred Spirits



Zoe Rahman (b. 1971) is an English jazz composer and pianist, sister of clarinetist/saxophonist Idris Rahman. Born in Chichester, West Sussex to a Bengali father and an English-Irish mother, she studied classical piano at the Royal Academy of Music, and earned a degree from St Hugh's College at the University of Oxford. Zoe Rahman continued her music education abroad, and took lessons with Joanne Brackeen after winning a scholarship to study jazz performance at Berklee College Of Music in Boston, USA.
Rahman released six albums, including a collaboration with Czech-American bassist George Mraz and his producer Paul Vlček, and two London concerts – trio with Gene Calderazzo and Oli Hayhurst at Pizza Express in April 2007, and a performance with Larry Stabbins/Stonephace at Fish Factory Willesden in Sept 2011. In 2006, her second album Melting Pot was nominated for the Mercury Music Prize Album of the Year, and also won the Jazz Album of the Year at Parliamentary Jazz Awards. Zoe's fifth album, Kindred Spirits, won the Best Jazz Act award at the 2012 MOBO Awards.

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Traducción Automática:
Zoe Rahman (1971) es una pianista y compositora de jazz inglesa, hermana del clarinetista / saxofonista Idris Rahman. Nacida en Chichester, West Sussex, hija de un padre bengalí y madre irlandés-inglesa, estudió piano clásico en la Royal Academy of Music y obtuvo un título en St Hugh's College en la Universidad de Oxford. Zoe Rahman continuó su educación musical en el extranjero y tomó clases con Joanne Brackeen luego de obtener una beca para estudiar jazz en Berklee College of Music en Boston, EE. UU.
Rahman lanzó seis álbumes, incluyendo una colaboración con el bajista checo-estadounidense George Mraz y su productor Paul Vlček, y dos conciertos en Londres - trío con Gene Calderazzo y Oli Hayhurst en Pizza Express en abril de 2007, y una actuación con Larry Stabbins / Stonephace at Fish Factory Willesden en septiembre de 2011. En 2006, su segundo álbum Melting Pot fue nominado para el Álbum del Año del Premio Mercury Music, y también ganó el Álbum de Jazz del Año en los Parliamentary Jazz Awards. El quinto álbum de Zoe, Kindred Spirits, ganó el premio a la Mejor Ley de Jazz en los Premios MOBO 2012.


iTunes ...


Johnny Rivers • Greatest Hits



Discogs ...


Di Meola, de Lucía, McLaughlin • The Guitar Trio



The acoustic guitar trio of John McLaughlin, Al DiMeola, and Paco DeLucia can always be relied upon to create quiet but fiery music. The three virtuosos always sound restrained and tasteful (yet inwardly explosive) when they play together. This 1996 effort has three originals apiece from McLaughlin and DiMeola, two by DeLucia and a beautiful McLaughlin-DiMeola duet on "Manha de Carnaval" that makes one wish they would more fully explore bossa nova. Most of the selections are thoughtful, but there are also plenty of explosive outbursts for contrast (along with the jubilant closer "Cardeosa") on the highly arranged yet spontaneous-sounding program.

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Johnny Hawksworth • Sounds Spectacular



Johnny Hawksworth (2 February 1924 – 13 February 2009) was a British musician and composer who had lived and worked in Australia since 1984.
Hawksworth initially trained as a pianist, but also played double bass for Britain's leading big band the Ted Heath Orchestra during the early 1950s and through the 1960s. During this time he became one of the most popular jazz bassists in the UK, winning many polls and was often featured as a soloist on Heath concerts and recordings. He is probably best known, however, for his short compositions for television. These include Salute to Thames (the famous identity tune for Thames Television) and also the theme tunes for the 1960s pop music show Thank Your Lucky Stars and the 1970s series Roobarb, Man About the House and George and Mildred. He also contributed some of the incidental music used in the 1967 Spider-Man cartoon (although originating from the United States, Spider-Man had most of its incidental music supplied by Irish composers, such as Phil Coulter, who was Londonderry in Northern Ireland, and British including Syd Dale, Alan Hawkshaw, David Lindup, Bill Martin and Johnny Pearson.)[4] In addition to his television themes, he also worked on films, including the scores to The Naked World of Harrison Marks (1967), The Penthouse (1967), and Zeta One (1970).
"Er Indoors", one of his compositions, saw frequent use in the Nickelodeon TV Series SpongeBob SquarePants, in which it was generally associated with Avid Spongebob fan Patchy the Pirate.
Hawksworth has also written many pieces of stock music for the De Wolfe Music library. He also provided the hypnotic musical soundtrack to Geoffrey Jones' classic British Transport Film "Snow" (1963).


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Charlie Musselwhite • In My Time



Review by Ron Wynn
Charlie Musselwhite takes four different approaches on this Alligator release. On two tracks, he turns to guitar, proving a competent instrumentalist and convincing singer in a vintage Delta style. He also does two gospel numbers backed by the legendary Blind Boys of Alabama, which are heartfelt, but not exactly triumphs. Musselwhite reveals his jazz influence on three tracks, making them entertaining harmonica workouts. But for blues fans, Musselwhite's biting licks and spiraling riffs are best featured on such numbers as "If I Should Have Bad Luck" and "Leaving Blues." Despite the diverse strains, Musselwhite retains credibility throughout while displaying the wide range of sources from which he's forged his distinctive style.


iTunes ...


Les Baxter • The Lost Episode Of Les Baxter



Review by Richie Unterberger
Taken from the soundtrack to a 1961 television broadcast, this is a marginal item of Baxter's discography, given more weight by the space age pop revival of the 1990s, and the fact that little of his work is available on CD. At a mere 18 minutes, and with fidelity (from a video transfer) on par with listenable bootlegs, its appeal is mostly limited to Baxter aficionados. Within those parameters, though, it's not bad, including a version of "Quiet Village." Future Bill Evans drummer Larry Bunker handles vibes, blocks, timpani, bongos, and tambourine; singer Beverly Ford closely mimics the sound of the theremin with her astonishing high-pitch frequencies on "Ruby" and "Lover."

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Traducción Automática:
Reseña por Richie Unterberger
Tomado de la banda sonora de una transmisión de televisión de 1961, este es un elemento marginal de la discografía de Baxter, dado más peso por el renacimiento pop de la era espacial de la década de 1990, y el hecho de que poco de su trabajo está disponible en CD. En tan solo 18 minutos, y con fidelidad (de una transferencia de video) a la par de bootlegs escuchables, su atractivo se limita principalmente a los aficionados de Baxter. Dentro de esos parámetros, sin embargo, no está mal, incluida una versión de "Quiet Village". El futuro baterista de Bill Evans Larry Bunker maneja vibraciones, bloques, timbales, bongos y pandereta; la cantante Beverly Ford imita de cerca el sonido del theremin con sus asombrosas frecuencias de alto tono en "Ruby" y "Lover".


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Donald Byrd • Free Form



martes, 28 de agosto de 2018

Duke Pearson • Wahoo!



Duke Pearson was an American jazz pianist and composer. All Music Guide notes him as being a “big part in shaping the Blue Note label's hard bop direction in the 1960s as a producer.
Born Columbus Calvin Pearson, Jr. in Atlanta, Georgia, Pearson first studied brass instruments at the early age of five, but dental issues forced him to pursue another instrument and he started to learn the piano. His budding talent moved his uncle to give him the nickname Duke, a reference to jazz legend Duke Ellington. He attended Clack College while also playing trumpet in groups in the Atlanta area before joining the United States Army in the early 1950s.
Pearson continued to perform with different ensembles in Georgia and Florida, including with Tab Smith and Little Willie John, before he moved to New York, New York in January of 1959. After moving to New York, Pearson gained the attention of Donald Byrd who saw Pearson performing with the the Art Farmer/Benny Golson Sextet (also known as Jazztet). Shortly afterwards, Byrd asked him to join his newly formed band, the Donald Byrd-Pepper Adams Quintet. Pearson was also the accompanist for Nancy Wilson on tour in 1961. During that same year, Pearson became ill before a Byrd-Adams show when and a newcomer named Herbie Hancock took over for him. This eventually led to Hancock taking over the position permanently.
On the 1963 Byrd album A New Perspective, Pearson arranged four tracks, including “Cristo Redentor”, which became a big hit. The song, Pearson later commented, was inspired by a trip he took to Brazil while touring with Wilson. Also that year, after the death of Ike Quebec, Pearson took over his position as A&R man of Blue Note. From that year until 1970, Pearson was a frequent session musician and producer for numerous Blue Note albums while also recording his own albums as band leader. This was odd, since Pearson also recorded with his co-led big band with Byrd for Atlantic Records, a stipulation he made sure was in his Atlantic contract. The Byrd-Pearson band consisted of musicians such as Chick Corea, Pepper Adams, Randy Brecker, and Garrnet Brown; the latter three were members also of the Thad Jones-Mel Lewis band that played the same night club, The Village Vanguard, but on different nights. Between the two ensembles, the musicians performed at their own discretion.
Pearson eventually retired from his position with Blue Note in 1971 after personnel changes were made; co-founder Alfred Lion retired in 1967 after the label was sold to Liberty Records the previous year and co-founder Frank Wolff died in 1971. Pearson opted to teach at Clark College in ’71, toured with Carmen McRae and Joe Williams through 1973, and eventually reformed his big band during that time.
He was diagnosied with multiple sclerosis in the 1970s, which he ultimately died from in 1980 at Atlanta Veterans Hospital.


Personnel:
Donald Byrd: trumpet; James Spaulding: flute & alto saxophone; Joe Henderson: tenor saxophone; Duke Pearson; piano; Bob Cranshaw: bass; Mikey Roker: drums.


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lunes, 27 de agosto de 2018

VA • Harp Guitar Dreams



La guitarra arpa (llamada a veces guitarpa) es un instrumento musical de cuerda. Posee seis cuerdas (las que posee una guitarra normal), además de entre cuatro y diez cuerdas más para los bajos, y en algunos casos ocho o diez cuerdas mas agudas colocadas debajo de las de la propia guitarra.
La guitarra arpa fue utilizada en la música celta irlandesa. Actualmente no es utilizada por muchos autores debido a su poca fama en el mundo de la música. Sin embargo es una guitarra que para algunos ofrece un sonido rico, completo y prometedor. Es un instrumento adecuado sobre todo para solistas. http://es.wikipedia.org/wiki/Guitarra_arpa
La historia comienza por el 1800, evolucionando paulatinamente, a modelos más portátiles y de mejor calidad sonora.

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Automatic translation:
The harp guitar (sometimes called guitarpa) is a stringed musical instrument. It has six strings (those that have a normal guitar), as well as between four and ten more strings for the basses, and in some cases eight or ten strings more acute placed below those of the guitar itself.
The harp guitar was used in Irish Celtic music. At the moment it is not used by many authors due to its little fame in the world of the music. However, it is a guitar that for some offers a rich, full and promising sound. It is a suitable instrument especially for soloists. http://es.wikipedia.org/wiki/Guitarra_arpa
The story begins in 1800, evolving gradually, to more portable models with better sound quality.





Harpguitars.net ... 














Andy Summers & Robert Fripp • I Advance Masked



Review by Greg Prato
Many a guitar fan would have predicted that a summit between legendary guitarists Andy Summers (the Police) and Robert Fripp (King Crimson) would result in a guitar solofest. But the music on their first collaboration together, I Advance Masked, stresses guitar textures and moods over indulgent soloing. Although the recording sessions weren't entirely enjoyable for Summers (who was experiencing marital problems at the time), some very beautiful music can be found on the resulting album. The music for the track "Girl on a Swing" does an excellent job of conveying the song's title in one's mind, and the duo's guitars weave wonderful polyrhythmic guitar lines throughout "China -- Yellow Leader." "The Truth of Skies" is an atmospheric piece, created by a wash of keyboard sounds and guitar dissonance, while "New Marimba" would have sounded right at home on an early-'80s King Crimson album. I Advance Masked has a dreamlike quality to it, and is definitely not typical rock music. It's highly recommended to fans of these two great and original guitarists.


Discogs ... 


J.B. Hutto • Bluesmaster



Discogs ...

Bo Hansson • Lord Of The Rings (Sagan Om Ringen)



Uno sin pensarlo supondría que musicalizar la saga del "Señor de los anillos" es algo que fue producido en este siglo, a raíz de la filmación de la película homónima. Pues no es así, la wiki nos cuenta al respecto:
Bo Hansson (n. Gotemburgo, 10 de abril de 1943 - m. Estocolmo, 23 de abril de 2010), también conocido como Bosse Hansson, fue un músico y compositor sueco de rock progresivo, cuyo instrumento habitual era el teclado electrónico. Su realización más notable fueron cuatro álbumes conceptuales instrumentales lanzados en los años 1970.
Sagan om Ringen fue lanzado por Silence Records (el primer sello de grabación independiente de Suecia, establecido por el mismo Anders Lind) en otoño de 1970 y se convirtió en un gran éxito. Varias copias empezaron a filtrarse hacia Gran Bretaña, donde llamó la atención de Tony Stratton-Smith, que quedó tan impresionado que reeditó la grabación como Music Inspired by Lord of the Rings con su propio sello Charisma Records en octubre de 1972, convirtiéndose en el único LP de Bo Hansson en alcanzar el top 40 del Reino Unido, así como el número 154 en el Billboard 200, y unas ventas acreditadas de un disco de oro en el Reino Unido y en Australia.




Automatic translation: 
One without thinking it would suppose that musicalizing the saga of the "Lord of the rings" is something that was produced in this century, following the filming of the homonymous film. Well, it's not like that, the wiki tells us about it:Bo Hansson (born Gothenburg, April 10, 1943 - m Stockholm, April 23, 2010), also known as Bosse Hansson, was a Swedish progressive rock musician and composer, whose usual instrument was the electronic keyboard. Its most notable realization were four instrumental conceptual albums released in the 1970s.Sagan om Ringen was released by Silence Records (the first independent recording label in Sweden, established by the same Anders Lind) in the fall of 1970 and became a great success. Several copies began to filter towards Great Britain, where it caught the attention of Tony Stratton-Smith, who was so impressed that he reissued the recording as Music Inspired by Lord of the Rings with his own label Charisma Records in October 1972, becoming the only LP by Bo Hansson in reaching the top 40 of the United Kingdom, as well as number 154 on the Billboard 200, and credited sales of a gold record in the United Kingdom and Australia.

 


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Eddie Baxter • Organ - Sounds Incredible



Discogs ...


Hevia • Lo Mejor De Hevia



iTunes ...


Mojo Buford • Still Blowin' Strong



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