egroj world: 'Papa' John DeFrancesco • Jumpin

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As many of you may have noticed apart from the Ulozto problem the main Mega account has been suspended, therefore the blog will be temporarily down until we can restructure and normalise the blog. I appreciate all the support you have shown me. Thank you for your understanding.

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Wednesday, March 27, 2024

'Papa' John DeFrancesco • Jumpin



 Artist Biography by Scott Yanow
The father of Joey DeFrancesco, "Papa John" had his career revived when his son's success helped bring about the renaissance of the Hammond organ. John's father had played reeds with various swing bands, including the Dorsey Brothers. John DeFrancesco began playing trumpet when he was six and did not start playing organ until his wife bought him an organ for his 23rd birthday. After a few months of nearly nonstop practicing, he was ready to perform in clubs. In 1967 DeFrancesco moved to Philadelphia and soon he was part of the Philadelphia jazz scene. However, in 1979 when Joey turned eight and started playing professionally, John temporarily gave up his career in order to supervise his son. Another son, Johnny DeFrancesco, developed into a fine guitarist. In the 1990s, John DeFrancesco returned to a more active playing career, recording two strong sets for Muse (Doodlin' and Comin' Home -- both of which feature Joey on trumpet) and gaining a national reputation of his own. "Papa John" plays organ in an infectious hard bop style not that different from his son. In the 21st century he signed first to Highnote and then its sister imprint Savant, where he issued a string of fine recordings including Hip Cake Walk in 2001, Jumpin' in 2003, Walking Uptown in 2004, and Desert Heat in 2006. After a five-year recording hiatus, Papa John returned with A Philadelphia Story in a classic B-3 trio setting with John Jr. on guitar and drummer Glenn Ferracone, with guest appearances from Joey and tenor man Joe Fortunato.
El padre de Joey DeFrancesco, "Papa John", revivió su carrera cuando el éxito de su hijo contribuyó al renacimiento del órgano Hammond. El padre de John había tocado la caña con varias bandas de swing, incluyendo los Dorsey Brothers. John DeFrancesco comenzó a tocar la trompeta cuando tenía seis años y no empezó a tocar el órgano hasta que su esposa le compró un órgano para su cumpleaños número 23. Después de unos meses de practicar casi sin parar, estaba listo para actuar en los clubes. En 1967 DeFrancesco se mudó a Filadelfia y pronto fue parte de la escena de jazz de Filadelfia. Sin embargo, en 1979, cuando Joey cumplió ocho años y comenzó a jugar profesionalmente, John dejó temporalmente su carrera para supervisar a su hijo. Otro hijo, Johnny DeFrancesco, se convirtió en un buen guitarrista. En la década de 1990, John DeFrancesco regresó a una carrera más activa, grabando dos sets fuertes para Muse (Doodlin' y Comin' Home -- ambos con Joey en la trompeta) y ganando una reputación nacional propia. "Papa John" toca el órgano en un contagioso estilo hard bop no muy diferente al de su hijo. En el siglo XXI firmó primero con Highnote y luego con su sello hermano Savant, donde emitió una serie de excelentes grabaciones incluyendo Hip Cake Walk en 2001, Jumpin' en 2003, Walking Uptown en 2004 y Desert Heat en 2006. Después de cinco años de pausa en la grabación, Papa John regresó con A Philadelphia Story en un clásico trío B-3 con John Jr. a la guitarra y el baterista Glenn Ferracone, con las apariciones de Joey y el tenor Joe Fortunato como invitados.


Tracks:
1.24/7
2.Jumpin
3.GF,S Attitude
4.Latin Groove Duce
5.J.E. For You
6.You Are So Beautiful
7.Minor Chant
8.China


Credits:
"Papa" John DeFrancesco-hammond B-3 organ
Jacques Johnson-tenor sax(except track 7)
Johnny DeFrancesco-guitar
Glenn Ferracone-drums&percussion

Marion Simon-percussin (track 3-5)







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