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Monday, August 24, 2026
Bill Le Sage • Bill's Recipes
Sunday, August 23, 2026
Boogaloo Joe Jones • Legends of Acid Jazz - Vol. 2
A CD reissue that combines Jones' fifth and sixth Prestige LPs, Noway! (1970) and What It Is (1971), onto one disc. Grover Washington, Jr. (tenor sax) and Bernard Purdie (drums) are the key accompanists on both sessions. Noway! is a set of pretty funky early-1970s soul-jazz, though the covers of fairly straight pop numbers ("Georgia on My Mind," the Jackson 5's "I'll Be There") are kind of undistinguished. Better are the originals "No Way" and "Holdin' Back" (by Jones) and "Sunshine Alley" (by organist Butch Cornell), which have a more convincing groove. "No Way" is the toughest, with funk guitar lines betraying some influence from James Brown; "Holdin' Back" sounds a bit like a jazzy instrumental treatment of the kind of songs Marvin Gaye used to record in his early Motown days. Using the same personnel, Jones offers more good-natured funk-soul-jazz on What It Is. After getting a couple of contemporary pop covers (of Bill Withers' "Ain't No Sunshine" and Carole King's "I Feel the Earth Move") out of the way, it's mostly Jones originals. On his slower moments, as in "Fadin'" and Sonny Thompson's "Let Them Talk," he shows the influence of straight jazz players such as Wes Montgomery; "What It Is" and "Inside Job" are more cut-to-the-chase funk riffs. Jones has his cult following, but as soul-jazz goes, this is kind of run-of-the-mill: good for background, but not captivating foreground listening.
Una reedición en CD que combina el quinto y sexto LP de Jones, Noway! (1970) y What It Is (1971), en un solo disco. Grover Washington, Jr. (saxo tenor) y Bernard Purdie (batería) son los acompañantes clave en ambas sesiones. ¡De ninguna manera! es un conjunto de soul-jazz bastante funky de principios de la década de 1970, aunque las versiones de números pop bastante sencillos ("Georgia on My Mind", "I'll Be There" de los Jackson 5) son algo poco distinguidas. Mejores son los originales "No Way" y "Holdin 'Back" (de Jones) y "Sunshine Alley" (del organista Butch Cornell), que tienen un ritmo más convincente. "No Way" es el más duro, con líneas de guitarra funk que traicionan alguna influencia de James Brown; "Holdin 'Back" suena un poco como un tratamiento instrumental de jazz del tipo de canciones que Marvin Gaye solía grabar en sus primeros días en Motown. Utilizando el mismo personal, Jones ofrece más funk-soul-jazz afable en What It Is. Después de sacar un par de versiones de pop contemporáneo (de "Ain't No Sunshine" de Bill Withers y "I Feel the Earth Move" de Carole King), la mayoría son originales de Jones. En sus momentos más lentos, como en "Fadin '" y "Let Them Talk" de Sonny Thompson, muestra la influencia de músicos de jazz heterosexuales como Wes Montgomery; "What It Is" e "Inside Job" son riffs funk más sencillos. Jones tiene seguidores de culto, pero en lo que respecta al soul-jazz, esto es algo común y corriente: bueno para el fondo, pero no para cautivar la escucha en primer plano.
Wayne Shorter • The Classic Blue Note Recordings
Review from AllMusic:
While this isn't the only Wayne Shorter Blue Note collection, it is the best. The Best of Wayne Shorter, which was released in 1998 within a series of other Blue Note best-ofs that were coming out at the time, is adequate, but with only one disc it's hard to cover any ground with a guy who's recorded around a dozen top-notch records as a leader for Blue Note, and then appeared on scores of others — and that's where this collection wins. The second disc consists of appearances he made alongside such greats as Art Blakey, Lee Morgan, and Freddie Hubbard. Perhaps a Blue Note Wayne Shorter box set is in order? At any rate, "Speak No Evil," "Footprints," "Witch Hunt," and "Nefertiti" prove to highlight Wayne Shorter's astounding career and in turn show off jazz composition in general — as Shorter stands as one of the genre's best songwriters. Recommended as a springboard into the full-length discs these tracks are culled from, The Classic Blue Note Recordings of Wayne Shorter hits the mark.
https://www.allmusic.com/album/the-classic-blue-note-recordings-mw0000662588
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Reseña de AllMusic:
Si bien esta no es la única compilación de Blue Note de Wayne Shorter, sí es la mejor. The Best of Wayne Shorter, publicada en 1998 dentro de una serie de recopilaciones de Blue Note que salían por entonces, es adecuada, pero con un solo disco es difícil cubrir el terreno de un artista que grabó alrededor de una docena de discos de primera categoría como líder para Blue Note, y apareció en decenas más — y ahí es donde esta colección gana. El segundo disco consiste en sus apariciones junto a grandes como Art Blakey, Lee Morgan y Freddie Hubbard. ¿Quizás un box set de Wayne Shorter para Blue Note sea lo que se necesita? En cualquier caso, "Speak No Evil", "Footprints", "Witch Hunt" y "Nefertiti" destacan la asombrosa carrera de Wayne Shorter y a su vez exhiben la composición en el jazz en general — ya que Shorter es uno de los mejores compositores del género. Recomendada como trampolín hacia los discos completos de los que se toman estos temas, The Classic Blue Note Recordings da en el blanco.
https://www.allmusic.com/album/the-classic-blue-note-recordings-mw0000662588




