Carl Perkins • The King of Rockabilly

 

 

Celebrate the golden era of Carl Perkins with Sun Records' 70th Anniversary collection of his remastered hits, The King of Rockabilly. Boasting an alternate version of "Honey Don't," as well as an extended, never-before-released version of "Y.O.U.," which features a spoken-word bridge section by Carl Perkins.

The album also includes the classic hits "Put Your Cat Clothes On" featuring Jerry Lee Lewis, "Boppin' the Blues," and "All Mama's Children," co-written with Johnny Cash.

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Celebre la época dorada de Carl Perkins con la colección del 70 aniversario de Sun Records de sus éxitos remasterizados, The King of Rockabilly. Con una versión alternativa de "Honey Don't", así como una versión ampliada e inédita de "Y.O.U.", que incluye una sección hablada de Carl Perkins en el puente.

El álbum también incluye los éxitos clásicos "Put Your Cat Clothes On", con Jerry Lee Lewis, "Boppin' the Blues" y "All Mama's Children", coescrita con Johnny Cash.


sunrecords.com ...

Chick Corea, Gary Burton, Dave Holland, Pat Metheny, Roy Haynes • Like Minds

 

 Review by Scott Yanow

Talk about all-star groups -- this quintet date matches together vibraphonist Gary Burton with pianist Chick Corea, guitarist Pat Metheny, bassist Dave Holland, and drummer Roy Haynes. Burton and Corea have recorded frequently through the years, while Metheny gained some early fame working with Burton; Holland was with Corea in Miles Davis' late-'60s group, and Haynes was formerly with both Burton and Corea. However, not all of these musicians had played together before -- Corea had never worked with Metheny previously, nor Burton with Holland. No matter, the masterful players fit together quite well. The vibraphonist is the lead voice in the ensembles, where Metheny at times sounds close to Jim Hall and seems a bit restrained, but everyone gets a chance to contribute to the success of the CD. Metheny contributed five songs (including "Question and Answer" and "Elucidation," which deserves to be a standard), while Burton brought in two; Corea's three contributions include his classic "Windows." The lone standard is George Gershwin's "Soon." The music is modern straight-ahead jazz; the solos are concise and the rhythm section is quite tight. In fact, this sounds like a regularly working band. Highly recommended.

https://www.allmusic.com/album/release/like-minds-mr0000872965

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 Reseña de Scott Yanow

Hablando de grupos de estrellas, esta cita del quinteto reúne al vibrafonista Gary Burton con el pianista Chick Corea, el guitarrista Pat Metheny, el bajista Dave Holland y el baterista Roy Haynes. Burton y Corea han grabado con frecuencia a lo largo de los años, mientras que Metheny adquirió cierta fama temprana trabajando con Burton; Holland estuvo con Corea en el grupo de Miles Davis de finales de los 60, y Haynes estuvo anteriormente con Burton y Corea. Sin embargo, no todos estos músicos habían tocado juntos antes: Corea nunca había trabajado con Metheny, ni Burton con Holland. No importa, los magistrales músicos encajan bastante bien. El vibrafonista es la voz principal en los conjuntos, donde Metheny a veces suena cerca de Jim Hall y parece un poco contenido, pero todos tienen la oportunidad de contribuir al éxito del CD. Metheny contribuye con cinco canciones (incluyendo "Question and Answer" y "Elucidation", que merece ser un estándar), mientras que Burton aporta dos; las tres contribuciones de Corea incluyen su clásico "Windows". El único estándar es "Soon" de George Gershwin. La música es un jazz moderno y directo; los solos son concisos y la sección rítmica está bastante ajustada. De hecho, esto suena como una banda que trabaja regularmente. Muy recomendable.

https://www.allmusic.com/album/release/like-minds-mr0000872965



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patmetheny.com ...
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Colaborador / Contributor:  Ketmokin

Bud Freeman • Chicago-Austin High School Jazz In Hi-Fi.txt

 

 

Review by Scott Yanow
Three overlapping groups are heard from here, and they revisit the repertoire of the McKenzie & Condon's Chicagoans of 1927 (playing new versions of the four songs originally recorded) and Bud Freeman's 1939-1940 Summa Cum Laude Orchestra. The two septets and the octet feature such immortal Condonites as tenor saxophonist Bud Freeman; Jimmy McPartland and Billy Butterfield on trumpets; trombonists Tyree Glenn and Jack Teagarden (who also takes some vocals); clarinetists Pee Wee Russell and Peanuts Hucko; pianists Gene Schroeder and Dick Cary; rhythm guitarist Al Casamenti (but surprisingly no Eddie Condon); bassists Milt Hinton, Al Hall, and Leonard Gaskin; and drummer George Wettling. The veterans were all still in prime form at the time, and they sound quite inspired. Highlights include "Nobody's Sweetheart," "China Boy," "Chicago," "There'll Be Some Changes Made," and "Jack Hits the Road."
https://www.allmusic.com/album/chicago-austin-high-school-jazz-in-hi-fi-mw0000211633

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Reseña de Scott Yanow
Aquí se escuchan tres grupos superpuestos que revisan el repertorio de los Habitantes de Chicago de McKenzie & Condon de 1927 (tocando nuevas versiones de las cuatro canciones grabadas originalmente) y la Orquesta Summa Cum Laude de Bud Freeman de 1939-1940. Los dos septetos y el octeto presentan condonitas inmortales como el saxofonista tenor Bud Freeman; Jimmy McPartland y Billy Butterfield a las trompetas; los trombonistas Tyree Glenn y Jack Teagarden (quienes también toman algunas voces); los clarinetistas Pee Wee Russell y Peanuts Hucko; los pianistas Gene Schroeder y Dick Cary; el guitarrista rítmico Al Casamenti( pero sorprendentemente no Eddie Condon); los bajistas Milt Hinton, Al Hall y Leonard Gaskin; y el baterista George Wettling. Los veteranos todavía estaban en plena forma en ese momento, y suenan bastante inspirados. Los aspectos más destacados incluyen "Nobody's Sweetheart", "China Boy", "Chicago"," Se realizarán algunos Cambios " y " Jack Sale a la carretera."
https://www.allmusic.com/album/chicago-austin-high-school-jazz-in-hi-fi-mw0000211633

 

Shakey Jake Harris • The Key Won't Fit

 

Born James D. Harris, 12 April 1921, Earle, Arkansas, USA, d. 2 March 1990, Pine Bluff, Arkansas, USA. A professional gambler when not playing harmonica (his nickname was derived from the crapshooters' call "Shake 'em, Jake", Harris began playing in Chicago blues bands during the late 40s. His 1958 single "Call Me If You Need Me"/"Roll Your Moneymaker", recorded for the Artistic subsidiary of Cobra Records, featured guitar work by his nephew Magic Sam. During the 60s he recorded two albums that did not do him justice, as club recordings with Sam make evident. His encouragement of younger musicians brought about the recording debut of, among others, Luther Allison, with whom Jake recorded his best album after moving to Los Angeles. In later years, occasional recordings appeared, including some on his own label, and Harris ran a blues club for a while, but was dogged by poor health and isolated by neighborhood gang violence.

Excellent album on the small Murray Brothers label from 1983. Backing from Rod Piazza, Jr. Watson and Hollywood Fats among others.

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Traducción Automática:

Nacido James D. Harris, 12 de abril de 1921, Earle, Arkansas, EE. UU., D. 2 de marzo de 1990, Pine Bluff, Arkansas, EE. UU. Un jugador profesional cuando no tocaba la armónica (su apodo se derivó de la llamada "Shake 'em, Jake" de los crapshooters, Harris comenzó a tocar en las bandas de blues de Chicago a finales de los años 40. Su single de 1958 "Call Me If You Need Me" / " Roll Your Moneymaker ", grabado para la filial Artística de Cobra Records, contó con el trabajo de guitarra de su sobrino Magic Sam. Durante los años 60 grabó dos álbumes que no le hacían justicia, como lo demuestran las grabaciones del club con Sam. Su aliento a los músicos más jóvenes provocó el debut en la grabación de, entre otros, Luther Allison, con quien Jake grabó su mejor álbum después de mudarse a Los Ángeles. En años posteriores aparecieron grabaciones ocasionales, incluidas algunas de su propio sello, y Harris dirigió un club de blues por un tiempo , pero fue perseguido por la mala salud y aislado por la violencia de pandillas del barrio.
Excelente álbum en el pequeño sello Murray Brothers de 1983. Con el respaldo de Rod Piazza, Jr. Watson y Hollywood Fats entre otros. 

The Beat Daddys • Root Rubbin' Ball

Artist Biography

An amalgamation of blues and Southern rock, the Beat Daddys are comprised of Lewis Ross (drums), Brill Morris (bass and vocals), Larry Grisham (guitar, harp and vocals), and Britt Meacham (guitar and vocals). Meacham, from Mobile, Alabama, was a member of Jackson Highway, a group that recorded for Capitol Records, and also toured with soul-blues man Little Milton Campbell. Bassist Morris was part of Mercury Records' David and the Giants and performed in a popular regional Gulf Coast band, Magik. Drummer Ross, also from Mobile, was a founding member of Wet Willie, and he was involved in co-writing the band's hits "Keep on Smilin'," "Red Hot Chicken" and "Macon Hambone Blues."

The Beat Daddys formed in Evansville, Indiana in the mid-1980s and released their own self-produced album before signing with Malaco Records. Their two mid-1990s Malaco/Waldoxy releases, No, We Ain't From Clarksdale and South to Mississippi, are not straight-ahead blues, to be sure, but fans of blues, roots-rock and Southern rock can find much to appreciate in either of them.

by Richard Skelly

https://www.allmusic.com/artist/the-beat-daddys-mn0000754624

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Biografía del artista

Una amalgama de blues y rock sureño, los Beat Daddys están compuestos por Lewis Ross (batería), Brill Morris (bajo y voz), Larry Grisham (guitarra, arpa y voz), y Britt Meacham (guitarra y voz). Meacham, de Mobile, Alabama, fue miembro de Jackson Highway, un grupo que grabó para Capitol Records, y también hizo una gira con el hombre de soul-blues Little Milton Campbell. El bajista Morris formó parte de David and the Giants de Mercury Records y actuó en una popular banda regional de la Costa del Golfo, Magik. El baterista Ross, también de Mobile, fue miembro fundador de Wet Willie, y participó en la co-escritura de los éxitos de la banda "Keep on Smilin'", "Red Hot Chicken" y "Macon Hambone Blues".

Los Beat Daddys se formaron en Evansville, Indiana, a mediados de los 80 y lanzaron su propio álbum autoproducido antes de firmar con Malaco Records. Sus dos lanzamientos de mediados de los 90 de Malaco/Waldoxy, No, We Ain't From Clarksdale y South to Mississippi, no son blues directo, pero los fans del blues, el roots-rock y el rock sureño pueden encontrar mucho que apreciar en cualquiera de ellos.

por Richard Skelly

https://www.allmusic.com/artist/the-beat-daddys-mn0000754624

 

 

thebeatdaddys.com ...