Shout, Sister, Shout!ː The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe

 

Long before "women in rock" became a media catchphrase, African American guitar virtuoso Rosetta Tharpe proved in spectacular fashion that women could rock. Born in Cotton Plant, Arkansas, in 1915, Tharpe was gospel's first superstar and the preeminent crossover figure of its golden age (1945–1965).

Shout, Sister, Shout! is the first biography of this trailblazing performer who influenced scores of popular musicians—from Elvis Presley and Little Richard to Eric Clapton and Etta James. Tharpe was raised in the Pentecostal Church, steeped in the gospel tradition, but she produced music that crossed boundaries, defied classification, and disregarded the social and cultural norms of the age. Blues singer, gospel singer, folk artist, and rock-and-roller, she "went electric" in the late 1930s, captivating both white and black audiences in the North and South, in the U.S. and internationally, with her charisma and skill. Ambitious and relentlessly public, Tharpe even staged her own wedding as a gospel concert in a stadium holding 20,000 people.

Wald's eye-opening biography, which draws on the memories of over 150 people who knew or worked with Tharpe, introduces us to this intriguing and forgotten musical heavyweight who forever altered our understanding of both women in rock and U.S. popular music.

 

Gayle Wald (Author) 

 

Larry Young • Into Somethin'

While most practitioners of the instrument have followed closely on the heels of Jimmy Smith, on Into Somethin', Larry Young demonstrates his unique horn-like approach to melody. With the help of Sam Rivers (saxophone), Grant Green (guitar), and Elvin Jones (drums), Young puts forth a swinging collection of tunes that isn't particularly drenched in the traditional gospel/soul sound usually produced by an organ ensemble. Instead, this is a crisp, exciting session that, along with Unity, would eventually help make Young one of the legends of the B-3. The effortless waltzing bounce of "Tyrone" opens the set as Rivers and Young glide through the melody while Jones swings intensely in the background. The heavy Latin groove of "Plaza de Toros" sets up some stunning rhythmic interactions between Grant, Young, and Jones. The intricate "Paris Eyes" and the bluesy "Backup" are both excellent swinging numbers that further display Young's non-traditional approach to the instrument and his masterful soloing prowess. Finally, the classic "Ritha" is an exhilarating composition that displays the full wealth of Young's legendary abilities.

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Mientras que la mayoría de los practicantes del instrumento han seguido de cerca los pasos de Jimmy Smith, en Into Somethin', Larry Young demuestra su enfoque único de la melodía, similar al de las trompetas. Con la ayuda de Sam Rivers (saxofón), Grant Green (guitarra), y Elvin Jones (batería), Young presenta una colección de melodías que no está particularmente empapada en el tradicional sonido de gospel/soul que normalmente produce un conjunto de órgano. En su lugar, esta es una sesión nítida y emocionante que, junto con Unity, ayudaría eventualmente a convertir a Young en una de las leyendas del B-3. El rebote de vals sin esfuerzo de "Tyrone" abre el set mientras Rivers y Young se deslizan por la melodía mientras Jones se balancea intensamente en el fondo. El pesado ritmo latino de "Plaza de Toros" establece algunas sorprendentes interacciones rítmicas entre Grant, Young y Jones. Los intrincados "Paris Eyes" y el bluesero "Backup" son ambos excelentes números de swing que muestran aún más el enfoque no tradicional de Young hacia el instrumento y su magistral destreza como solista. Por último, el clásico "Ritha" es una estimulante composición que muestra toda la riqueza de las legendarias habilidades de Young.

 

Red Mitchell • Presenting Red Mitchell

 

Review by Scott Yanow

Bassist Red Mitchell, who had led two fairly obscure sessions for Bethlehem in 1955, came up with a gem on his lone Contemporary set as a leader (which has been reissued as this CD). Based in Los Angeles at the time, Mitchell utilized pianist Lorraine Geller and two up-and-coming players: James Clay (who splits his time between tenor and flute) and, in one of his first recording sessions, drummer Billy Higgins. The quartet performs then-recent tunes by Miles Davis, Sonny Rollins and Clifford Brown ("Sandu"), a pair of Mitchell originals, "Scrapple From the Apple" and "Cheek to Cheek." Despite Higgins' and (to a lesser extent) Clay's connections with Ornette Coleman, the music is strictly high-quality modern mainstream bop of the era. Easily recommended to collectors of straight-ahead jazz.

https://www.allmusic.com/album/presenting-red-mitchell-mw0000080163

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Reseña de Scott Yanow

El bajista Red Mitchell, que había dirigido dos sesiones bastante oscuras para Bethlehem en 1955, encontró una joya en su único set contemporáneo como líder (que ha sido reeditado como este CD). Con sede en Los Ángeles en ese momento, Mitchell utilizó a la pianista Lorraine Geller y a dos músicos prometedores: James Clay (que divide su tiempo entre tenor y flauta) y, en una de sus primeras grabaciones, el baterista Billy Higgins. El cuarteto interpreta temas de Miles Davis, Sonny Rollins y Clifford Brown ("Sandu"), un par de originales de Mitchell, "Scrapple From the Apple" y "Cheek to Cheek". A pesar de las conexiones de Higgins y (en menor medida) Clay con Ornette Coleman, la música es estrictamente bop moderno de alta calidad de la época. Fácilmente recomendable para coleccionistas de jazz.

https://www.allmusic.com/album/presenting-red-mitchell-mw0000080163

James Simpson • Soul Revival

James Simpson is his name and "groovin'" is his thing! He's one of the hardest working musicians in the music business. James has recorded and performed with a host of world class musicians from all over the world. He also tours and records with his own groups. simpsonsound Message Over the years, I've had the opportunity to record and share the stage with some of the best and most innovative musicians in the history of recorded music, worldwide. Some legends and some local heroes. All of them are my heroes. I've learned so much from each and every one of them. I'd like to thank them all for allowing me the chance to be a part of history. As a kid, I was happy when I could afford a used Ramsey Lewis, The Temptations, Stevie Wonder or Jimmy Smith record or reel to reel from "Salty's Record Attic" back in Modesto, California. I never dreamed that one day I'd be on stage with or getting lessons with anyone of them. The recordings were lessons themself. Being on the gig or getting personal lessons just about "blew my mind". Thank you all so much.

In the past eight years I've been more active as a producer, drummer and organist. I'm often asked if I perfer playing drums or organ and visa versa. My answer to anyone concerned is both. Drums and organ are deep in my roots.

From the church to the chittlin' circut you'll find both. My love for both instruments are equal. To me, playing an instrument is about communicating through expression on your instrument. It's not about how many notes one can play at 400 bpm or how one can slide an odd meter rhythm into a simple tune or lightening fast fill in one bar. It's about groovin'. As the great Dr. James Polk would say, "Whatever you do, DO NOT FORSAKE THE GROOVE."

I try to play and create music that feels good to me and the listener. That's jazz, soul, funk, rock or whatever. On both instruments, I'm able to express any emotion that I desire. From love to hate or joy to pain. If there is a spiritual or physical emotion involved, I'm able to express it on either instrument.

James Simpson's Jazz GroupSoul Jazz is actually a mixture between Jazz and Soul, and it is not so much a genre of music but a feeling. The quality lies in the catchy harmonies and melodies as well as in the groove. It can be easy listening in the style of Ramsey Lewis all the way to blues-boppin' in the style of Jimmy Smith or Jimmy McGriff. A musical background that invites you to relax, lounge and just feel at ease.

Soul Jazz is for people with style and those who are not foreign to enjoying life. This music WILL make you move.

James Simpson is an international artist from Ceres, California and based in Mannheim, Germany. Although his talents are versatile, he is known as a soul jazz organist, keyboardist and drummer on a worldwide scale. James was raised in the Afro-American Baptist church on Gospel music, but also on his father's diverse music collection.

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James Simpson es su nombre y "groovin'" es lo suyo. Es uno de los músicos más trabajadores en el negocio de la música. James ha grabado y tocado con un montón de músicos de clase mundial de todo el mundo. También hace giras y grabaciones con sus propios grupos. Mensaje de Simpsonsound A lo largo de los años, he tenido la oportunidad de grabar y compartir el escenario con algunos de los mejores y más innovadores músicos de la historia de la música grabada, en todo el mundo. Algunas leyendas y algunos héroes locales. Todos ellos son mis héroes. He aprendido mucho de todos y cada uno de ellos. Me gustaría agradecerles a todos ellos por darme la oportunidad de ser parte de la historia. Cuando era niño, era feliz cuando podía permitirme un disco usado de Ramsey Lewis, The Temptations, Stevie Wonder o Jimmy Smith o un carrete a carrete de "Salty's Record Attic" en Modesto, California. Nunca soñé que un día estaría en el escenario o recibiría lecciones con cualquiera de ellos. Las grabaciones eran lecciones en sí mismas. Estar en el concierto o recibir lecciones personales casi me "voló la cabeza". Muchas gracias a todos.

En los últimos ocho años he estado más activo como productor, baterista y organista. A menudo me preguntan si prefiero tocar la batería o el órgano y viceversa. Mi respuesta a cualquiera que esté interesado es ambas. La batería y el órgano están profundamente arraigados en mis raíces.

Desde la iglesia hasta el circo de música infantil encontrarás ambos. Mi amor por ambos instrumentos es igual. Para mí, tocar un instrumento es comunicarse a través de la expresión de tu instrumento. No se trata de cuántas notas se pueden tocar a 400 bpm o de cómo se puede deslizar un ritmo extraño de un metro en una simple melodía o un relleno rápido como un rayo en un compás. Se trata de la fluidez. Como diría el gran Dr. James Polk, "Hagas lo que hagas, no abandones el surco".

Trato de tocar y crear música que me haga sentir bien a mí y al oyente. Eso es jazz, soul, funk, rock o lo que sea. En ambos instrumentos, soy capaz de expresar cualquier emoción que desee. Desde el amor al odio o la alegría al dolor. Si hay una emoción espiritual o física involucrada, puedo expresarla en cualquiera de los dos instrumentos.

El grupo de jazz de James Simpson, el Soul Jazz, es en realidad una mezcla entre el jazz y el soul, y no es tanto un género de música como un sentimiento. La calidad reside en las armonías y melodías pegadizas, así como en el ritmo. Puede ser fácil de escuchar en el estilo de Ramsey Lewis hasta el blues-boppin' en el estilo de Jimmy Smith o Jimmy McGriff. Un fondo musical que te invita a relajarte, a descansar y a sentirte a gusto.

El Soul Jazz es para gente con estilo y para aquellos que no son ajenos a disfrutar de la vida. Esta música te hará moverte.

James Simpson es un artista internacional de Ceres, California, con sede en Mannheim, Alemania. Aunque su talento es versátil, es conocido como organista, teclista y baterista de soul jazz a escala mundial. James se crió en la iglesia bautista afroamericana en la música Gospel, pero también en la diversa colección de música de su padre. 

 

 

 

 

Mojo Buford • Home Is Where My Harp Is

 

Biography

The various bands led by harmonica player and singer George "Mojo" Buford hark back to the classic Chicago blues sounds of the early '60s. Among harmonica players, Buford has the distinction of being the only musician to have played with various bands led by the late Muddy Waters in the 1950s, '60s, '70s, and '80s. (Waters died in April 1981.) Buford left Mississippi for Memphis in his teens and honed his chops around Memphis before heading to Chicago in 1952. He began playing with Waters in Chicago in the late '50s, but by 1962 Buford relocated to Minneapolis, where he recorded several obscure albums for the Vernon and Folk-Art labels. He rejoined Waters' band in 1967 for a full year and then toured with him again in the early '70s, after harmonica player Jerry Portnoy left to form the Legendary Blues Band. By 1979 Buford was recording and touring around with bands under his own name. He recorded Mojo Buford's Blues Summit in 1979 for Mr. Blues, later reissued on the Rooster Blues label, and his 1990s recordings include Still Blowin' Strong and Harpslinger, both issued in 1996 by the Blue Loon Records label; a 1998 release for British blues label JSP Records entitled State of the Blues Harp; and a 1998 stateside release, Home Is Where My Harps Is, also for Blue Loon. More recently, he recorded a live album, Champagne & Reefer, in 1999 for New York-based Fedora Records and Chicago Blues Summit in 2002 for P-Vine Records. He continued to play until his death in October 2011.

by Richard Skelly

https://www.allmusic.com/artist/george-mojo-buford-mn0000922782/biography

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Biografía

Las diversas bandas lideradas por el armónico y cantante George "Mojo" Buford se remontan a los clásicos sonidos del blues de Chicago de principios de los 60. Entre los armonicistas, Buford se distingue por ser el único músico que tocó en varias bandas lideradas por el fallecido Muddy Waters en los 50, 60, 70 y 80. (Waters murió en abril de 1981.) Buford dejó Mississippi para ir a Memphis en su adolescencia y se perfeccionó en Memphis antes de ir a Chicago en 1952. Empezó a tocar con Waters en Chicago a finales de los 50, pero en 1962 Buford se trasladó a Minneapolis, donde grabó varios discos oscuros para los sellos Vernon y Folk-Art. Se reincorporó a la banda de Waters en 1967 durante un año entero y luego volvió a girar con él a principios de los 70, después de que el armonista Jerry Portnoy se fuera para formar la Legendary Blues Band. En 1979 Buford estaba grabando y haciendo giras con bandas bajo su propio nombre. Grabó Mojo Buford's Blues Summit en 1979 para Mr. Blues, posteriormente reeditado por el sello Rooster Blues, y sus grabaciones de los años 90 incluyen Still Blowin' Strong y Harpslinger, ambas editadas en 1996 por el sello Blue Loon Records; un lanzamiento en 1998 para el sello británico de blues JSP Records titulado State of the Blues Harp; y un lanzamiento en 1998 en los Estados Unidos, Home Is Where My Harps Is, también para Blue Loon. Más recientemente, grabó un álbum en vivo, Champagne & Reefer, en 1999 para Fedora Records, con sede en Nueva York, y Chicago Blues Summit en 2002 para P-Vine Records. Continuó tocando hasta su muerte en octubre de 2011.

por Richard Skelly

https://www.allmusic.com/artist/george-mojo-buford-mn0000922782/biography