Big Jay McNeely • Chronological Classics 1951-1952

Review by Steve Leggett

A collection of all the sides Big Jay McNeely recorded for Imperial Records in 1951 and 1952, along with his first few Federal Records tracks from that year, this anthology, although chronological, is neatly divided into vocal and instrumental pieces. The first half dozen or so selections feature the Three Dots and a Dash vocal group, while the rest of the disc is made up of the muscular tenor and baritone-driven saxophone instrumentals that were McNeely's stock in trade. The lead track, "Insect Ball," is probably the most striking of the vocal sides, while the instrumental highlights include "Deacon Rides Again," the cranked-up "The Goof," "Penthouse Serenade" (which shows that McNeely can play soft and pretty when the piece calls for it), and the proto-rock & roll of "Big Jay Shuffle."

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Review by Steve Leggett

A collection of all the sides Big Jay McNeely recorded for Imperial Records in 1951 and 1952, along with his first few Federal Records tracks from that year, this anthology, although chronological, is neatly divided into vocal and instrumental pieces. The first half dozen or so selections feature the Three Dots and a Dash vocal group, while the rest of the disc is made up of the muscular tenor and baritone-driven saxophone instrumentals that were McNeely's stock in trade. The lead track, "Insect Ball," is probably the most striking of the vocal sides, while the instrumental highlights include "Deacon Rides Again," the cranked-up "The Goof," "Penthouse Serenade" (which shows that McNeely can play soft and pretty when the piece calls for it), and the proto-rock & roll of "Big Jay Shuffle."

 

 

 

Adrienne Hindmarsh Trio • Blue Skies

La cantante y organista de jazz Adrienne Hindmarsh es un talento verdaderamente único en la escena musical actual. Con los músicos de hoy en día aprendiendo jazz dentro del aula, se ha convertido en una excepción más que en la regla para que un músico se desarrolle y aprenda "en la carretera", tocando en clubes y festivales y haciendo giras. Nacida en Nueva Zelandia en el seno de una familia de músicos, Adrienne adquirió su primer órgano en 2003 cuando importó un Hammond C3 de Canadá y, al no haber organistas de jazz en su país, aprendió a tocar copiando grabaciones de Jimmy Smith, Joey DeFrancesco, Groove Holmes y Jack McDuff. Después de haber actuado en clubes y festivales en toda Nueva Zelanda y Australia, Adrienne se trasladó a los EE.UU. en 2009.
Durante un año que pasó en el Medio Oeste, actuando en las cumbres de órgano de Hammond, conciertos en clubes y jam sessions en Cincinnati, Detroit, Dayton y Columbus, Adrienne desarrolló aún más su sonido en el quiosco. Fue durante este tiempo que Adrienne se dio cuenta de que era la única mujer instrumentista en el quiosco, y no fue hasta que se mudó a Nueva York que encontró otras mujeres fuertes en la escena. Ahora con base en Nueva York, donde actúa activamente en toda la ciudad, Adrienne continúa prosperando con su originalidad y talento. Tiene CD's publicados en HMV Japón y Ode Records Nueva Zelanda, y su último CD "Blues Skies" está destinado a ser un éxito arrollador.

Adrienne ha compartido el escenario con Joey Defrancesco, Sherrie Maricle, Bruce Forman, Victor Jones, Tony Monaco, y ha sido titular en clubes de jazz como THE DEER HEAD INN, CLIFF BELLS (Detroit), THE BLUE WISP (Cincinnati) y JAZZ CENTRAL (Dayton Ohio), y ha actuado en clubes de Nueva York como el MINTON'S, el GARAGE, y el IRIDIUM (como invitada especial con Joey Defrancesco).

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Singer and jazz organist Adrienne Hindmarsh is a truly unique talent on today’s music scene. With today’s musicians learning jazz within the classroom, it has become an exception rather than the rule for a musician develop and learn “on the road”, playing clubs and festivals and touring. Born in New Zealand into a musical family, Adrienne acquired her first organ in 2003 when she imported a Hammond C3 from Canada and with no jazz organ players in her country she taught herself to play by copying recordings by Jimmy Smith, Joey DeFrancesco, Groove Holmes and Jack McDuff. After performed clubs and festivals throughout New Zealand and Australia, Adrienne moved to the USA in 2009.
During a year spent in the Midwest, performing at Hammond organ summits, club gigs and jam sessions in Cincinnati, Detroit, Dayton and Columbus, Adrienne further developed her sound on the bandstand. It was during this time Adrienne noticed she was the only female instrumentalist on the bandstand, and it wasn’t until she moved to New York she found other strong female performers on the scene. Now based in New York, where she is actively performs throughout the city, Adrienne continues to thrive with her originality and talent. She has CD's released on HMV Japan and Ode Records New Zealand, and her latest CD release “Blues Skies” is set to be a runaway success.

Adrienne has shared the stage with Joey Defrancesco, Sherrie Maricle, Bruce Forman, Victor Jones, Tony Monaco, and and headlined at jazz clubs including THE DEER HEAD INN, CLIFF BELLS (Detroit), THE BLUE WISP (Cincinnati) and JAZZ CENTRAL (Dayton Ohio), and performed in New York clubs including MINTON'S, the GARAGE, and the IRIDIUM (as a special guest with Joey Defrancesco).

 

 

 

Sonny Rollins • Original Music From The Score ''Alfie''

  

Review by Rovi Staff
Tenor saxophonist Sonny Rollins loaned his flair for the dramatic to the score for the film Alfie, accompanying the story of what the liner notes describe as "the involuntary education of a hipster." Arranged by Oliver Nelson, the soundtrack follows the character's evolution from the carefree, rakish Lothario of "Alfie's Theme" to the contemplative, somewhat broken man reflected in "Alfie's Theme Differently." Rollins attempts to capture the textures of life through his incisive and energetic playing, his coherent improvisations, and variations on musical themes. While "Alfie's Theme" and its variants make the most lasting impression, "He's Younger Than You Are" is touching, laced with regret. And the sensual, relaxed "On Impulse" has a nice sense of immediacy.
https://www.allmusic.com/album/alfie-1966-original-music-from-the-score-mw0000142392

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Reseña de la plantilla de Rovi
El saxofonista tenor Sonny Rollins prestó su talento dramático a la partitura de la película Alfie, acompañando la historia de lo que las notas de presentación describen como "la educación involuntaria de un hipster". Arreglada por Oliver Nelson, la banda sonora sigue la evolución del personaje desde el despreocupado y desenfadado Lothario de "Alfie's Theme" hasta el hombre contemplativo y algo roto que se refleja en "Alfie's Theme Differently". Rollins intenta capturar las texturas de la vida a través de su incisiva y enérgica forma de tocar, sus coherentes improvisaciones y sus variaciones sobre temas musicales. Mientras que "Alfie's Theme" y sus variantes causan la impresión más duradera, "He's Younger Than You Are" es conmovedora y está llena de arrepentimiento. Y la sensual y relajada "On Impulse" tiene una agradable sensación de inmediatez.
https://www.allmusic.com/album/alfie-1966-original-music-from-the-score-mw0000142392


sonnyrollins.com ...

Bennie Green • Blows His Horn

 

Biography by Ron Wynn
A capable bebop soloist despite his style having firm swing-era roots, Bennie Green was a major trombonist and bandleader in the 1940s, '50s, and '60s. His sound and tone were large and round, and his approach was heavily influenced by traditionalists like Trummy Young. Green's solos were enjoyable and always well-executed, but he was never as ambitious in his playing as latter-day trombonists like J.J. Johnson or Curtis Fuller.

Green had a musical background: one of his brothers played tenor sax with Roy Eldridge's band. He studied at the famous Du Sable High School in Chicago under Capt. Walt Dyett, then began playing professionally with local groups. Budd Johnson recommended Green to Earl Hines in the early '40s, and he worked with Hines until 1948 (except for two-year stint in the Army). Green played with Gene Ammons for a short time, then with Charlie Ventura in the late '40s and early '50s. He toured with Hines again from 1951 until 1953.

Green led his own combo in the '50s and '60s, often playing with either Charlie Rouse or Jimmy Forrest. He also worked with Sonny Clark, Paul Chambers, Sarah Vaughan, Ike Quebec, Booker Ervin, and Elvin Jones. Green performed and recorded with Duke Ellington in 1968, playing on his second sacred concert. He settled in Las Vegas in the late '60s, working in hotel bands. Green was also featured on recordings made at the Newport in New York festival in the early '70s. He recorded as a leader for Jubilee, Prestige, Blue Note, Enrica, Time, and Vee Jay.
https://www.allmusic.com/artist/bennie-green-mn0000160618/biography

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Biografía de Ron Wynn
Bennie Green, un solista de bebop capaz a pesar de que su estilo tiene firmes raíces de la era del swing, fue un importante trombonista y director de banda en las décadas de 1940, 1950 y 1960. Su sonido y su tono eran amplios y redondos, y su enfoque estaba muy influenciado por tradicionalistas como Trummy Young. Los solos de Green eran agradables y siempre estaban bien ejecutados, pero nunca fue tan ambicioso en su forma de tocar como los trombonistas de hoy en día, como J.J. Johnson o Curtis Fuller.

Green tenía antecedentes musicales: uno de sus hermanos tocaba el saxo tenor en la banda de Roy Eldridge. Estudió en la famosa Du Sable High School de Chicago con el capitán Walt Dyett, y luego empezó a tocar profesionalmente con grupos locales. Budd Johnson recomendó a Green a Earl Hines a principios de los años 40, y trabajó con Hines hasta 1948 (a excepción de un periodo de dos años en el ejército). Green tocó con Gene Ammons durante un corto periodo de tiempo, y luego con Charlie Ventura a finales de los años 40 y principios de los 50. Volvió a salir de gira con Hines desde 1951 hasta 1953.

Green dirigió su propio combo en los años 50 y 60, a menudo tocando con Charlie Rouse o Jimmy Forrest. También trabajó con Sonny Clark, Paul Chambers, Sarah Vaughan, Ike Quebec, Booker Ervin y Elvin Jones. Green actuó y grabó con Duke Ellington en 1968, tocando en su segundo concierto sagrado. Se instaló en Las Vegas a finales de los años 60, trabajando en las bandas de los hoteles. Green también apareció en grabaciones realizadas en el festival de Newport, en Nueva York, a principios de los años 70. Grabó como líder para Jubilee, Prestige, Blue Note, Enrica, Time y Vee Jay.
https://www.allmusic.com/artist/bennie-green-mn0000160618/biography

 

Byrdie Green ‎• The Golden Thrush Strikes At Midnight

Byrdie Green (1936 - 2008) was a jazz and R&B singer born in Detroit, Michigan.

The daughter of a Baptist minister, she sang first in her father's church. Later she went to New York and performed in clubs. Around 1965, she was hired by organist Johnny "Hammond" Smith and recorded albums for Prestige Records, Roulette Records, & Twentieth Century Fox. She also cut a few 45rpm records.

Byrdie took a break from her career to raise her two daughters, Deborah A. Murray and Dardenella Braxton. Upon her return she performed at Carnegie Recital Hall, toured with the Thad Jones/Mel Lewis Orchestra and before her death in February 2008, she was with the touring company of the Broadway play Black and Blue. Byrdie's health started to fade and she developed emphysema and was on oxygen 24 hours a day, and had to use a wheelchair.
Green died at St. Luke's Hospital on April 26, 2008, and was eulogized at Mt. Neboh Church in New York City on May 3, 2008.

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Byrdie Green (1936 - 2008) fue una cantante de jazz y R&B nacida en Detroit, Michigan.

Hija de un ministro bautista, cantó primero en la iglesia de su padre. Más tarde se fue a Nueva York y actuó en clubes. Alrededor de 1965, fue contratada por el organista Johnny "Hammond" Smith y grabó discos para Prestige Records, Roulette Records y Twentieth Century Fox. También grabó algunos discos de 45rpm.

Byrdie se tomó un descanso de su carrera para criar a sus dos hijas, Deborah A. Murray y Dardenella Braxton. A su regreso actuó en el Carnegie Recital Hall, realizó una gira con la Orquesta Thad Jones/Mel Lewis y, antes de su muerte en febrero de 2008, estuvo con la compañía de la obra de Broadway Black and Blue. La salud de Byrdie empezó a deteriorarse y desarrolló un enfisema y estuvo con oxígeno las 24 horas del día, por lo que tuvo que usar una silla de ruedas.
Green murió en el Hospital St. Luke's el 26 de abril de 2008, y fue elogiada en la iglesia Mt. Neboh de la ciudad de Nueva York el 3 de mayo de 2008.