VA ‎• Blue Funk

Brother Jack McDuff, Blue Mitchell, Lou Donaldson, John Patton, Grant Green, Candido, Richard ''Groove'' Holmes, Ronnie Foster, Reuben Wilson, Bobby Hutcherson.

 

 

Tyree Glenn • At The Embers

 

Biography by Scott Yanow

Tyree Glenn, who had the unusual double of trombone and vibes, was an important asset at various times to both Duke Ellington and Louis Armstrong. Glenn started out working in territory bands in Virginia, then moved to the West Coast, playing with groups headed by Charlie Echols (1936) and Eddie Barefield. After playing with Ethel Waters and Benny Carter, he became a longtime member of the Cab Calloway Orchestra (1939-1946). Glenn visited Europe with Don Redman's big band (1946). During his association with Ellington (1947-1951), he was an effective wah-wah trombonist in the Tricky Sam Nanton tradition and Ellington's only vibraphonist, being well-featured on the "Liberian Suite." During the 1950s, Glenn worked in the studios, led his quartet at the Embers, and freelanced in swing and Dixieland settings. Other than some European dates in 1947, Glenn's only extensive opportunity to record was for Roulette (1957-1958 and 1961-1962). During 1965-1968, he toured the world with Louis Armstrong's All-Stars. After leaving Armstrong, Tyree Glenn led his own group during his last few years.

https://www.allmusic.com/artist/tyree-glenn-mn0000806249/biography

Review by Ken Dryden

This long-forgotten recording session is a rare opportunity to hear trombonist Tyree Glenn as a bandleader, though he is far better known for his work as a valuable sideman with Duke Ellington, Louis Armstrong, and Cab Calloway. The excellent supporting cast includes Hank Jones, trumpeter Harold "Shorty" Baker, guitarist Mary Osborne, bassist Tommy Potter, and drummer Jo Jones. Glenn's memorable muted solo on a snappy take of Mary Lou Williams' "Lonely Moments," Baker's haunting treatment of "What Will I Tell My Heart," and Hank Jones' unforgettable interpretation of the often banal "How High the Moon" are among the many highlights. Glenn switches to vibes for the happy riff tune "Sinbad the Sailor"; he also wrote the lush ballad "After the Rain" (not to be confused with the song of the same name later written by John Coltrane). Like many LPs of the era that imply a live nightclub recording, the lack of audience reaction and extraneous noise indicate that this is a studio session. Out of print for decades, this somewhat rare LP is well worth acquiring.

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Biografía de Scott Yanow

Tyree Glenn, que tenía el inusual doble de trombón y vibraciones, fue un activo importante en varios momentos tanto para Duke Ellington como para Louis Armstrong. Glenn comenzó trabajando en bandas de territorio en Virginia, luego se mudó a la costa oeste, tocando con grupos encabezados por Charlie Echols (1936) y Eddie Barefield. Después de tocar con Ethel Waters y Benny Carter, se convirtió en miembro de la Orquesta Cab Calloway (1939-1946). Glenn visitó Europa con la big band de Don Redman (1946). Durante su asociación con Ellington (1947-1951), fue un eficaz trombonista wah-wah en la tradición de Tricky Sam Nanton y el único vibrafonista de Ellington, siendo bien representado en la "Liberian Suite". Durante la década de 1950, Glenn trabajó en los estudios, dirigió su cuarteto en el Embers, y trabajó como freelance en escenarios de swing y Dixieland. Aparte de algunas fechas europeas en 1947, la única oportunidad que tuvo Glenn de grabar fue para Roulette  (1957-1958 y 1961-1962). Durante 1965-1968, recorrió el mundo con las All-Stars de Louis Armstrong. Después de dejar Armstrong, Tyree Glenn dirigió su propio grupo durante sus últimos años.

https://www.allmusic.com/artist/tyree-glenn-mn0000806249/biography

Reseña de Ken Dryden

Esta sesión de grabación tan olvidada es una oportunidad única para escuchar al trombonista Tyree Glenn como líder de banda, aunque es mucho más conocido por su trabajo como un valioso acompañante de Duke Ellington, Louis Armstrong y Cab Calloway. El excelente reparto incluye a Hank Jones, el trompetista Harold "Shorty" Baker, la guitarrista Mary Osborne, el bajista Tommy Potter y el baterista Jo Jones. El memorable y apagado solo de Glenn en una rápida toma de los "Momentos solitarios" de Mary Lou Williams, el inquietante tratamiento de Baker de "Qué le diré a mi corazón" y la inolvidable interpretación de Hank Jones de la a menudo banal "Cuán alta es la luna" son algunos de los muchos puntos destacados. Glenn cambia a las vibraciones para la alegre melodía de riff "Sinbad the Sailor"; también escribió la exuberante balada "After the Rain" (que no debe confundirse con la canción del mismo nombre escrita más tarde por John Coltrane). Como muchos LPs de la época que implican una grabación en vivo en un club nocturno, la falta de reacción de la audiencia y el ruido extraño indican que se trata de una sesión de estudio. Fuera de impresión durante décadas, este LP un tanto raro bien vale la pena adquirirlo.

Bobby Scott • The Compositions Of Bobby Scott

 

After an impressive debut as a pianist in 1953, Bobby Scott was 17 when, a year later, he conducted the first of a series of three genuinely creative albums dedicated to his own works, all now compiled on this CD. A man of many moods, bursting with creativity, his compositions are full of a fine feel for harmonic textures and melodically interesting lines.

But also among the outstanding aspects of these sessions are the soloists given ample scope by the writing; Hal McKusick, Eddie Bert, Conte Candoli, Frank Rosolino, Charlie Mariano, Bill Holman, Jimmy Giuffre, Marty Flax and the little known Ronnie Woellmer and John Murtaugh are prime examples of the best of the East and West Coast jazzmen of the era. With Scott also shining as pianist on the second and third dates, this collection is a unique portrait of his precocious talent.
https://www.freshsoundrecords.com/bobby-scott-albums/4883-the-compositions-of-bobby-scott.html

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Tras un impresionante debut como pianista en 1953, Bobby Scott tenía 17 años cuando, un año más tarde, dirigió el primero de una serie de tres álbumes genuinamente creativos dedicados a sus propias obras, todos ellos recopilados ahora en este CD. Un hombre de muchos estados de ánimo, rebosante de creatividad, sus composiciones están llenas de una fina sensación de texturas armónicas y líneas melódicamente interesantes.

Pero también entre los aspectos destacados de estas sesiones se encuentran los solistas a los que la escritura les da un amplio alcance; Hal McKusick, Eddie Bert, Conte Candoli, Frank Rosolino, Charlie Mariano, Bill Holman, Jimmy Giuffre, Marty Flax y los poco conocidos Ronnie Woellmer y John Murtaugh son los mejores ejemplos de los mejores jazzistas de la costa este y oeste de la época. Con Scott brillando también como pianista en la segunda y tercera fechas, esta colección es un retrato único de su precoz talento.

https://www.freshsoundrecords.com/bobby-scott-albums/4883-the-compositions-of-bobby-scott.html


Fresh Sound Records ...

 

Texas Flood: The Inside Story of Stevie Ray Vaughan

 

Just a few years after he almost died from a severe addiction to cocaine and alcohol, a clean and sober Stevie Ray Vaughan was riding high. His last album was his most critically lauded and commercially successful. He had fulfilled a lifelong dream by collaborating with his first and greatest musical hero, his brother Jimmie. His tumultuous marriage was over and he was in a new and healthy romantic relationship. Vaughan seemed poised for a new, limitless chapter of his life and career.

Instead, it all came to a shocking and sudden end on August 27, 1990, when he was killed in a helicopter crash following a dynamic performance with Eric Clapton. Just 35 years old, he left behind a powerful musical legacy and an endless stream of What Ifs. In the ensuing 29 years, Vaughan’s legend and acclaim have only grown and he is now an undisputed international musical icon. Despite the cinematic scope of Vaughan’s life and death, there has never been a truly proper accounting of his story. Until now.

Texas Flood provides the unadulterated truth about Stevie Ray Vaughan from those who knew him best: his brother Jimmie, his Double Trouble bandmates Tommy Shannon, Chris Layton and Reese Wynans, and many other close friends, family members, girlfriends, fellow musicians, managers and crew members.

 

Alan Paul, Andy Aledort (Authors)

 

Hal Singer • Paris Soul Food

 

Artist Biography by Bill Dahl

Equally at home blowing scorching R&B or tasty jazz, Hal "Cornbread" Singer has played and recorded both over a career spanning more than half a century. Singer picked up his early experience as a hornman with various Southwestern territory bands, including the outfits of Ernie Fields, Lloyd Hunter, and Nat Towles. He made it to Kansas City in 1939, working with pianist Jay McShann (whose sax section also included Charlie Parker), before venturing to New York, in 1941, and playing with Hot Lips Page, Earl Bostic, Don Byas, and Roy Eldridge (with whom he first recorded in 1944). After the close of the war, Singer signed on with Lucky Millinder's orchestra.

Singer had just fulfilled his life's ambition -- a chair in Duke Ellington's prestigious reed section -- in 1948, when a honking R&B instrumental called "Cornbread" that he'd recently waxed for Savoy as a leader began to take off. That presented a wrenching dilemma for the young saxist, but in the end, his decision to go out on his own paid off; "Cornbread" paced the R&B charts for four weeks and gave him his enduring nickname. Another of his Savoy instrumentals, "Beef Stew," also cracked the R&B lists.

Singer recorded rocking R&B workouts for Savoy into 1956 (the cuisine motif resulting in helpings of "Neck Bones," "Rice and Red Beans," and "Hot Bread"), working with sidemen including pianists Wynton Kelly and George Rhodes, guitarist Mickey Baker, bassist Walter Page, and drummer Panama Francis. One of his last dates for the firm produced the torrid "Rock 'n' Roll," which may have featured Singer as vocalist as well as saxist.

By the late '50s, Singer had abandoned rock & roll for a life as a jazz saxist. He recorded for Prestige in a more restrained manner in 1959, and stayed in that general groove. Singer relocated to Paris in 1965, winning over European audiences with his hearty blowing and engaging in quite a bit of session work with visiting blues and jazz luminaries. The old R&B fire flared up temporarily in 1990, when he cut Royal Blue for Black Top with boogie piano specialist Al Copley.

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Biografía del artista por Bill Dahl

Igualmente en casa, con un excelente R&B o un sabroso jazz, Hal "Cornbread" Singer ha jugado y grabado ambos durante una carrera que abarca más de medio siglo. Singer aprendió su primera experiencia como hornman con varias bandas del territorio del Suroeste, incluidos los equipos de Ernie Fields, Lloyd Hunter y Nat Towles. Llegó a Kansas City en 1939, trabajando con el pianista Jay McShann (cuya sección de saxofón también incluía a Charlie Parker), antes de aventurarse a Nueva York, en 1941, y tocar con Hot Lips Page, Earl Bostic, Don Byas y Roy Eldridge ( con quien grabó por primera vez en 1944). Después del final de la guerra, Singer firmó con la orquesta de Lucky Millinder.

Singer acababa de cumplir con la ambición de su vida, una silla en la prestigiosa sección de caña de Duke Ellington, en 1948, cuando comenzó a despegar un instrumental de R&B llamado "Cornbread" que recientemente había elegido para Savoy como líder. Eso presentaba un dilema desgarrador para el joven saxista, pero al final, su decisión de salir por su cuenta dio sus frutos; "Cornbread" estuvo en el ritmo de las listas de R&B durante cuatro semanas y le dio su apodo perdurable. Otro de sus instrumentos de Savoy, "Beef Stew", también rompió las listas de R&B.

Singer grabó los entrenamientos de R&B para Savoy en 1956 (el motivo de la cocina resultó en "Neck Bones", "Rice and Red Beans" y "Hot Bread"), trabajando con sidemen, incluidos los pianistas Wynton Kelly y George Rhodes, el guitarrista Mickey Baker , el bajista Walter Page, y el baterista Panama Francis. Una de sus últimas fechas para la firma produjo el tórrido "Rock 'n' Roll", que puede haber presentado a Singer como vocalista y saxista.

A finales de los años 50, Singer había abandonado el rock & roll por una vida como saxista de jazz. Grabó para Prestige de una manera más moderada en 1959, y se mantuvo en ese ritmo general. Singer se mudó a París en 1965, conquistando a las audiencias europeas con su buen corazón y participando en un poco de trabajo de sesión con visitantes de luminarias de blues y jazz. El antiguo incendio de R&B estalló temporalmente en 1990, cuando cortó Royal Blue para Black Top con el especialista en pianos Al Copley.