Cookin On 3 Burners • Soul Messin

 Artist Biography by Rob Wacey

Comprising additional elements of jazz and street soul, Cookin’ on 3 Burners are a prestigious R&B group hailing from Melbourne, Australia. Originally made up of Hammond organ player Jake Mason, guitarist Lance Ferguson, and drummer Ivan Khatchoyan, the trio formed in 1997 after discovering they shared similar tastes in sound and genre. The three friends decided to form the band with traditional '50s- and '60s-era jazz and soul as its foundation, unified by the eclectic and prominent use of the Hammond organ, which went on to become one of the most definitive aspects of their sound; so much so that the group was also exclusively referred to as the "Hammond organ trio." The ensemble released their first 7" single, "Gravel Rash/Pie Warmer" on the Bamboo Shack label, eventually going on to join the roster of revered U.K. label, Freestyle, which put out their full-length debut, Baked, Broiled & Fried, in 2007. The trio then went on to tour and perform alongside a vast array of household acts such as Alice Russell, Quantic, Fat Freddy's Drop, and Sharon Jones & the Dap Kings. Sometime thereafter, Ferguson left the group to focus on his own funk project, the Bamboos, and was replaced by Dan West. They released their second effort, Soul Messin’, in 2009 to huge success. The record received praise for its funk-infused and highly original cover of Gary Numan's monster hit, "Cars" while the album’s lead single, "This Girl," reached the number one spot on the U.K. iTunes R&B Chart. The group then returned in 2014 with their third record, Blind Bet, which met with further acclaim, most notably for its innovative use of string and horn arrangements, and an impressive host of featured artists including Daniel Merriweather, the Bamboos' vocalist Kylie Auldist, and the Cruel Sea frontman Tex Perkins. They went on to collaborate with Perkins once more on the 2015 single "The Writing’s on the Wall," which saw the group combine their trademark soul and jazz sound with Perkins’ widely recognized swampy blues-rock stylings. It was around this time that the group began working with the Australian hip-hop artist Mantra. The collaboration took the band in a new direction, introducing more hip-hop-based tempos and funk electro vibes to their mixes. Cookin' on 3 Burners continued to branch out further with their collaborations, working with prominent French electronic producer Kungs on a reworking of "This Girl," which also saw chart success in 2016.

https://www.allmusic.com/artist/cookin-on-3-burners-mn0001541453/biography

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 Biografía del artista por Rob Wacey

Con elementos adicionales de jazz y soul callejero, Cookin' on 3 Burners es un prestigioso grupo de R&B de Melbourne, Australia. Originalmente formado por el organista de Hammond Jake Mason, el guitarrista Lance Ferguson y el baterista Ivan Khatchoyan, el trío se formó en 1997 tras descubrir que compartían gustos similares en sonido y género. Los tres amigos decidieron formar la banda con el jazz y el soul tradicionales de los años 50 y 60 como base, unificados por el uso ecléctico y prominente del órgano Hammond, que se convirtió en uno de los aspectos más definitivos de su sonido; hasta el punto de que el grupo también fue conocido exclusivamente como el "trío de órgano Hammond". El conjunto lanzó su primer sencillo de 7", "Gravel Rash/Pie Warmer" en el sello Bamboo Shack, y con el tiempo se unió a la lista de la prestigiosa discográfica británica Freestyle, que lanzó su debut de larga duración, Baked, Broiled & Fried, en 2007. El trío continuó su gira y actuó junto a una gran variedad de actuaciones familiares como Alice Russell, Quantic, Fat Freddy's Drop, y Sharon Jones & the Dap Kings. Algún tiempo después, Ferguson dejó el grupo para centrarse en su propio proyecto de funk, los Bamboos, y fue reemplazado por Dan West. En 2009 lanzaron su segundo esfuerzo, Soul Messin', con un gran éxito. El disco recibió elogios por su portada altamente original e infundida del éxito monstruoso de Gary Numan, "Cars", mientras que el sencillo principal del álbum, "This Girl", alcanzó el primer puesto en la lista de éxitos de iTunes R&B Chart en el Reino Unido. El grupo regresó en 2014 con su tercer disco, Blind Bet, que recibió más elogios, sobre todo por su innovador uso de arreglos de cuerdas y trompa, y una impresionante cantidad de artistas destacados, entre ellos Daniel Merriweather, la vocalista de los Bamboos Kylie Auldist, y el frontman Tex Perkins, del Cruel Sea. Siguieron colaborando con Perkins una vez más en el sencillo de 2015 "The Writing's on the Wall", en el que el grupo combinó su característico sonido soul y jazz con el ampliamente reconocido estilo blues-rock de Perkins. Fue en esta época cuando el grupo comenzó a trabajar con el artista de hip-hop australiano Mantra. La colaboración llevó a la banda en una nueva dirección, introduciendo más tempos basados en el hip-hop y electro vibras funk en sus mezclas. Cookin' on 3 Burners siguió ampliando sus colaboraciones, trabajando con el destacado productor francés de electrónica Kungs en la reelaboración de "This Girl", que también tuvo éxito en 2016.

https://www.allmusic.com/artist/cookin-on-3-burners-mn0001541453/biography

www.cookinon3burners.com ...

  

Manu Katché • Manu Katché

 

 Drummer Manu Katche blossomed as a contemporary jazz drummer and band leader, emerging in the mid-2000s after having played with his share of popular musicians. Born in Saint Maur Des Fossés, France on October 27, 1958, he studied classical piano at age seven in Paris, and at age 15 enrolled at the Conservatorie Nationale de Paris. He then became a session and concert drummer with a wide range of groups, but in the mid-'80s, Katche's stock rose considerably, thanks to his involvement with the touring and recording projects of Peter Gabriel and Sting. A French debut CD It's About Time was followed by a string of engagements as a backup musician. The impressive roster of artists he has played with include Joni Mitchell, Gloria Estefan, Johnny Hallyday, Michael McDonald, Simple Minds, Afro Celt Sound System, Jeff Beck, Al DiMeola, Tears for Fears, Dire Straits, Jan Garbarek, Loreena McKennitt, Youssou N'Dour, Robbie Robertson, Joe Satriani, Tori Amos, Richard Wright, Julia Fordham, the Bee Gees, Joan Armatrading, Tracy Chapman, Bob James and Hilary James, Gipsy Kings, Anna Marie Jopek, Black Eyed Peas, Kyle Eastwood, and David Lanz. After issuing a demo for the Zildjian cymbal company in 1999, he joined the ECM stable of artists., releasing his breakout recording Neighbourhood, with help from labelmates Jan Garbarek, Tomasz Stanko, and Stanko bandmembers Marcin Wasilewski and Slawomir Kurkiewicz. Katche's ECM follow-up Playground came out in 2007 with assistance from saxophonist Trygve Seim and trumpeter Mathias Eick. Katche has also worked with popular Croatian singer Gibonni on his albums Mirakul (2001) and Unca Fibre (2006). From 2003 to 2007, Katche, producer Dove Attia, composer André Manoukian, and singer Marianne James comprised the judges panel for Nouvelle Star, the French Television version of American Idol. He has performed on film soundtracks Quand Les Etoiles, Le Demenagement, Mookies, Zone Franche, The Professional and For the Love of the Game. Since January 2008, he hosts the monthly program One Shot Not.

www.manu-katche.com ...

Cliff Jordan • Cliff Craft

  

 Clifford Jordan's Cliff Craft (1957) is a vehicle for his warm, powerful tenor sax. Jordan was not the flashiest player in the Blue Note stable, but he exuded confidence with every note. It seems likely that he was aware of Sonny Rollins as a stylist, but he was also looking further back to Charlie Parker and Coleman Hawkins. In 1957 Jordan was still working through his influences on his way to his own sound, but he had a huge presentation that must have made him an exciting player to see live. On this date, Jordan was joined by the magnificent—if ill- fated— Sonny Clark, who always structured his blues with unusual dexterity and originality, as well as the great Art Farmer on trumpet.

As a Van Gelder recording, Cliff Craft has one unusual feature. It was recorded in 1957, the first year stereo was widely employed. The date pushes both horns to the far left, instead of the more common split arrangement. The piano is nicely recessed into the stage, and is as fully realized as any in this catalog. The walking bass line on "Soul-Lo Blues" is forward in the mix with a terrific "thwack," and the cymbals have a widely dispersed ringing tone to them. Overall this is an excellent recording with smooth, detailed sound and terrific instrument definition.     

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 Cliff Craft (1957) de Clifford Jordan es un vehículo para su cálido y poderoso saxo tenor. Jordan no era el intérprete más llamativo de la casa Blue Note, pero desprendía confianza en cada nota. Es probable que conociera a Sonny Rollins como estilista, pero también miraba más atrás, a Charlie Parker y Coleman Hawkins. En 1957 Jordan todavía estaba trabajando con sus influencias en su camino hacia su propio sonido, pero tenía una enorme presentación que debió hacer de él un jugador emocionante de ver en vivo. En esta fecha, a Jordan se le unió el magnífico -aunque malogrado- Sonny Clark, que siempre estructuró su blues con inusual destreza y originalidad, así como el gran Art Farmer a la trompeta.

Como grabación de Van Gelder, Cliff Craft tiene una característica inusual. Se grabó en 1957, el primer año en que se empleó ampliamente el estéreo. La fecha empuja las dos trompas al extremo izquierdo, en lugar de la disposición dividida más común. El piano está muy bien empotrado en el escenario, y es tan completo como cualquiera de este catálogo. La línea de bajo en "Soul-Lo Blues" se encuentra en la mezcla con un excelente "thwack", y los platillos tienen un tono muy disperso. En general, se trata de una grabación excelente con un sonido suave y detallado y una excelente definición de los instrumentos.     

Mitch Towne • Refuge

 

Review from All About Jazz (by Kyle Simpler):
After organ trios came to prominence during the 1950s, jazz groove has never been the same. Performers like Jack McDuff, Jimmy McGriff, and most notably Jimmy Smith introduced a new level of soul to jazz music. With Refuge, organist Mitch Towne makes a compelling debut as a leader, adding his name to a who's who of groovemakers.

Towne's work as a sideman gives him the ethos to warrant serious attention. His resume includes work with everyone from Terrace Martin and Buddy Miles to Dave Stryker and Tom Scott, and Refuge shows the breadth of those experiences. But this is no session player stepping out for a quick solo project — it is a full artistic statement, rooted in tradition but looking ahead.

Refuge offers a tightly focused and creatively executed album that places the Hammond B-3 front and center, paying homage to players who influenced him, while bringing a unique sound to the forefront. The focus here is more on innovation than nostalgia; the result is pure groove satisfaction. Working with guitarist Tetsuya Nishiyama and drummer Jeffery Johnson, Towne delivers seven tracks of modern organ trio jazz, with enough emotion, swing, and funk to keep the party going.

The musicians joining Towne are each in top form. Nishiyama's guitar lines are crisp, harmonically daring, and perfectly balanced between rhythmic comping and lyrical soloing. Johnson, a veteran drummer, swings hard without overplaying, providing just the right propulsion and tasteful playing.

From the onset, Refuge makes its mission clear: this trio is not retracing well-worn paths, but carving fresh ones through modern jazz territory. With the legacy of Jimmy Smith and Joey DeFrancesco hovering in the wings, Towne's compositions draw equally from the harmonic richness of Wayne Shorter, the rhythmic punch of hard bop, and the exploratory attitude of players like Larry Young and Big John Patton. His writing favors fresh chord changes, unexpected meters, and melodic lines that leave room for deep improvisational interplay, which is a particular strength of this group.

The opener, "Wolverine," burns with energy in a fast-paced trio cut highlighting Towne's command as a soloist and supporting player. The title track, "Refuge," slows the tempo and deepens the mood, gesturing toward Wayne Shorter in its spacious theme and underlying tension. "Ode to Kenny," inspired by Kenny Garrett, brings a blues-funk edge to the mix, while "Better Now Than Never At All" plays it more relaxed, with Nishiyama's guitar slightly reminiscent of John Scofield's approach: just slightly behind the beat, but never lazy.

Kenny Kirkland's "Steepian Faith" is the album's sole cover, and Towne treats it with reverence and urgency. The composition's angular contours and dense voicings suit his modern sensibility, making it a natural inclusion. The dreamlike "Some Work Of Noble Note May Yet Be Done," with its ethereal shimmer, may be the most surprising moment here, a reminder of the Hammond organ's versatility in the right hands.

With Refuge, Mitch Towne does not just enter the modern jazz organ conversation — he expands it. For jazz organ enthusiasts, this is just what the doctor ordered: plenty of soul and swing with a healthy dose of "vitamin" B-3.
https://www.allaboutjazz.com/refuge-mitch-towne-cross-towne-records

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Reseña de All About Jazz (por Kyle Simpler):
Desde que los tríos de órgano cobraron protagonismo en los años 50, el groove del jazz nunca volvió a ser el mismo. Intérpretes como Jack McDuff, Jimmy McGriff y, sobre todo, Jimmy Smith introdujeron un nuevo nivel de alma en la música jazz. Con Refuge, el organista Mitch Towne hace un convincente debut como líder, añadiendo su nombre a la lista de maestros del groove.

El trabajo de Towne como sideman le otorga la autoridad para merecer atención seria. Su currículum incluye colaboraciones con artistas tan diversos como Terrace Martin y Buddy Miles, Dave Stryker y Tom Scott, y Refuge muestra la amplitud de esas experiencias. Pero esto no es un músico de sesión dando un paso al frente para un proyecto solista rápido — es una declaración artística plena, arraigada en la tradición pero mirando hacia adelante.

Refuge ofrece un álbum concentrado y ejecutado con creatividad que coloca al Hammond B-3 en primer plano, rindiendo homenaje a los músicos que lo influyeron y aportando a la vez un sonido único. El enfoque aquí está más en la innovación que en la nostalgia; el resultado es pura satisfacción de groove. Trabajando con el guitarrista Tetsuya Nishiyama y el baterista Jeffery Johnson, Towne entrega siete temas de jazz moderno de trío de órgano, con suficiente emoción, swing y funk para mantener la fiesta en marcha.

Los músicos que acompañan a Towne están cada uno en plena forma. Las líneas de guitarra de Nishiyama son nítidas, armónicamente atrevidas y perfectamente equilibradas entre el acompañamiento rítmico y el solo lírico. Johnson, baterista veterano, swingea con fuerza sin exagerar, aportando la propulsión justa y un toque elegante.

Desde el inicio, Refuge deja clara su misión: este trío no está recorriendo caminos trillados, sino trazando otros nuevos a través del territorio del jazz moderno. Con el legado de Jimmy Smith y Joey DeFrancesco sobrevolando en las alas, las composiciones de Towne beben a partes iguales de la riqueza armónica de Wayne Shorter, el punch rítmico del hard bop y la actitud exploradora de músicos como Larry Young y Big John Patton. Su escritura favorece acordes frescos, compases inesperados y líneas melódicas que dejan espacio para un profundo interplay improvisatorio, que es una fortaleza particular de este grupo.

El tema de apertura, "Wolverine," arde con energía en un corte de trío a tempo rápido que destaca el dominio de Towne como solista y músico de apoyo. El tema titular, "Refuge," ralentiza el tempo y profundiza el estado de ánimo, evocando a Wayne Shorter en su tema espacioso y su tensión subyacente. "Ode to Kenny," inspirado en Kenny Garrett, aporta un toque blues-funk, mientras que "Better Now Than Never At All" es más relajado, con la guitarra de Nishiyama que recuerda ligeramente el enfoque de John Scofield: apenas por detrás del beat, pero nunca perezoso.

"Steepian Faith" de Kenny Kirkland es el único cover del álbum, y Towne lo trata con reverencia y urgencia. Los contornos angulares y las densas voicings de la composición se adaptan a su sensibilidad moderna, convirtiéndola en una inclusión natural. El onírico "Some Work Of Noble Note May Yet Be Done," con su brillo etéreo, puede ser el momento más sorprendente del disco, un recordatorio de la versatilidad del órgano Hammond en las manos adecuadas.

Con Refuge, Mitch Towne no solo entra en la conversación del jazz de órgano moderno — la expande. Para los entusiastas del jazz de órgano, esto es exactamente lo que el médico ordenó: mucha alma y swing con una buena dosis de "vitamina" B-3.
https://www.allaboutjazz.com/refuge-mitch-towne-cross-towne-records

 

mitchtowne.hearnow.com ...

Eddie Costa • Guys & Dolls Like Vibes

Biography by Ken Dryden
Eddie Costa emerged from an unlikely background into a heralded -- if too brief -- career in jazz. Born in a rural coal mining town, Costa studied piano with his brother Bill and developed a taste for the swing greats; later, exposure to Bud Powell turned him to bop. Self-taught on vibes, Costa became known as an excellent sight reader, which produced a lot of studio work. On piano, his trademark sound was the emphasis of the middle and lower registers while nearly ignoring the top two octaves. In addition to recording as a sideman with Tal Farlow, Woody Herman, Johnny Smith, the Bob Brookmeyer-Clark Terry Quintet, and Bill Evans, Costa led his own trio and quintet dates. Sadly, most of Costa's recorded output remains unavailable on CD, with the notable exception of the VSOP reissue of his Quintet LP. Costa died when his car careened off of a busy New York parkway in 1962.
https://www.allmusic.com/artist/eddie-costa-mn0000793779#biography

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Biografía de Ken Dryden
Eddie Costa emergió de un trasfondo improbable hacia una anunciada, aunque demasiado breve, carrera en el jazz. Nacido en un pueblo rural minero de carbón, Costa estudió piano con su hermano Bill y desarrolló un gusto por los grandes del swing; más tarde, la exposición a Bud Powell lo convirtió en bop. Autodidacta en vibes, Costa se hizo conocido como un excelente lector visual, lo que produjo una gran cantidad de trabajo de estudio. En el piano, su sonido característico era el énfasis en los registros medio e inferior, mientras que casi ignoraba las dos octavas superiores. Además de grabar como acompañante con Tal Farlow, Woody Herman, Johnny Smith, el quinteto Bob Brookmeyer-Clark Terry y Bill Evans, Costa dirigió sus propias fechas de trío y quinteto. Lamentablemente, la mayor parte de la producción grabada de Costa sigue sin estar disponible en CD, con la notable excepción de la reedición en VSOP de su LP de Quinteto. Costa murió cuando su automóvil se salió de una concurrida avenida de Nueva York en 1962.
https://www.allmusic.com/artist/eddie-costa-mn0000793779#biography