Ari Borger & Igor Prado • Lowdown Boogie

 

Ari Borger is the main Blues-Jazz&Soul pianist and organist in Brazil. Influenced by his American mother, he grew up listening to the Blues and Jazz masters.He fell in love with piano when he was nine years old, starting his studies with classical music. At sixteen he was already touring all around his county playing at the most important festivals.

Ari lived in New Orleans and there he performed at the most popular places, such as House of Blues and Tipitina’s. In Brazil he played at the biggest blues and jazz festivals, sharing evenings with B.B. King, Pinetop Perkins, Marcus Miller and Johnnie Johnson. A dip in the roots of the Blues, Boogie Woogie and Soul is presented in his show through a sound flawless, dosing feeling and virtuosity.

Borger is the pioneer of the genre in his country, his music achieves something very difficult, ring true and authentic, without “decorate” lines when improvising, sometimes sounding sweet, and incendiary in others.
In 2011 and 2013 he played at the biggest and most important piano blues stage in USA, the
Hall of Fame Boogie Woogie Stage, at the Cincy Blues Fest, together with the most prestige players in the world.

He also toured with his group to several countries in Europe, like Austria, Hungary, Slovênia, Romênia and Croatia. Recorded and played with the West Coast Blues genius Junior Watson, Sax Gordon, Mud Morganfield Jr, Linwood Slim and many others blues legends. He has released seven álbuns, with great and enthusiastic complements by specialized critics. Borger sounds modern and vintage at the same time, authentic and full of personality, this is Ari Borger, Listen and fell it!!!
https://ariborger.com/novo-site/?page_id=647

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Ari Borger es el principal pianista y organista de Blues-Jazz&Soul de Brasil. Influido por su madre americana, creció escuchando a los maestros del Blues y el Jazz.Se enamoró del piano a los nueve años, comenzando sus estudios con la música clásica. A los dieciséis años ya estaba de gira por todo su país tocando en los festivales más importantes.

Ari vivió en Nueva Orleans y allí actuó en los lugares más populares, como House of Blues y Tipitina's. En Brasil tocó en los mayores festivales de blues y jazz, compartiendo veladas con B.B. King, Pinetop Perkins, Marcus Miller y Johnnie Johnson. Una inmersión en las raíces del Blues, Boogie Woogie y Soul se presenta en su espectáculo a través de un sonido impecable, dosificando el sentimiento y el virtuosismo.

Borger es el pionero del género en su país, su música logra algo muy difícil, sonar verdadera y auténtica, sin "decorar" las líneas al improvisar, a veces sonando dulce, e incendiaria en otras.
En 2011 y 2013 tocó en el mayor y más importante escenario de piano blues de EEUU, el
Hall of Fame Boogie Woogie Stage, en el Cincy Blues Fest, junto a los músicos más prestigiosos del mundo.

También realizó una gira con su grupo por varios países de Europa, como Austria, Hungría, Eslovenia, Rumanía y Croacia. Grabó y tocó con el genio del blues de la Costa Oeste Junior Watson, Sax Gordon, Mud Morganfield Jr, Linwood Slim y muchas otras leyendas del blues. Ha publicado siete álbunes, con grandes y entusiastas complementos por parte de la crítica especializada. Borger suena moderno y vintage a la vez, auténtico y lleno de personalidad, esto es Ari Borger, ¡¡¡Escucha y cae!!!
https://ariborger.com/novo-site/?page_id=647
 

ariborger.com ...

 

Leo Wright • Soul Talk

 

Biography by Chris Kelsey
A first-rate bop-oriented alto saxophonist, Wright was also one of the finest flutists jazz has known. He studied saxophone under the tutelage of his father. His first recording was made in 1958 with vibist Dave Pike; the next year, he played the Newport Festival with bassist Charles Mingus' group. Wright joined Dizzy Gillespie's band in 1959, remaining until 1962. In addition to his sideman work, Wright established himself as a leader in the early '60s, leading New York-based bands that included the likes of bassist Ron Carter, pianist Junior Mance, drummer Charlie Persip, and guitarist Kenny Burrell, among others. In 1960, he recorded the record for which he is perhaps best-known -- Blues Shout for the Atlantic label -- with a group consisting of himself, Mance, Persip, bassist Art Davis, and trumpeter Richard Williams. After leaving Gillespie's band, Wright went on to play and record with pianist/composer Lalo Schifrin and organist Jack McDuff; with the latter he recorded Screamin' for the Prestige label. He also worked with composer Antonio Carlos Jobim, trumpeter Johnny Coles, and singer Jimmy Witherspoon before moving to Europe later in the decade. There he worked with pianist/composer George Gruntz and he also played with saxophonist Lee Konitz in an all-star group called Alto Summit and with trumpeter Carmell Jones. Wright eventually moved to Berlin, where he played in a studio band and worked freelance. In May 1978, Wright co-led a studio session in New York City with pianist Red Garland for Muse Records. He essentially retired from music around 1979, before re-emerging in the mid-'80s. In 1986, Wright played gigs with the Paris Reunion Band, which also included trombonist Grachan Moncur III, cornetist Nat Adderley, and pianist Kenny Drew Sr. In the years before his death, Wright worked and recorded with his wife, singer Elly Wright. His autobiography, God Is My Booking Agent, was published posthumously by Bayou Press in the fall of 1991. His last recording was made with his wife on her CD Listen to My Plea.
https://www.allmusic.com/artist/leo-wright-mn0000208857#biography

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Biografía de Chris Kelsey
Wright, saxofonista alto de primera clase orientado al bop, fue también uno de los mejores flautistas que ha conocido el jazz. Estudió saxofón bajo la tutela de su padre. Su primera grabación fue en 1958 con el vibra Dave Pike; al año siguiente, tocó en el Festival de Newport con el grupo del bajista Charles Mingus. Wright se incorporó a la banda de Dizzy Gillespie en 1959, donde permaneció hasta 1962. Además de su trabajo como músico de acompañamiento, Wright se consolidó como líder a principios de los 60, al frente de bandas de Nueva York en las que figuraban, entre otros, el bajista Ron Carter, el pianista Junior Mance, el batería Charlie Persip y el guitarrista Kenny Burrell. En 1960, grabó el disco por el que quizá sea más conocido, Blues Shout para el sello Atlantic, con un grupo formado por él mismo, Mance, Persip, el bajista Art Davis y el trompetista Richard Williams. Tras abandonar la banda de Gillespie, Wright tocó y grabó con el pianista y compositor Lalo Schifrin y el organista Jack McDuff; con este último grabó Screamin' para el sello Prestige. También trabajó con el compositor Antonio Carlos Jobim, el trompetista Johnny Coles y el cantante Jimmy Witherspoon antes de trasladarse a Europa a finales de la década. Allí trabajó con el pianista y compositor George Gruntz y también tocó con el saxofonista Lee Konitz en un grupo de estrellas llamado Alto Summit y con el trompetista Carmell Jones. Wright se trasladó finalmente a Berlín, donde tocó en una banda de estudio y trabajó como freelance. En mayo de 1978, Wright codirigió una sesión de estudio en Nueva York con el pianista Red Garland para Muse Records. Se retiró prácticamente de la música hacia 1979, antes de reaparecer a mediados de los 80. En 1986, Wright actuó con la Paris Reunion Band, integrada también por el trombonista Grachan Moncur III, el cornetista Nat Adderley y el pianista Kenny Drew Sr. En los años anteriores a su muerte, Wright trabajó y grabó con su esposa, la cantante Elly Wright. Su autobiografía, God Is My Booking Agent, fue publicada póstumamente por Bayou Press en otoño de 1991. Su última grabación la realizó con su esposa en el CD Listen to My Plea.
https://www.allmusic.com/artist/leo-wright-mn0000208857#biography

Candido • Latin Fire

 

One of the great Cuban conga players and percussionists to come in the wake of Chano Pozo, he has been a constant source of authentic Afro-Cuban rhythms since his arrival in the early ‘50’s.

Born Candido Camera, 22 April 1921, Havana, Cuba, with no formal musical training, Candido is largely self taught. He originally started playing on bass and guitar, and later began playing bongos and conga drums. He was with Station CMQ Radio Havana for six years, after which, in 1947 to 1952, he worked with Armando Romue at the Tropicana Club in Havana, Cuba. In Oct. 1952, he emigrated to the USA, and after a six week engagement at the Clover Club in Miami (with the 'Night In Havana' show), he traveled to NYC.

There, trumpeter Dizzy Gillespie took him to the Downbeat Club on New York's famed 52nd Street where he sat in with pianist Billy Taylor's group, and worked for the next year with Taylor. The fall of 1954 found him touring with Stan Kenton's band. During 1956-57, he free-lanced in NYC, and was back playing with Dizzy Gillespie's combo in 1958.

Subsequently, Candido was often seen on TV and in nightclubs, both in the US and in Venezuela, Puerto Rico and the Dominican Republic. He has recorded with a great many big names in jazz, pop and Latin fields including Shearing, Kenton, Gillespie, Dinah Washington, Tito Puente, Machito.

He put out three albums under his own name on ABC-Paramount in the late 1950s, playing alongside Dick Hyman, and had later albums on Solid State (mid-1960s), Blue Note (1970), and Polydor (1973). He signed on with the Salsoul label and put out two for them including the 1982 “Jingo,” which was a dancehall hit worldwide. He collaborated with Patato Valdes and Giovanni Hidalgo for the 2000 outing of “The Conga Kings.” This is Candido playing with two other conga masters and the results are excellent, highly recommended for percussion fans.

Now in his eighties, elder statesman Candido Camero shows no sign of slowing down. His touch on congas is sure, his time is solid, his sound is uniquely his own, and his execution is as nimble as that of a man half his age. Heralded as the father of the technique of coordinated independence, Candido has further accomplishments. For one, he pioneered the use of two congas and later three, whereas in past congueros were content with a single drum.
Source: James Nadal
https://musicians.allaboutjazz.com/candidocamero

From Wipipedia
... Camero recorded several albums as a leader for ABC-Paramount in the late 1950s and early 1960s. In the early 1970s, he recorded for the independent jazz label Blue Note Records, before joining the dance music record company Salsoul. With the latter, Camero recorded two albums which were relatively successul and remain in rotation by DJs in the US. In 1979 he released Jingo, a disco-oriented track written by Babatunde Olatunji and recorded on Salsoul Records. This track was also released as a 12" single in June, 1981 in the UK on the Excalibur Record label, running for over 9 minutes, and reached #55 in the BBC Top 75 chart. It was his most successful hit in the UK discos becoming a huge floor filler at that time. In the 2000s, Camero was a member of the Conga Kings alongside Patato and Giovanni Hidalgo. They recorded two albums for Chesky. He recorded another album for Chesky in 2004, Inolvidable, with Graciela, the long-time lead singer for Machito. This album earned a Grammy Award nomination. In 2014, Camero recorded his last album, The Master, also for Chesky. He continued to perform in jazz clubs in New York until the late 2010s.
Death

Camero died on 7 November 2020, at his home in New York. He was 99. His is survived by a daughter, Emerita Camero Dradenes, and a grandson.

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Uno de los grandes conguistas y percusionistas cubanos que siguieron la estela de Chano Pozo, ha sido una fuente constante de auténticos ritmos afrocubanos desde su llegada a principios de los años 50.

Nacido el 22 de abril de 1921 en La Habana (Cuba), Cándido es un autodidacta sin formación musical. Empezó tocando el bajo y la guitarra, y más tarde comenzó a tocar los bongos y la conga. Estuvo en la emisora CMQ Radio Habana durante seis años, tras lo cual, de 1947 a 1952, trabajó con Armando Romue en el Tropicana Club de La Habana, Cuba. En octubre de 1952, emigró a los EE.UU. y, tras un compromiso de seis semanas en el Clover Club de Miami (con el espectáculo "Night In Havana"), viajó a Nueva York.

Allí, el trompetista Dizzy Gillespie le llevó al Downbeat Club de la famosa calle 52 de Nueva York, donde se sentó con el grupo del pianista Billy Taylor, y trabajó durante el año siguiente con Taylor. En el otoño de 1954 estuvo de gira con la banda de Stan Kenton. Durante los años 1956 y 1957, tocó por libre en Nueva York, y volvió a tocar con el combo de Dizzy Gillespie en 1958.

Posteriormente, Cándido fue visto a menudo en la televisión y en los clubes nocturnos, tanto en los Estados Unidos como en Venezuela, Puerto Rico y la República Dominicana. Ha grabado con un gran número de grandes nombres del jazz, el pop y el ámbito latino, como Shearing, Kenton, Gillespie, Dinah Washington, Tito Puente o Machito.

A finales de los años 50 sacó tres álbumes con su propio nombre en ABC-Paramount, tocando junto a Dick Hyman, y posteriormente tuvo álbumes en Solid State (mediados de los años 60), Blue Note (1970) y Polydor (1973). Firmó con el sello Salsoul y sacó dos discos para ellos, entre ellos "Jingo", de 1982, que fue un éxito dancehall en todo el mundo. Colaboró con Patato Valdés y Giovanni Hidalgo en la edición de 2000 de "The Conga Kings". Se trata de Candido tocando con otros dos maestros de la conga y los resultados son excelentes, muy recomendables para los aficionados a la percusión.

A sus ochenta años, el anciano Candido Camero no muestra signos de desaceleración. Su toque en las congas es seguro, su tiempo es sólido, su sonido es único y su ejecución es tan ágil como la de un hombre con la mitad de su edad. Anunciado como el padre de la técnica de la independencia coordinada, Cándido tiene más logros. Por un lado, fue pionero en el uso de dos congas y más tarde de tres, mientras que en el pasado los congueros se contentaban con un solo tambor.
Fuente: James Nadal


De Wikipedia
... Cándido Camero ha compartido escenario con grandes como Machito, Billy Taylor, Count Basie, Duke Ellington, Lionel Hampton, Charlie Parker, Dizzy Gillespie, George Shearing, Stan Kenton, Fania All Stars, Quincy Jones, Charlie Mingus, Ray Charles, Tony Bennett, Tito Puente, Chico O'Farrill, Sonny Rollins, Coleman Hawkins, Celia Cruz, Patato Valdés, Mongo Santamaría y muchísimos más.

Con noventa y seis años y casi setenta de carrera artística, Cándido Camero fue el protagonista de un documental sobre su vida y la historia del jazz afrocubano alrededor de él.

Fallece el 7 de noviembre de 2020 a los noventa y nueve años en su domicilio de El Bronx, Nueva York.

Art Van Damme • Accordion A La Mode & A Perfect Match

The combination of these Art Van Damme albums, Accordion à la Mode and A Perfect Match, provide pleasant interpretations of pop-jazz standards with the accordion as the featured instrument. The familiar melodies of "On Green Dolphin Street," "Poinciana," and "Bye Bye Blackbird" hold up exceptionally well. These LPs were originally released on Columbia Records in the early '60s and had been out of print until Collectables reissued them in 2000.

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La combinación de estos álbumes de Art Van Damme, Accordion à la Mode y A Perfect Match, brindan agradables interpretaciones de los estándares de pop-jazz con el acordeón como el instrumento destacado. Las melodías familiares de "On Green Dolphin Street", "Poinciana" y "Bye Bye Bye Blackbird" se mantienen excepcionalmente bien. Estos LP se lanzaron originalmente en Columbia Records a principios de los años 60 y se agotaron hasta que Collectables los reeditó en 2000.

Paul Bryant • The Blues Message / Burnin’

In the late Fifties organ had earned a place with modern jazz fans, and Paul Bryant [1933-2010] was but one of the latest organists to find an audience. He had a hard-hitting, two-fisted style that exploited the registers to the limit. In this set Bryant was blessed with the illustrious company of tenorist Curtis Amy, guitarist Jim Hall, and budding trombonist Roy Brewster.

On the rhythm section, bassist Clarence S. Jones—alternating with Jimmy Bond—and drummer Jimmy Miller, take care of the timing with devotion and intelligence.

This set includes The Blues Message and Burnin’ — the two albums that launched Bryant and Amy’s recording careers. Tenor man Amy, a member of that masculine school of Texas-born “preachers,” is impressive as a featured co-leader. Hall, thoroughly in the cooking spirit of things, was high-spirited and stirring in his solos, comping and balancing the predominant organ adequately. In these tunes, mostly blues with a soul-searching message (Searchin’ and Still Searchin’), Bryant stomps and hollers and then drifts into the sentimental, creating, at some points, moments of pure, unadulterated truth.

Source: http://www.freshsoundrecords.com/the_blues_message_2_lps_on_1_cd-cd-5467.html

A finales de los años 50 el órgano se había ganado un lugar entre los aficionados al jazz moderno, y Paul Bryant [1933-2010] fue uno de los últimos organistas en encontrar un público. Tenía un estilo contundente, de dos puños, que explotaba los registros hasta el límite. En este conjunto Bryant fue bendecido con la ilustre compañía del tenorista Curtis Amy, el guitarrista Jim Hall y el incipiente trombonista Roy Brewster.

En la sección rítmica, el bajista Clarence S. Jones -alternando con Jimmy Bond- y el baterista Jimmy Miller, se encargan de la sincronización con devoción e inteligencia.

Este set incluye The Blues Message y Burnin' - los dos álbumes que lanzaron las carreras de grabación de Bryant y Amy. El tenor Amy, miembro de esa escuela masculina de "predicadores" nacidos en Texas, es impresionante como co-líder destacado. Hall, con un espíritu de cocinero, era muy animado y conmovedor en sus solos, compaginando y equilibrando adecuadamente el órgano predominante. En estas melodías, en su mayoría blues con un mensaje de búsqueda del alma (Searchin' and Still Searchin'), Bryant pisa fuerte y grita y luego se sumerge en lo sentimental, creando, en algunos puntos, momentos de pura verdad no adulterada.

Fuente: http://www.freshsoundrecords.com/the_blues_message_2_lps_on_1_cd-cd-5467.html