Bobby Forrester • Bobby's Blues

Bobby Forrester was one of the greats of the Hammond Organ in Jazz and Rhythm and Blues. He worked for years with countless legends of Black music, from Lena Horne to Ruth Brown and everyone in between. However his life was tragically cut short at the ag Recording information: 1993. Personnel: Bobby Forrester (Hammond b-3 organ); William Ash (guitar); Joseph "G Clef" Cavaseno (alto saxophone); Clarence "Tootsie" Bean (drums)

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Bobby Forrester fue uno de los grandes del Órgano Hammond en Jazz y Rhythm and Blues. Trabajó durante años con innumerables leyendas de la música negra, desde Lena Horne hasta Ruth Brown y todos los demás. Sin embargo, su vida fue trágicamente truncada en el registro. Información de grabación: 1993. Personal: Bobby Forrester (órgano Hammond b-3); William Ash (guitarra); Joseph "G Clef" Cavaseno (saxofón alto); Clarence "Tootsie" Bean (batería) 

Roy Eldridge • Roy's Got Rhythm

 

Review by Scott Yanow
Between his Paris sessions of 1950 and 1951 for Vogue, trumpeter Roy Eldridge traveled to Sweden and recorded nine spirited selections for Metronome which were reissued on this EmArcy LP. None of Eldridge's sidemen (except for clarinetist Ove Lind who is just on two songs) gained much of a reputation outside of Sweden, but they fare well during these fairly basic performances which are based in swing but also influenced a little by early rhythm & blues. Highlights include "The Heat's On," the two-part "Saturday Nite Fish Fry," "School Days," "Echoes of Harlem" and a pair of numbers that feature Charles Norman on harpsichord. A bit of a collector's item, this LP will be difficult to find.
https://www.allmusic.com/album/roys-got-rhythm-mw0000870385

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Reseña de Scott Yanow
Entre sus sesiones de París de 1950 y 1951 para Vogue, el trompetista Roy Eldridge viajó a Suecia y grabó nueve selecciones animadas para Metronome que fueron reeditadas en este LP de EmArcy. Ninguno de los acompañantes de Eldridge (excepto el clarinetista Ove Lind, que solo está en dos canciones) ganó mucha reputación fuera de Suecia, pero les va bien durante estas actuaciones bastante básicas que se basan en el swing pero también están influenciadas un poco por el rhythm & blues temprano. Los aspectos más destacados incluyen "The Heat's On", las dos partes "Saturday Nite Fish Fry", "School Days", "Echoes of Harlem" y un par de números que presentan a Charles Norman en el clavicordio. Un poco de un artículo de coleccionista, este LP será difícil de encontrar.
https://www.allmusic.com/album/roys-got-rhythm-mw0000870385

Steve Moore & Dart Zubis • Tres Chouette

 

A unique and intriguing collaboration of jazz guitar and jazz accordion, brought to life by Los Angeles studio musicians. Solid standards mixed with inspired originals. Exquisitely performed.

Fascinating interplay and harmony give intriguing voice to the unusual collaboration of guitar and accordion. Creative arrangements and talented artistry combine to deliver an inspired performance of standards and originals from a unique musical perspective.

Steve Moore is a talented jazz guitarist and music producer with a wide range of experience in musical performance, composition and recording.

A graduate of New York University, Steve attended the Brooklyn Conservatory of Music and studied privately with guitar luminaries Barry Galbraith, Jim Hall, and Charlie Bird. While in New York, he played for Broadway Musicals and performed throughout the greater metropolitan area.

Steve left New York to teach at the University of Arizona in Tucson. While there, he studied classical guitar and gave numerous recitals throughout the southern Arizona area. It was during this time that he began to establish his interest and love for jazz.

In Los Angeles, Steve established a reputation for lyrical and melodic playing that has kept him in demand as an accomplished band leader, accompanist, and soloist. He has recorded and performed with many notables, including Randy Crawford, Ray Anthony, Charo, Florence Henderson, Jack Jones, Rita Moreno, Jim Nabors, Bernadette Peters, and Della Reese.

Steve is the owner of First Take Productions, a company specializing in recording for television, radio, and original CDs. Steve's last two albums, "Another Time, Another Place" and "Guitar after Six" were produced, arranged and engineered in the First Take Productions studio.

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Una única e intrigante colaboración de guitarra de jazz y acordeón de jazz, que cobra vida gracias a los músicos de estudio de Los Ángeles. Estándares sólidos mezclados con originales inspirados. Exquisitamente interpretado.

Fascinante interacción y armonía dan una voz intrigante a la inusual colaboración de la guitarra y el acordeón. Arreglos creativos y arte talentoso se combinan para ofrecer una interpretación inspirada de estándares y originales desde una perspectiva musical única.

Steve Moore es un talentoso guitarrista de jazz y productor musical con una amplia experiencia en interpretación, composición y grabación musical.

Graduado de la Universidad de Nueva York, Steve asistió al Conservatorio de Música de Brooklyn y estudió en forma privada con luminarias de la guitarra como Barry Galbraith, Jim Hall y Charlie Bird. Durante su estancia en Nueva York, tocó para Broadway Musicals y actuó en toda el área metropolitana.

Steve dejó Nueva York para enseñar en la Universidad de Arizona en Tucson. Allí estudió guitarra clásica y dio numerosos recitales en el sur de Arizona. Fue durante este tiempo que comenzó a establecer su interés y amor por el jazz.

En Los Ángeles, Steve se forjó una reputación por la interpretación lírica y melódica que le ha mantenido en la demanda como un consumado líder de banda, acompañante y solista. Ha grabado y tocado con muchos notables, incluyendo Randy Crawford, Ray Anthony, Charo, Florence Henderson, Jack Jones, Rita Moreno, Jim Nabors, Bernadette Peters y Della Reese.

Steve es el dueño de First Take Productions, una compañía especializada en grabaciones para televisión, radio y CDs originales. Los dos últimos álbumes de Steve, "Another Time, Another Place" y "Guitar after Six" fueron producidos, arreglados y diseñados en el estudio de First Take Productions.

Don Bagley • Jazz on the Rocks

Review by Ken Dryden
Don Bagley was better known as a sideman than a leader during the 1950s, touring with Stan Kenton and recording with the likes of Nat King Cole and Dexter Gordon. This is the second of just three records the bassist made as a leader, with a lineup of rising young stars including Phil Woods, Eddie Costa, Sal Salvador, and Charlie Persip. All six tracks are originals by Bagley, starting with the perky "Batter Up." The leader and the drummer set up the exotic groove to "Come Out Swingin'," which features a superb solo by Woods. "Odd Man Out" spotlights Bagley, with some delicate background accompaniment by Costa on piano. Costa switches to vibes for the driving bop vehicle "Bull Pen" and the playful "Hold in There." Originally recorded for Regent and reissued by Savoy on LP, this album finally reappeared in 1999 as a CD on the Spanish Blue Moon label.
https://www.allmusic.com/album/jazz-on-the-rocks-mw0000614306

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Reseña de Ken Dryden
Don Bagley era más conocido como sideman que como líder durante los años 50, haciendo giras con Stan Kenton y grabando con gente como Nat King Cole y Dexter Gordon. Este es el segundo de los tres discos que el bajista grabó como líder, con una alineación de jóvenes estrellas en ascenso, incluyendo a Phil Woods, Eddie Costa, Sal Salvador y Charlie Persip. Los seis temas son originales de Bagley, comenzando con el alegre "Batter Up". El líder y el baterista crearon el exótico ritmo de "Come Out Swingin'", que cuenta con un magnífico solo de Woods. "Odd Man Out" se centra en Bagley, con un delicado acompañamiento de fondo de Costa al piano. Costa cambia a las vibraciones para el vehículo de bop "Bull Pen" y el juguetón "Hold in There". Originalmente grabado para Regent y reeditado por Savoy en LP, este álbum finalmente reapareció en 1999 como un CD en el sello español Blue Moon.
https://www.allmusic.com/album/jazz-on-the-rocks-mw0000614306

Blue Moon Jazz ...   

Subversive Soundsː Race and the Birth of Jazz in New Orleans

 

Subversive Sounds probes New Orleans’s history, uncovering a web of racial interconnections and animosities that was instrumental to the creation of a vital American art form—jazz. Drawing on oral histories, police reports, newspaper accounts, and vintage recordings, Charles Hersch brings to vivid life the neighborhoods and nightspots where jazz was born.
This volume shows how musicians such as Jelly Roll Morton, Nick La Rocca, and Louis Armstrong negotiated New Orleans’s complex racial rules to pursue their craft and how, in order to widen their audiences, they became fluent in a variety of musical traditions from diverse ethnic sources. These encounters with other music and races subverted their own racial identities and changed the way they played—a musical miscegenation that, in the shadow of Jim Crow, undermined the pursuit of racial purity and indelibly transformed American culture.
“More than timely . . . Hersch orchestrates voices of musicians on both sides of the racial divide in underscoring how porous the music made the boundaries of race and class.”—New Orleans Times-Picayune

 

 

 Charles B. Hersch (Autor)