egroj world: noviembre 2014

sábado, 29 de noviembre de 2014

Metropolitan Museum Of Art, 400 jpg HQ

400 imágenes indizadas de Claude Monet, Auguste Renoir, Henri de Toulouse-Lautrec, Paul Gauguin, Camille Pissarro, Vincent van Gogh, Edgar Degas, Jean-Auguste-Dominique Ingres, Camille Corot, Édouard Manet, Paul Cézanne, Eugène Delacroix, Alexandre-Gabriel Decamps, André Giroux, Gustave Courbet, emtre otros.

viernes, 28 de noviembre de 2014

Bill ''Ravi'' Harris & The Prophets • Funky Sitar Man

Review by Sean Westergaard
Bill "Ravi" Harris is the funky sitar man. Ravi Harris & the Prophets play James Brown/Meters-inspired funk with a difference: The main voice on these instrumentals is sitar. It might be viewed as a gimmick -- if it didn't work so well. Harris is never going to make it as a performer of Indian classical music; he hasn't got the chops for that, but his playing on this album is as good as it needs to be (let's face it, Indian classical and instrumental funk require decidedly different skills). Solid bass, syncopated drums, chicken-scratch guitar, and economical organ fills form the backdrop, and the funky sitar rides at the front. They cover both James Brown and the Meters, which are interesting, but the originals are where it's at. This has got to be the greatest album of sitar funk ever (not that there's much competition). Funky Sitar Man is lots of fun, and recommended to fans of late-'60s style funk with open ears.

Elmore James • Something Inside Of Me

Elmore James (27 de enero, 1918 – 24 de mayo de 1963) fue un guitarrista de blues estadounidense, considerado el padre de la bottleneck guitar o slide guitar.
Comenzó su carrera musical en Misisipi junto al armonicista Rice Miller (más conocido como Sonny Boy Williamson), con el que permaneció varios años hasta que consiguió su primer contrato de grabación en 1951. Fue entonces cuando se trasladó a Chicago, donde inició su andadura en solitario acompañado del grupo "The Broomdusters". Falleció el 24 de mayo de 1963 de un ataque al corazón.
Su estilo sin trabas y apasionado se distinguía por el sonido característico del slide blues, que puede apreciarse en canciones como "Dust my broom", "I Believe" o "It hurts me too". El sonido de James ha influenciado a músicos de blues y rock como Jeremy Spencer de Fleetwood Mac, Brian Jones de The Rolling Stones, Alan Wilson de Canned Heat, Stevie Ray Vaughan, Michael Bloomfield, Duane Allman o John Mayall. Es nombrado por los Beatles en la canción For You Blue del disco Let It Be.
Autor de una considerable cantidad de clásicos del blues, muchas de esa piezas fueron posteriormente versionadas por grandes del rock y del blues. “Dust my broom” fue grabado por Fleetwood Mac, “Bleeding Heart” por Jimi Hendrix, “Rollin´n´tumblin” por Canned Heat y Eric Clapton entre otros.


Elmore James was an American blues slide guitarist and singer who recorded from 1951 until 1963. As with most blues artists of his era, James' recordings were issued as two-song record singles in the then-standard ten-inch 78 rpm and seven-inch 45 rpm formats. James recorded for several record companies, beginning with Trumpet Records in 1951. From 1952 to 1956, he recorded for the Bihari brothers, who issued singles on their Meteor, Flair, and Modern labels. From 1959 to 1963, he recorded for Fire Records. Along the way, James also recorded some songs which appeared on Chess Records and Chief Records, and as a sideman.
After his death in 1963, Elmore James' former companies began re-issuing a number of his singles on subsidiaries and leasing them out to other companies. These various labels also began releasing numerous compilation albums, often with significant overlap in song selection. With the advent of compact discs, this trend continued. However, some box sets have appeared that collect most or all of James' recordings for a particular label or time period.

Jimmy McGriff • Let's Stay Together

This McGriff album combines four tracks recorded by a 1972 septet ('Let's Stay Together', 'Tiki', 'Theme From Shaft' and 'What's Going On') with three tracks from a 1966 trio featuring guitarist Thornell Schwartz ('Old Grand Dad', 'Georgia On My Mind' and 'April In Paris')

Stephane Grappelli • Shades of Django

jueves, 27 de noviembre de 2014

Graham Dechter • Takin It There

Review by Ken Dryden
Guitarist Graham Dechter's follow-up to his strong debut recording is another fine effort, utilizing the same rhythm section, consisting of pianist Tamir Hendelman, bassist John Clayton, and drummer Jeff Hamilton. Unlike many young instrumentalists, Dechter isn't one to overplay or sound like a clone of his favorite stylists, allowing the music to breathe and taking full advantage of his skilled supporting cast. Opening with a funky take of Wes Montgomery's infrequently recorded "Road Song," he then turns his attention to Barney Kessel's obscure bluesy bop vehicle "Be Deedle Dee Do," sharing the spotlight with Clayton in a tasty performance. Dechter's breezy interpretation of Antonio Carlos Jobim's "Chega de Saudade [No More Blues]" features his intricate solo. Hamilton is prominent in the fiery take of Lee Morgan's "Hocus Pocus," introducing the piece and taking an extended break as well. Dechter's bluesy side is on display in his spirited rendition of "Come Rain or Come Shine," with judicious use of repeated riffs intermingled into his solo. Clayton contributed the laid-back "Grease for Graham," in which Dechter's soulful playing makes him seem like a seasoned veteran. The guitarist also proves to be a promising composer, contributing the warm ballad "Together & Apart" (which opens with Clayton's warm arco solo), along with the tender "Amanda," the latter of which segues into the standard "Every Time We Say Goodbye."

Hampton Hawes • Everybody Likes Hampton Hawes - The Trio, vol. 3

Review by Scott Yanow
The third of three Hampton Hawes trio dates with bassist Red Mitchell and drummer Chuck Thompson  is on the same high level as his first two. Hawes introduces his "Coolin' the Blues" and "The Sermon," digs into eight standards (including "Somebody Loves Me," "Night In Tunisia" and "Billy Boy") and comes up with consistently creative ideas throughout this swinging bop date.

miércoles, 26 de noviembre de 2014

Jimmy Smith • Verve Jazz Vol. 29

Oscar Peterson & Stephane Grappelli • Skol

Skol - Tivoli Concert Hall, Copenague, Dinamarca 06/07/79

Review by Scott Yanow
Pianist Oscar Peterson and violinist Stephane Grappelli meet up on this Scandinavian concert. The "backup" crew (guitarist Joe Pass, bassist Niels Pedersen and drummer Mickey Roker) is not too bad either. In addition to a closing blues (which is highlighted by tradeoffs from Peterson and Grappelli), the quintet performs five veteran standards with creativity and swing.

Terry Gibbs • Feelin' Good Live In Studio

Review by Michael G. Nastos
Vibraphonist Terry Gibbs invited select guest audience members into a studio for this recording, giving it the club date feel and interaction that usually pumps up the excitement quotient. Gibbs (age 80) also has added to his handpicked band the very exciting organist Joey DeFrancesco, adding more of the chitlin' circuit feel to the proceedings. With guitarist Dan Faehnle and tenor saxophonist Eric Alexander, this elevates the session further to a legitimate classic soul-jazz groove date. While vibes have been used before in this setting, and Gibbs is not the first, it is not typical in contemporary times. Many originals written by Gibbs, a few standards done differently, and the noticeable symmetry between the participants take these recordings to an even different plateau. The band works well together, and except for the sheer amplified volume level on DeFrancesco's organ, no one player dominates. There's some super hot hard bop here, starting with the soul-jazz flavored opener "Smoke 'Em Up" in a similar groove to "Got My Mojo Working," the 250 m.p.h. "Hot Rod" closer with its swirling, circular melody, and "Hey Jim," similar to Charlie Parker's fervent "Cool Blues" that organist Jimmy Smith did so well. "St. Louis Blues" is introduced by drummer Gerry Gibbs (Terry's son) in a bompity bomp Gene Krupa style, then swings out. The Brazilian classic of Antonio Carlos Jobim "Wave" is stripped of its bossa nova melody and replaced with a jazz swing, while conversely the bossa rhythm replaces the swing of "Sugar." The immortal Erroll Garner ballad "Misty" has its familiar time doubled, and trimmed in Latin dress via the conga playing of Ray Armando with all of the front line instrumentalists democratically playing a portion of the melody. Blues is never far from the equation, in a feature for DeFrancesco on the neat and clean take of "Things Ain't What They Used to Be," the relaxed and slow pace of "And That's Why They Call It the Blues," but the out of place, anxious solo from Gibbs during the vibe led version of "This Masquerade" has been done far too often (and boringly at that) to make this listless cover stand out. Feelin' Good is generally an apt title on this collection of tunes from a true all-star group of players, particularly the extraordinary Joey DeFrancesco, the excellent Eric Alexander, and the underrated and still improving Dan Faehnle.

Sam Most • Flute Flight

Sam Most, one of a handful of truly great flute players, is in fine form on this quartet session with pianist Lou Levy, bassist Monty Budwig and drummer Donald Bailey. He has a classic duet with Levy on "It Might as Well Be Spring," plays beautifully on "Last Night When We Were Young," switches to clarinet for "Am I Blue," demonstrates his ability to sing along with his flute on "The Humming Blues" and really cooks during "Flying Down to Rio." A fine all-round showcase for Sam Most's underrated talents.

martes, 25 de noviembre de 2014

Scott Lafaro • '58 Jazz Sessions. Live And Rare

Scott LaFaro left us a very small number of recordings due to his unexpected and untimely death in 1961. He was a genius who developed a revolutionary way of playing the bass. Whether a studio or live recording, they are all worth listening to.
This album consists of three ABC "Stars of Jazz" TV programs as well as a very rare rehearsal session at Bob Andrews' Recordville, the record store belonging to Andrews, the famous devotee of the West Coast jazz scene. All are 1958 performances while Scott was with the Victor Feldman group.


Traducción automática
Scott LaFaro nos dejó un muy pequeño número de grabaciones debido a su muerte inesperada y prematura muerte en 1961. Él era un genio que desarrolló una revolucionaria forma de tocar el bajo. Ya sea un estudio o grabación en directo, todos ellos son vale la pena escuchar. Este álbum se compone de tres "Estrellas del Jazz" ABC programas de televisión, así como una sesión de ensayo muy raro en el Bob Andrews Recordville, la tienda de discos pertenecientes a Andrews, el famoso devoto de la escena del jazz de la Costa Oeste. Todos son 1.958 actuaciones, mientras que Scott estaba con el grupo Victor Feldman.
Bio en español ...

Deep Blue Organ Trio • Wonderful!

Chicago's dynamic Deep Blue Organ Trio returns with their fourth album, this time bringing their singular approach and sound to the music of Stevie Wonder. Influenced deeply and early on by his compositions, artistry and cultural impact, guitarist Bobby Broom, organist Chris Foreman, and drummer Greg Rockingham bring reverence and musical honesty to their interpretations of Tell Me Something Good, Golden Lady, As, and Jesus Children of America, among other gems.

Joel Paterson • Handful of Strings

"I always wanted to make a multi-tracked, Les Paul style recording. I finally finished the darn thing, so here it is, "Handful of Strings" for all you guitar geeks around the world. This album is dedicated to all my guitar heroes, including Les Paul, Buddy Merrill, Jorgen Ingmann, Charlie Christian, Chet Atkins, Merle Travis, Jimmy Bryant, Jimmy Day, Jerry Byrd, Freddie King, Albert Collins, and too many more to mention here. Thanks for checking it out, hope you all enjoy it!" (~~Joel Paterson)

There once was a time when the “multiple guitar” style of recording flourished, pioneered by Les Paul and carried on by such luminaries as Buddy Merrill and Jorgen Ingmann. With the invention of multi-track recording, the adventuresome guitarist could create lush, swirling guitar orchestras, all overdubbed through a labor-intensive studio process.Somewhere along the way, the multiple guitar recording went out of vogue. Joel Paterson seeks to change all that with this phenomenal release, reviving the lost art of multiple guitar recording with “Handful of Strings,” the best album of its kind since Buddy Merrill left the Lawrence Welk Show.
Paterson is a monster player from Chicago who seems to soak up all the great American music styles like a sponge, and you’ll hear them all here, from jazz to blues to country and rock—and even funk.“Handful of Strings” is essential listening for any guitar geek and a must for anybody who digs guitars and guitar music. All hail Joel Paterson, Chicago’s guitar geek extraordinaire! (~~Deke Dickerson from Original Liner Notes)

Dengue Fever • Sleepwalking Through The Mekong

Review ...

El tecladista Ethan Holtzman oriundo de Los Angeles, de viaje por Camboya, se subyuga con el sonido de viejos temas de los sesentas de desconocidos y hasta anónimos grupos locales, lo que le da la idea de recrear dicho sonido en su pais natal. Fruto de ello es Dengue Fever, que aparte de tener una vocalista camboyana, nuestro amigo tecladista fiel al sonido interpreta los temas de la banda con el mítico órgano Farfisa y el Optigan, un teclado de fines de los 60 que utilizaba pistas pregrabadas.

Hampton Hawes • This Is Hampton Hawes Vol. 2, The Trio

viernes, 21 de noviembre de 2014

Hampton Hawes • Hampton Hawes Trio Vol. 1

Byron Lee & The Dragonaires • Jamaica Ska & Other Party Anthems

Harry Stoneham • I Feel Good, I Feel Funky

Ella Mae Morse • Barrelhouse, Boogie And The Blues

Artist Biography by Stephen Thomas Erlewine
One of the most talented and overlooked vocalists of the '40s, Ella Mae Morse blended jazz, country, pop, and R&B; at times she came remarkably close to what would be known as rock & roll. When she wasn't yet 14, Morse had her first taste of the big time, when Jimmy Dorsey's band came to Dallas for a stay at the Adolphus Hotel and she called for an audition. Unbeknownst to her, the band needed a new female vocalist. Believing that Morse was indeed 19, as she and her mother claimed, Dorsey hired her. When he received a letter from the school board declaring that he was responsible for The Morse's care, Dorsey fired her. Morse joined former Dorsey pianist Freddie Slack's band in 1942; she was only 17 when they cut "Cow Cow Boogie," which became Capitol Records' first gold single. The following year, Morse began recording solo. Although her recordings were consistently solid and sold fairly well (frequently charting better on the Black charts than on the pop charts), Morse never obtained a huge following. She retired from recording in 1957, and died of respiratory failure on October 16, 1999.

Rhoda Scott + Kenny Clarke • Jazz In Paris

Review by Steve Leggett
Originally recorded in Paris at a pair of two-day sessions in 1977 and then released as a BarClay Records LP that same year, this fine duo set features the sturdy soul-jazz organ of Rhoda Scott paired with Kenny Clarke on drums, and together they create a remarkably full sound. It is worth noting that two of the best numbers here are Scott originals, "Bitter Street," which opens the album, and the funky "Toe Jam."

T-Model Ford • Taledragger

James Lewis Carter Ford, artísticamente conocido como T-Model Ford1 (19242 - 16 de julio de 2013), fue un músico estadounidense de blues. Comenzó su carrera musical con alrededor de 70 años; grabó regularmente para el sello Fat Possum, y luego se cambió a Alive Naturalsound Records. Su estilo musical combina la crudeza del Delta blues con el Chicago blues y el juke joint blues.


James Lewis Carter Ford (c. early 1920s – July 16, 2013) was an American blues musician, using the name T-Model Ford. Unable to remember his exact date of birth, he began his musical career in his early 70s, and continuously recorded for the Fat Possum label, then switched to Alive Naturalsound Records. His musical style combined the rawness of Delta blues with Chicago blues and juke joint blues styles.

jueves, 20 de noviembre de 2014

Vangelis Blade Runner • 5 Soundtracks: Vangelis, Esper, Gongo,Los Angeles November 2019 & 25th Anniversary Trilogy Editions

La banda sonora de Blade Runner, compuesta por Vangelis, es una combinación melódica y oscura de la composición clásica y los sintetizadores futuristas que reflejan el futuro retro y de cine negro que Ridley Scott imaginó. Vangelis, recién galardonado con el Oscar por Chariots of Fire, compuso y ejecutó la música con sus sintetizadores, a la cual sólo se añade el saxo tenor del músico de jazz británico, Dick Morrissey, colaborador habitual de Vangelis. El paisaje musical de 2019 fue creado dentro del modo espacial de Vangelis en la música New age, como en otros álbumes suyos.

A pesar de la buena acogida por parte del público y la crítica — nominada en 1983 al premio BAFTA y el Globo de Oro como mejor banda sonora original — y la promesa de un álbum con la banda sonora por parte de Polydor Records al final de los títulos de créditos, el lanzamiento de la grabación original se retrasó durante más de una década.

Hay dos publicaciones oficiales de la música de Blade Runner. A consecuencia de la carencia de un lanzamiento del disco, la New American Orchestra grabó una adaptación orquestal en 1982, con poca semejanza a la original. Algunos cortes de la película saldrían en 1989 a partir del recopilatorio Themes, pero no sería hasta la presentación del Director's Cut de 1992 cuando aparecerá una cantidad sustancial de la banda sonora.

Sin embargo, mientras la mayoría de las pistas del álbum eran de la película, había unas cuantas que Vangelis compuso, pero no fueron finalmente utilizadas y algunas nuevas piezas musicales. La mayoría no consideraban esto como una representación satisfactoria de la banda sonora.
Estos retrasos y las pobre reproducciones generaron una cantidad importante de bootlegs durante años. Una de esas cintas piratas apareció en 1982 en las convenciones de ciencia ficción y llegó a ser popular debido al retraso del versión oficial; y en 1993, Off World Music, Ltd. creó un CD pirata que resultaría más extenso que el disco oficial de Vangelis.

Un disco de Gongo Records presentaba el mismo material, pero con una calidad de sonido algo mejor.
En 2003, otros dos bootlegs aparecieron, el Esper Edition, precedido por Los Ángeles - November 2019. El "Esper Edition" contenía dos discos combinando los temas oficiales, lo del disco de Gongo y los propios de la película. Finalmente, "2019" era una compilación, en un sólo disco, que consistía en casi todos los sonidos ambientales de la película, junto algunos sonidos del juego de Westwood "Blade Runner".
Equipamiento e info en inglés ...


Blade Runner (soundtrack)
From Wikipedia, the free encyclopedia
 The Blade Runner soundtrack was composed by Vangelis for Ridley Scott's 1982 film Blade Runner. It is mostly a dark, melodic combination of classical composition and synthesizers which mirrors the futuristic film noir envisioned by Scott. Since the premiere of the film, two official albums have been released containing music omitted from the film and also new compositions featuring a similar style. An orchestral rendition of part of the soundtrack was released in 1982 by the New American Orchestra. However, the original soundtrack album (1994) features vocal contributions from Demis Roussos and the sax solo by Dick Morrissey on "Love Theme" (In the credits on page 3 of the 1994 Atlantic CD, Dick's last name is misspelled as "Morrisey"). The track "Memories of Green" from Vangelis' 1980 album See You Later was also included. A new release made in 2007 includes a disc of new music inspired by the film.
more info from wiki ...


1. Vangelis Edition
2. Esper Edition
3. Gongo Edition
4. Los Angeles November 2019
5. 25th Anniversary Trilogy Edition 3 CDs

Wynder K. Frog • Out Of The Frying Pan

Originally released in 1968, this is the definitive album from Mr Frog, a.k.a. MickWeaver, described as 'Bolton's answer to BOOKER T.' Jazz-rock organ sounds from the late 60s by this UK band, now much beloved of zoot-suited Mods everywhere.
Mick Weaver - a.k.a. Wynder K. Frog: Keyboardist, appearing on lots of albums by fringe-of-the-blues-musicians of this period: Miller Anderson, The Grease Band, Juicy Lucy, The Butts Band, Keef Hartley, Eric Burdon... Also appeared in constellation of Mason, Wood, Capaldi & Frog, i.e. Dave Mason, Chris Wood and Jim Capaldi, all ex-Traffic. The instrumental Wynder K. Frog albums were recorded in the solid company of Dick Heckstall-Smith, Neil Hubbard, Chris Mercer, Alan Spenner...
"Music just cannot swing and groove any more than this. It is pure, vintage soul/jazz, in particular the Bobby Timmons tune, "This Here". Wynder himself leads the band on organ, and the LP includes some hot versions (of) "Jumping Jack Flash", "Green Door", and "The House That Jack Built".

miércoles, 19 de noviembre de 2014

Vibes Alive • After Hours

The vibraphone was developed in the '20's and found soon the way to jazz musicians. Jazz legends like Lionel Hampton, Gary Burton, Milt Jackson, Cal Tjader and Dave Samuels made the instrument popular. In the acid jazz genre interprets are besides the famous Roy Ayers, Roger Beaujolais (The Beaujolais Band, Vibraphonic) and Mike Benn (Duboniks). Vibraphone players of the smooth jazz genre are Michael Ortega and Dirk Richter.

Vibist Dirk Richter joined Randall Crissman, a guitar playing television and movie composer. Both founded the group Vibes Alive called after their first album, which was released in 1997 on Syndrome Records. Guest-musicians on this ambitious album were Jeff Lorber, Luis Conte, Jimmy Johnson, Jimmy Haslip and Carlos Vega. After a long hiatus of eleven years Vibes Alive is back with their sophomore album After Hours (2008). Guests on the new album are Jeff Lorber, Luis Conte, Vinnie Colaiuta, Jimmy Johnson and Gary Meek. According to Dirk Richter, the music is about “going back to the basics of creating music.”

The album starts with the up-tempo Lighthouse. Dirk Richter defines the theme on the vibraphone, while Jeff Lorber answers on the Wurlitzer electric piano. This tune will be released as first single.

After Hours is featuring saxophonist Gary Meek, who accompanies Dirk's performance in a smooth intimate way. Dirk Richter prefers short themes with a hypnotic repetition. These themes are usually the starting point for short solos.

The romantic ballade Hard To Say Goodbye calms down listener's mood. On Lunch Track Jeff Lorber's performs on the Wurlitzer piano and the clavinet. Piano and vibes are complementing each other perfectly.

Tunes like Open Door reveal the brilliant arrangement of all instruments running seamlessly in each other. Sambahia (Samba and Bahia) brings some Brazilian flavor. While Luis Conte and Vinnie Colaiuta hold up the Bossa Nova flag, Dirk Richter (vibes) and Garry Meek (flute) shines with mesmerizing solos.

We can enjoy the luckiest moments in the shady or sunny places of our gardens. In The Garden reminds of these moments with a refreshing melody. Bright Lights features trumpet player Bob Summer, who accompanies Dirk so perfectly that you have to listen closely to recognize that two instrumentalists are performing. Randall Crissmann adds a furious guitar solo with a distortion note.

Like the colorful flower Magnolia grows this tune with all its blooms in your mind. Walk Away streams from a theme, which is repeated by the instruments in swinging and vibrations like church bells.

The final Blew Blues is a short excursion into blues and jazz. A great jam session with much interaction and improvisation. A coherent sound of professional musicians.

We clearly recognize, the return of vibraphone is overdue. After Hours is the first step for the renaissance of vibes. A restoration build by Vibes Alive.

VA • Best of Soul Jazz

01. Herbie Hancock - Cantaloupe Island (05:27)
02. Jimmy McGriff - The Worm (03:19)
03. Jimmy Smith - I Got a Woman (Remastered) (03:54)
04. Sergio Mendes & Brasil '66 - Moanin' (03:03)
05. Donald Byrd - Street Lady (05:39)
06. Cannonball Adderley - Mercy, Mercy, Mercy (Live) (05:06)
07. Roy Ayers - Searching (04:00)
08. Lou Donaldson - Spaceman Twist (Remastered) (05:37)
09. Jimmy Smith - Ogd (05:12)
10. Cal Tjader - Soul Motion (03:07)
11. Ramsey Lewis - Hey Mrs. Jones (04:01)
12. Quincy Jones - Papa's Got a Brand New Bag (02:09)
13. George Benson - Sack O'woe (03:13)
14. The Three Sounds - Repeat After Me (06:41)
15. Bobby Hutcherson - Ummh (07:48)
16. Les McCann - Compared to What? (02:32)
17. Gene Harris - Sittin' Duck (Live) (07:33)
18. Willie Bobo - Stuff (02:40)
19. Chico Hamilton - For Mods Only (04:26)
20. Brother Jack McDuff - Down Home Style (05:05)

VA • Funky Harmonica

Blues Harp Diggers-Funky Harmonica
1.Top Of The Harp - Louis Myers
2.She's A Good Un - Part.1 - Bobby Rush
3.Snatch It Back And Hold It - Junior Wells
4.Juicy Lucy - Jerry McCain
5.Go Go Train (Alt.Take) - Smokey Wilson
6.Feel Good Babe - Frank Frost
7.Hold Me Baby - George"Wild Child"Butler
8.Lets's Work Together - Raful Neal
9.Do IT In The Rain - Buster Benton
10.Big Legged Woman - Jimmy Reed
11.My Back Scratcher - Frank Frost
12.Jelly Jam - George"Wild Child"Butler
13.Soul Spasm - Jerry McCain
14.Big Boss Man (High Energy Version) - Jimmy Reed
15.We're Ready - Junior Wells
16.Tell Me Baby (Alt.Take) - Smokey Wilson
17.Come On Home - ROD Piazza & THE Mighty Fryers
18.Don't Throw Your Love On Me So Strong - Billy Branch & Carlos Johnson
19.Time Is Right - Bernard McGee, The

VA • Heavy Flute, Funky flute grooves

Review by Zac Johnson
A collection of flute pieces from some of the most influential names in jazz, Heavy Flute often relies on material from the '70s. Featured artists include Yusef Lateef, Rahsaan Roland Kirk, Hubert Laws, and Herbie Mann (who opens the album with "Comin' Home Baby" and closes it with his rendition of "Push Push."

Joe Krown Organ Combo • Livin' Large

Instrumental funk/groove album featuring the big sound of the Hammond B-3 organ by the bandleader and Hammond B-3 player Joe Krown, was recorded in New Orleans at the end of 2004.

martes, 18 de noviembre de 2014

Terry Gibbs • It's Time We Met

Great work from Terry Gibbs – an album of all original material, recorded for Mainstream and not nearly as well-known as some of his bigger dates from the old days! The lineup here is a bit unusual – with Nat Pierce playing organ, Sal Nistico on tenor, and Turk Van Lake on guitar – all working with Gibbs in a groove that's a fair bit grittier than most of his other work, almost a soul jazz approach to the vibes at times! The original tracks are all appreciated too – nicely fresh numbers that bring in plenty of tenor and organ grooving. Titles include "We Three", "Bathtub Eyes", "7F", "Settling Down Slow", "The Tweaker", and "No Chops". © Dusty Groove, Inc.

'Papa' John DeFrancesco • Hip Cake Walk

Review by Scott Yanow
Papa John DeFrancesco, the father of organist/trumpeter Joey DeFrancesco and guitarist John DeFrancesco II, is an excellent organist in the style of Jimmy Smith. He did not begin to emerge on records until the 1990s, but has made up for lost time through his High Note recordings. This particular set has plenty of blues (including Lalo Schifrin's "The Cat," "Freddy the Freeloader," "Back at the Chicken Shack," and "Hip Cake Walk") along with a few standards and basic chord changes. DeFrancesco, whose two sons are on some of the selections (with Joey on trumpet) is the main voice throughout. The supporting cast includes the fine if obscure tenor saxophonist Bootsie Barnes. A fun session that is easily recommended to fans of the swinging and bluesy jazz organ.

Jim Mullen Organ Trio • Make Believe

"The classic line-up of organ, guitar and drums, but not what you might be expecting. Instead of the strutting blues and soul of Sixties pioneers, this band goes for subtlety and tonal variety, regularly building up to a kind of subdued, bubbling excitement. It's the perfect setting for Mullen's mellow, soulful guitar and his legendary fluency. He and organist Mike Gorman have evolved a whole new vocabulary, while drummer Matt Skelton supports it all with the lightest of touches. As a welcome bonus, saxophonist Stan Sulzmann guests on three tracks." - Dave Gelly, The Observer

lunes, 17 de noviembre de 2014

VA • True Funk

A good collection of classic funk tracks. 

1. Machine Gun Commodores
2. Who'd She Coo Ohio Players
3. I Want'a Do Something Freaky To You Leon Haywood
4. Fencewalk Mandrill
5. Tell Me Something Good Rufus Chaka Khan
6. Move Your Boogie Body BarKays
7. Don`t Stop The Music Yarbrough Peoples
8. Back And Forth Cameo
9. Keep On Truckin Eddie Kendricks
10. Ms Got The Body Con Funk Shun
11. Bop Gun Parliament
12. Burn Rubber On Me The Gap Band
13. Bustin' Out Rick James
14. I Know You Got Soul Bobby Byrd
15. Ain't It Funky Now James Brown
16. If You Don't Get It The First Time Back Up And Try It Again Party Fred Wesley The JB's
17. Funky Stuff Kool The Gang

1. Super Freak Rick James
2. Dance Wit Me Rufus Chaka Khan
3. Fire Ohio Players
4. I Need Help Bobby Byrd
5. Standing On The Top Temptations Rick James
6. Word Up Cameo
7. I Don't Believe You Want To Get Up And Dance Gap Band
8. Funkytown Lipps Inc.
9. Get Up James Brown
10. Think Lyn Collins
11. Gimme Some More JB's
12. Shake Your Rump To The Funk Bar Kays
13. Ffun Con Funk Shun
14. Tear The Roof Off The Sucker Medley Parliament
15. Boogie Down Eddie Kendricks
16. Freaky Deaky Roy Ayers
17. Jungle Boogie Kool The Gang

1. Brick House Commodores
2. Cold Sweat James Brown
3. Mama Feelgood Lyn Collins The JBs
4. Soul Power '74 Maceo
5. Chase Me Con Funk Shun
6. Let It All Blow Dazz Band
7. Who Is He And What Is He To You Creative Source
8. You Dropped A Bomb On Me Gap Band
9. Shakey Ground Temptations
10. Too Hot To Stop Bar Kays
11. Don't Stop The Feeling Roy Ayers
12. Get Down On It Kool The Gang
13. Fopp Ohio Players
14. Aqua Boogie Parliament
15. Funk Funk Cameo
16. You've Got My Soul On Fire Edwin Starr
17. Give It To Me Baby Rick James

Beppe Crovella • Hammond Homage 1: Lucio Battisti

Beppe Crovella biografía (Traducción automática)
Compositor italiano, el tecladista, productor y vocalista en algún momento Beppe Crovella nació en 1952, y comenzó a involucrarse en la escena de la música, mientras que en su adolescencia.

Se unió a la banda italiana Arti & Mestieri en 1975, y se encuentra actualmente en su cuarta década como miembro de la banda y compositor de este conjunto.

Como muchos músicos dedicados tiende a hacer, Crovella ha cubierto más terreno que simplemente ser un miembro de la banda y compositor. Él ha sido un participante activo en la escena jazzrock Turín, que ha puesto en marcha el estudio de grabación Electromantic Sinergia y sello discográfico (Electromantic Música). Este último con más de 100 producciones de más de 30 artistas en libertad hasta el momento en su historia. Crovella también ha creado su propia editorial.

Y mientras todo esto debe ser más que suficiente para ocupar el tiempo de incluso un adicto al trabajo endurecido, se ha logrado encontrar el tiempo para un poco más de esfuerzo a lo largo de su carrera también. Participó en la banda italiana La rosa enferma "esfuerzo 1,991 flotante, y contribuyó y participó en varios proyectos independientes en la década de los 90: WARRIORS ROMÁNTICA Battlefield y Transamazzonica de CHIRICO CAMARCA PROYECTO en 1993, Dreamin de SECRETO DE CINE 'de mi pasado y Cuentos de torre desde un libro de Yestermorrow en 1994, Miniaturas de MOSAIC en 1995.

Por otra parte, un puñado de discos en solitario han sido liberados en los últimos años. Los Hammond celebración Reyes de Clubes vieron la luz del día en 1992. En 1998 él trajo en Daryl Smith en la colaboración Voces de la Tierra, mientras que el amor de Crovella del Hammond se lució de nuevo en Hammond Homenaje 1 de 1998: Lucio Battisti y 2009 de Soulful Tráfico. Dos esfuerzos individuales adicionales surgieron en lo que parece haber sido un lugar activo de 2009: El álbum homenaje Mike Rutledge Lo Rattlin 'en la luna? y la celebración de piano Pianovagando.

Y mientras que todo lo anterior es una lista de logros de proporciones casi increíbles, las contribuciones musicales adicionales a la televisión italiana y las películas son adiciones a los logros de un hombre todavía unos años tímidas de la marca de 60 años, cuyo impacto en la música italiana escena podría ya ser descrito como legendaria.


Beppe Crovella biography
Italian composer, keyboardist, producer and sometime vocalist Beppe CROVELLA was born in 1952, and started getting involved in the music scene while in his teens.

He joined Italian band Arti & Mestieri in 1975, and is currently in his fourth decade as a band member and composer of this outfit.

As many dedicated musicians tends to do, Crovella has covered more ground than merely being a band member and composer. He's been an active participant in the Turin jazzrock scene, he has set up the recording studio Electromantic Synergy and record label (Electromantic Music). The latter with more than 100 productions from more than 30 artists released so far in it's history. Crovella has also set up his own publishing company.

And while all of this should be more than enough to occupy the time of even a hardened workaholic, he has managed to find the time for a few more endeavours throughout his career as well. He participated on Italian band The Sick Rose' 1991 effort Floating, and contributed and participated on several standalone projects in the 90's: ROMANTIC WARRIORS Battlefield and CHIRICO CAMARCA PROJECT's Transamazzonica in 1993, SECRET CINEMA's Dreamin' of My Past and TOWER's Tales from a Book of Yestermorrow in 1994, MOSAIC's Miniatures in 1995.

Furthermore, a handful of solo albums have been released over the years. The Hammond celebration Kings of Clubs saw the light of day in 1992. In 1998 he brought in Daryl Smith in the collaboration Earth Voices, while Crovella's love of the Hammond was showcased again on 1998's Hammond Homage 1: Lucio Battisti and 2009's Soulful Traffic. Two additional solo efforts surfaced in what appears to have been a rather active 2009: The Mike Rutledge hommage album What's Rattlin' On The Moon? and the piano celebration Pianovagando.

And while all of the above is a list of accomplishments of almost breathtaking proportions, additional musical contributions to Italian television and movies are further additions to the accomplishments of a man still a few years shy of the 60 year mark, whose impact on the Italian music scene might already be described as legendary.

John Daly • Traditional Irish Fiddle

A native of Cork, fiddle player John Daly now lives in Chicago where he performs about town and often anchors the sessions at the famous Abbey pub. This is where I myself first met John, and had a wonderful time playing with him and discovering on the go his inventive style of variation. John confessed almost apologetically that it wasn't to everybody's taste, but I have always been fascinated by that aspect of traditional playing, and could not get enough. John seems to have kept that penchant somewhat in check on this, his first solo album, and the music is a little more tame than my "live" experience had made me expect. Not that the album is in any way boring, quite the opposite. The influences on John's style of playing are diverse, from the music of Co. Leitrim and Fermanagh which he was exposed to while living in Co. Cavan, to the air playing of the great Shetland fiddle master Willie Hunter. These diverse influences reflect on the repertoire chosen for this album, including quite a few tunes penned by John himself, and on the manner in which it is performed, to give great variety to the whole. John is accompanied on piano by several well-known players, including Marty Fahey, Kevin Brehony (Sligo), and Davie Keith (Shetland), and is joined on a couple of airs by violin and viola player Liz Knowles.

Jimmy Smith • Plain Talk

Plain Talk is an album by American jazz organist Jimmy Smith featuring performances recorded in 1960 but not released on the Blue Note label until 1968. The album was rereleased on CD combined with Open House (1960) in 1992 compiling all the recordings from the session.

Deep Blue Organ Trio • Folk Music

Review by Richard S. Ginell
The Deep Blue Organ Trio call their third album Folk Music -- and they're right; the rootsy, bluesy soul-jazz that they crank out on this CD is kind of a folk music in its way, a handed-down tradition that appeals to the man in the street as opposed to the pundits in the towers. They adhere 110 percent to the style that once was a fixture at inner-city bars everywhere in the U.S.A., established over a half-century before by Jimmy Smith. Organist Chris Foreman doesn't flash his chops in the flamboyant manner of Smith. Rather, his is a low-key presence much like that of Melvin Rhyne or Charles Covington, and he displays a command of all of the patterns and timbres of his predecessors on the Hammond B-3 -- the shouting Leslie climax, the held-down note underneath a developing riff, etc. Guitarist Bobby Broom likewise evokes Kenny Burrell and his friends, and drummer Greg Rockingham lays down the irresistible familiar grooves that remind one of his ancestors in the field. Sometimes, the Deep Blue's choice of material will veer into the category of unpredictable; the Beatles' "She's Leaving Home" from the Sgt. Pepper's days easily withstands the conversion to a moody, relaxed soul ballad, as does the Ohio Players' "Sweet Sticky Thing" into a fast trot. Otherwise, it's mostly blues, a few jazz semi-standards (it's good to hear their eloquent, evolving revival of Lee Morgan's prettiest tune, "Ceora"), and the occasional Tin Pan Alley standard ("I Thought About You"). Nothing new here, but they do it so well and with such a natural, unfeigned feeling for the old organ trio groove that you don't care.

Milt Buckner • Locked Hands

Locked Hands style is a technique of chord voicing for the piano. Popularized by the jazz pianist George Shearing, it's a way to implement the "block chord" method of harmony on a keyboard instrument.

The Locked Hands technique requires the pianist to play the melody using both hands in unison. The right hand plays a 4-note chord inversion in which the melody note is the highest note in the voicing. The other 3 notes of the chord are voiced as closely as possible below the melody note, which is the definition of a block chord. The left hand doubles the melody note one octave lower.

To achieve this result, the pianists's hands must be placed close together on the keyboard and both hands move simultaneously in the same direction. To an observer, the pianist's hands appear to be locked together.

The technique had been employed by numerous jazz pianists prior to Shearing. (Phil Moore, Duke Ellington, Count Basie and Red Garland), Shearing said he was first exposed to it through Milt Buckner, the pianist for Lionel Hampton and the musician considered the originator of the technique.  This harmonic technique was also used in the horn arrangements of Glenn Miller's big band and is a staple of modern big band arranging.

Shirley Scott • Soul Searching

Review by Jason Ankeny:
Soul Searching spotlights Shirley Scott's accelerated development as a composer - originals like "Duck and Rock" and "Plunk Plunk Plunk" are solidly yet spaciously constructed, affording Scott's Hammond organ the room to vamp, flutter, and wail its way in and around the melodies. Longtime collaborators Wendell Marshall on bass and Arthur Edgehill on drums are typically effective in establishing the simple but lively rhythms that keep Scott's more self-indulgent impulses in check - each song is a model of energy and efficiency as tight as an outgrown pair of shoes. Still, taken as a whole Soul Searching wears thin - the austerity of the arrangements offers little variation from track to track, and after a while one wishes for additional elements in the mix, Scott's more soulful outings with husband/tenor saxophonist Stanley Turrentine.

Nigel Kennedy • Blue Note Sessions

Review by Ken Dryden
Nigel Kennedy made quite a reputation for himself as a classical violin virtuoso, though he long expressed an interest in jazz prior to the making of this CD. A number of jazz veterans, including bassist Ron Carter, drummer Jack DeJohnette, pianist Kenny Werner, and tenor saxophonist Joe Lovano (along with several others) are present and provide a stimulating group for Kennedy, who early on in the disc is comparable to Jean-Luc Ponty during the early stages of his career as a leader. But Kennedy seems a bit too conservative throughout much of the date, not taking the kind of chances one would expect of a jazz violinist during his improvisations. Another part of the problem is due to the presence of some rather pedestrian material like Butch Cornell's bland funk vehicle "Sunshine Alley" (which adds organist Lucky Peterson) and the forgettable treatment of "Expansions," featuring Raul Midón's vocal and Kennedy's bizarre use of digital delay on his instrument. Even Horace Silver's hard bop masterpiece "Song for My Father" doesn't reach his potential. Nigel Kennedy demonstrates clearly how hard it is to play jazz convincingly when it is not a major part of his regular playing schedule.

sábado, 15 de noviembre de 2014

Jay McShann • The Man From Muskogee

Review by Scott Yanow
Pianist-vocalist Jay McShann was in the early part of his comeback when he recorded this superior quartet session with violinist Claude Williams (a veteran who was also on the verge of finally being discovered), bassist Don Thompson and drummer Paul Gunther in 1972. Reissued on CD, the fine swing date is so enjoyable that it makes one wonder how McShann and especially Williams had remained so obscure for the past 20 years. McShann (who takes four spirited vocals) leads the quartet through veteran standards and a few blues with the highlights including "After You've Gone," "Yardbird Suite," "Hootie Blues" and "Jumpin' at the Woodside." Recommended.

martes, 11 de noviembre de 2014

Gene Ludwig • Live In Las Vegas

Live in Las Vegas album for sale by Gene Ludwig was released Feb 14, 2006. Veteran organist Gene Ludwig is a contemporary of Jimmy Smith and plays in a similar style. Live in Las Vegas songs Teamed with a solid if unremarkable quartet, Ludwig stretches out on eight standards, some of which are pretty extended. Live in Las Vegas album for sale The music falls between hard bop and soul-jazz and is both pleasing and a little derivative. Few surprises occur, but Ludwig plays well and the spirit is high and joyful.

lunes, 10 de noviembre de 2014

'Papa' John DeFrancesco • Jumpin

Review by Scott Yanow
Papa John DeFrancesco, the father of organist Joey DeFrancesco, is a fine organist himself. The weakness to his otherwise enjoyable set is that the tunes (with the exception of the pop song "You Are So Beautiful") are all either blues or near-blues, generally taken at similar tempos. The sameness to the individual tunes is unfortunate (better planning should have gone into the date), but the playing is first-rate throughout. In addition to DeFrancesco, the large-toned tenor saxophonist Jacques Johnson is a major asset and John DeFrancesco Jr. is a fine guitarist. The music is solid soul-jazz with appealing grooves, but it is a pity that most of the songs do not stand out by themselves.

Lemmy, Slim Jim & Danny B

Winston Walls with Jack McDuff • Boss of the B-3

Reuben Wilson • Love Bug