egroj world: 2015


jueves, 31 de diciembre de 2015


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lunes, 28 de diciembre de 2015

Pat Martino • Plays Standards

Brian Setzer Orchestra • Luck be a Lady EP

Jazz Rosco • Rosco's Place II

Bob Devos with Eric Alexander • Playing For Keeps

Bob deVos is an American jazz guitarist whose playing style is similar to that of Kenny Burrell and Wes Montgomery. He is most noted for his work with organist Richard Holmes.
Although no one in the family played a musical instrument, deVos spent much of his youth listening to the big band and blues records that his parents owned. He picked up the guitar at age twelve and within weeks he was memorizing guitar solos from these albums and performing professionally at age thirteen. As a teenager, he toured nationwide with a famous rock group, but chose jazz over rock in his twenties saying, "I needed more chord changes..."
DeVos started in jazz as a student of Harry Leahy and Dennis Sandole. In 1970, when Sandole sent his leading students out to audition for the organist Trudy Pitts, deVos was chosen to step in for Pat Martino. DeVos went on to be the guitarist for groups led by Richard "Groove" Holmes, featuring saxophone legend Sonny Stitt, and Jimmy McGriff and Hank Crawford. He later toured and recorded extensively with organist Charles Earland's group that included Eric Alexander and Jim Rotondi. He further developed his compositional and harmonic skills playing with many jazz greats outside the organ trio genre.
Currently deVos plays with an organ trio with whom he has released the CD, Shifting Sands. This album spent 28 weeks in the top twenty on Jazz Week's Top 50 Nationwide Jazz Airplay Chart.

Bob DeVos / Guitar
Eric Alexander / Tenorsax
Dan Kostelnik / Hammond B3
Steve Johnes / Drums

Sy Klopps Blues Band • Walter Ego

domingo, 27 de diciembre de 2015

Jeff Golub With Brian Auger • Train Keeps A Rolling

Jeff Golub (guitar); Brian Auger (Fender Rhodes piano, Hammond b-3 organ); Dave Woodford (flute, baritone saxophone); Mindi Abair (alto saxophone); Steve Madaio (trumpet); Nick Lane (trombone); Steve Ferrone (drums); Luis Conte (percussion).

Larry Goldings • As One

By DAN BILAWSKY, Published: June 16, 2014
Few artistic partnerships are as delightfully durable as the trio of organist Larry Goldings, guitarist Peter Bernstein, and drummer Bill Stewart. These men have often recorded under the moniker of the "Larry Goldings Trio" over the past two-plus decades, but this has never been a band to favor one player over another. Each man has always owned equal shares in this group—demonstrated on strong showings like The Intimacy Of The Blues (Verve, 1991), Moonbird (Palmetto, 1999), and Sweet Science (Palmetto, 2002)—and that hasn't changed. Goldings' name may still come first on this album spine, but it's all for one and one for all with these guys.

Ramshackle Serenade finds this group covering a lot of ground. The album opens with Goldings' "Roach"—a slow blues in five—which proves to be one of the standout performances. Goldings and Bernstein both cook while Stewart masterfully slices up the time in endlessly inventive ways. The trio then visits Brazilian territory with Jobim's "Luiza," throws one down the middle with Bernstein's aptly-titled "Simple As That," and works in a rhythmically floating environment on "Ramshackle Serenade." The title track is all about rubato rumination, as Goldings and Bernstein paint melodies while Stewart lightly colors in the background. Goldings' "Mr. Meagles," sitting at the midpoint of the album, is a great example of the way this trio manages to create music that speaks relatively softly and carries a mean groove; it's low flame music that can still cause third degree burns.

The second half of the album contains a "Sweet And Lovely" that grows hotter over time, a pair of originals—Stewart's hip-and-intoxicating "Blue Sway" and Bernstein's lively "Useless Metaphor"—and an album-closing look at Horace Silver's oft-covered "Peace." After all these years, this trio still manages to make magic whenever it hits the studio. It doesn't get much better than this.

VA • Hammond Madness!

Selection by / Compilado por:

Bill Doggett, Dave Baby Cortez, Gene Ludwig, Georgie Fame, Jackie Ivory, Keith Mansfield, Odell Brown, Richard ''Groove'' Holmes ...

Johnny Dankworth & His Orchestra • EP 8570

Junior Wells • You're Tuff Enough

Another period of the veteran Chicago harp man's career that awaits CD documentation -- and one of the most exciting. Wells's late-'60s output for Bright Star and Mercury's Blue Rock subsidiary frequently found him mining funky James Brown grooves (with a bluesy base, of course) to great effect -- "Up in Heah" and his national smash "You're Tuff Enough" are marvelous examples of his refusal to bend to purists' wishes (though there's a glorious version of Bobby Bland's blues-soaked "You're the One" that benefits handily from Sammy Lawhorn's delicate guitar work). ~Review by Bill Dahl

sábado, 26 de diciembre de 2015

Peter Bernstein • Earth Tones

Review by Scott Yanow
Peter Bernstein led four albums for the Swiss Criss Cross label during 1992-1997. His fourth effort has him heading a trio with organist Larry Goldings and drummer Bill Stewart. Some of the selections are very much in the soul/jazz tradition, since the Jimmy Smith influence can be heard now and then in Goldings' playing and Bernstein's main influence is Wes Montgomery. However, some of the originals are more advanced and the music still sounds pretty fresh. Among the highlights are Bernstein's ironically titled "Sublime Indifference," Goldings' tricky "The Acrobat," Hank Mobley's "The Breakthrough," and a relaxed version of "How Deep Is the Ocean."

Lula Reed • The Soulful Side Of Lula Reed

martes, 22 de diciembre de 2015

Anoushka Shankar • Home

Editorial Reviews
Four-time Grammy nominated Anoushka Shankar is one of today´s most distinguished and versatile classical cross-genre sitar performers and composers. Her unique approach to classical music and world music genres is both highly artistic and commercially appealing to a wide audience.
fter Traveller and Traces of You this pure Indian classical album is Anoushka´s third release on Deutsche Grammophon and 8th solo album recorded right at her HOME studio in London.
Inspired by her classical upbringing and teaching by her legendary father, Maestro Ravi Shankar this album offers both meditative and virtuoso Indian classical raga for Solo Sitar with ensemble.
With Home Anoushka continues her journey exploring modern and fresh ways to reinterpret and keep alive the beautiful musical traditions of India, as taught to her by her father Ravi Shankar.

Alaap Run time: 11:08
The slow, rhythm-free and serene unfolding of the raga s character. Raga Jogeshwari is a creation of Ravi Shankars; however, this entire raga performance is an improvisation.

Run time: 10:14
A pulse and rhythm is introduced in the jod, gradually building up to a climax in the jhala.

Gat in Rupaktaal
Run time: 15:27
The tabla enters here, playing rupaktaal, a popular rhythmic cycle of seven beats. This gat is composed by Anoushka, and Tanmoy and Anoushka use the gat and rhythmic cycle as a framework for their improvisations.

Aochar, Dadra, Teentaal,Coda
Run time: 18:26
As is traditional, the final piece is played in a lighter, more romantic mood. After a short alaap known as aochar, Anoushka introduces a gat in ektaal of twelve beats, and then slowly accelerates the tempo to an intense climax during the second gat, played in teentaal of sixteen beats. An exciting tabla solo is featured near the end of teentaal, and, unusually, Anoushka adds a short coda at the end, again in ektaal.

Ravi Shankar once said: There is a saying in Sanskrit - Ranjayathi iti Ragah - which means, that which colors the mind is a raga. With Home Anoushka does just that.

Sidney Bechet • Jazz & Blues Collection

Shakey Jake Harris • Further On Up The Road

Born James D. Harris, 12 April 1921, Earle, Arkansas, USA, d. 2 March 1990, Pine Bluff, Arkansas, USA. A professional gambler when not playing harmonica (his nickname was derived from the crapshooters' call "Shake 'em, Jake", Harris began playing in Chicago blues bands during the late 40s. His 1958 single "Call Me If You Need Me"/"Roll Your Moneymaker", recorded for the Artistic subsidiary of Cobra Records, featured guitar work by his nephew Magic Sam. During the 60s he recorded two albums that did not do him justice, as club recordings with Sam make evident. His encouragement of younger musicians brought about the recording debut of, among others, Luther Allison, with whom Jake recorded his best album after moving to Los Angeles. In later years, occasional recordings appeared, including some on his own label, and Harris ran a blues club for a while, but was dogged by poor health and isolated by neighborhood gang violence.

Kenyon Fields • Cohearance

lunes, 21 de diciembre de 2015

Allen's All Stars • Terry Gibbs Captain

Mark Twigden • Jazz Manouche - A Retrospective

Keith Dunn • Alone With The Blues

Keith Dunn is a harmonica player, singer, producer and songwriter. He was born in Boston and has been playing blues music for over 30 years. He is the founder of record label DeeTone Records.
As a nine-year-old Dunn saw his first concert when T-Bone Walker played a free outdoor concert. At the age of 12 he bought a harmonica and began playing it at parties and with street players. He grew up listening to radio station W-I-L-D, initially taking a liking to Curtis Mayfield and Smokey Robinson. Later on he started listening to Archie Shepp and John Coltrane. He also bought records by Sonny Boy Williamson I and II). In his early career he played only acoustic harmonica.
After seeing the Junior Wells - Buddy Guy Band he put his first real band together, Blue Lightning. They played material by Junior Wells, Jimmy Rogers, Aleck "Rice" Miller (Sonny Boy Williamson II), and also James Cotton and Muddy Waters. Dunn's second band was called the Honeydrippers which was a guitar/saxophone driven group.
Dunn presently lives in the Netherlands. He has performed with James Cotton, Hubert Sumlin, Roy Eldridge, Big Walter Horton, Lurrie Bell, Jimmy Rogers and Big Mama Thornton. He works as a record producer and gives master classes in harmonica. He regularly tours with The Love Gloves and The International Blues Band and also appears as a guest musician with different artists, for instance Big Jack Johnson.
For the songwriting on his Alone With The Blues CD, Dunn received several awards (for the songs "Strange Things Are Happening" and "Need To Make A Dollar"). He also won the Talking Blues Award for the live performance of the songs on that CD.

Althea Rene • In the Flow

miércoles, 16 de diciembre de 2015

Harry Babasin & The Jazz Pickers • For Moderns Only

Harry Babasin - cello
Buddy Collette - flute
Don Overberg - guitar
Bob Harrington - vibes & drums
Bill Douglas - drums

Ron Levy's Wild Kingdom • Green-Eyed Soul

Funk and Soul music is the heart of Ron's Kingdom. He presents compositions of his own, interpreting them in his very own style of soul jazz organ: 70's sounds mixed up with modern harmonies. To be mentioned is the extended rhythm section consisting of drums and percussion which drive the funky rhythms.

Mike Mainieri & Marnix Busstra Quartet • Trinary Motion

Mike Mainieri (Vibraphone); Marnix Busstra (Guitars, bouzouki, sitar); Eric van der Westen (Double-bass); Pieter Bast (Drums).

Phil JL Robert & 3Kindred Spirit • Boogaloo Zoo

Pierre ''Baro'' Ferret • Swing Valses - d'Hier et d'Aujourd'hui

In the days when I was recording the first 78 rpm records of the great jazz guitarist Django Reinhardt for the Swing label, I had the opportunity to listen to, and record, another guitarist of no less outstanding talent : Baro Ferret. He was revolutionizing the musette waltz. Unfortunately, his work went on almost unnoticed, causing him to give up his musical career not long afterwards. Some thirty years later once again I came across one of his records, cut in 1938 for a French label, which had not considered it worthy of release at the time. I was struck by the intricacy and freshness the music still conveyed. Sharing my lucky find with others inspired a new search for Baro Ferret. We discovered that not only was the old master still alive, but that he had remained the best interpreter of that specific style. That’s how this recording began -
End of quote from Charles Delaunay.

martes, 15 de diciembre de 2015

Escher Maurits Cornelius • Works

pdf / 80págs

Hipbone Slim & The Kneetremblers • The Kneeanderthal Sounds Of

VA • Italian Bossa - Cocktail Music From the 60's and 70's

Gypsy Jazz Swing Ensemble • Django Manouche

The Madeira • Ruins [EP]

Francis Coppieters Selection • Colours In Jazz

Pianist Francis Coppieters recorded as early as 1943 with Roger Rose et son Orchestre de L'Heure Bleue.
In 1949, he records 4 tracks for an album with Toots Thielemans & the "Quartet du Hot Club de Belgique", with Toots on guitar, Jean Warland on bass and John Ward on drums.
The same year, he is a member of the Jack Sels Big band.
From1949 trough 1951, he is a member of the band of Hazy Osterwald. In 1952, he can be heard on a Jacques Pelzer recording; in 1953, with Buck Clayton and the orchestra of Mickey Bunner, and also with René Thomas, Bobby Jaspar and Jacques Pelzer.
In Germany, bandleader Kurt Edelhagen, who had heard him with Hazy Osterwald, hires him in April 1957 to join the Kurt Edelhagen Big Band, with his friend Jean Warland on bass, Stuff Combe on drums, Jimmy Deuchar on trumpet, saxophonists Derek Humble, Jean-Louis Chautemps, Eddie Busnello, etc...
He becomes one of the composers of the band (besides Francy Boland, Rob Pronk, Heinz Kiessling und Bora Rokovic. etc...)
In 1957, he appears on the album "Kurt Edelhagen Presents" (recorded July 10-13, 1957 in Cologne, Germany, Polydor LPHM 46052), with the participation of Milo Pavlovic, Fritz Weichbrodt, Dusko Gojkovic (tp), Jimmy Deuchar (tp, arr), Ken Wray, Helmut Hauck, Manfred Gatjens, Christian Kellens (tb), Derek Humble (as,arr), Franz von Klenck (as), Bubi Anderhold, Jean-Louis Chautemps (ts), Eddie Busnello (bars), Francis Coppieters (p, arr), Johnny Fischer (b), Stuff Combe (d, arr), Kurt Edelhagen (ld), Heinz Gietz, Rob Pronk (arr).
In 1958, he appears with the Edelhagen band on singer Caterina Valente's album "A Toast to the girls" (Polydor LPHM 46074, reissued as Decca DL 8755).
He spent thus most of the following years of his career in Germany, playing the piano, writing, doing numerous studio sessions (a.o. in Cologne) for all kinds of ensembles.
He played with numerous bands and soloists, such as the WDR big band, a.o. a production led by Friedrich Gulda, the band of drummer Klaus Weiss, Slide Hampton, Lucky Thompson, Wilton Gaynair, Jiggs Whigham, etc...
In 1975, he records the album "Piano viberations" (KPM records), in quartet with Sadi (vibes), Roger Vanhaverbeke (bass) and Freddy Rottier (drs) or Jean Warland (bass) and Charly Antolini (drs).
A complete musician, he appears and is the musical director of jazz bands, but also dance bands, operette orchestras, etc...
In 1986, he records as a leader the album "Colours In Jazz" (Intersound ISST 184) with a.o. Rolf Römer (sax), Klaus Osterloh (tp), Jean Warland (b) and Klaus Weiss on drums.
He also appears on the compilation CD "Between or beyond the Black Forrest".
He taught jazz piano at the Kölner Musikhochschule.
He wrote in German a theory book on piano improvisation (available via Schott) :
Francis Coppieters / Carlo Bohländer (Publisher): "Anleitung zur Improvisation Piano".
Francis Coppieters died after a long illness in Germany in the nineties.

lunes, 14 de diciembre de 2015

Blue Harlem • Jump Jack Jump

Kenny Burrell • 12-15-78

Gene Ammons • The Boss Is Back!

Sidney Bechet • Petite Fleur

Jan Hammer • The Seventh Day

The First Seven Days is an album recorded by jazz musician Jan Hammer in 1975. It features extensive use of synthesizers, including the synthesized "guitar" parts (as on his follow-up album, Oh Yeah?), with the record jacket stating, "For those concerned: there is no guitar on this album." it is considered one of the pioneering works of acid jazz. Other instruments used are grand piano, electric violin and percussion.
It is a musical telling of the Genesis creation story. The record jacket continues with "Assuming that each of these "days" lasted anywhere from one day to a hundred million years, the scientific and biblical views do meet in certain points. These points were the inspiration for this album, and, besides, the provided me with an excuse to write seven new pieces of music."

Wild Bill Davis & Johnny Hodges • In Atlantic City

Review by Cub Koda
In jazz circles and among his immediate peers, Johnny Hodges was referred to as "Mr. Silvertone." And one great jazz story shows the high regard that other players had for his style: A sax player goes to his bandleader and asks for the night off. When the bandleader asks why, the sax player says, "I want to go see Johnny Hodges and try to hear how he gets that sound." The bandleader stuffs a 20 in the sax player's jacket and says, "You're going to hear the right man." Hodges' lines caressed the notes, and he could play in a totally authoritative fashion without resorting to a lot of upper-register squeakings or faux tenor honkings. He was always 110 percent in the pocket, the epitome of true swing. Even within the mighty Duke Ellington Orchestra, a well-oiled team with superb players, Hodges stood out as something special. The Live in Atlantic City reissue is part of RCA's celebration of Ellington's 100th birthday. It brings back a 1966 recording of Hodges sitting in with Wild Bill Davis' quartet in a small Atlantic City jazz bistro. The results are refreshing, catching Hodges in a relaxed setting. Longtime playing pals, Hodges had been sitting in with Davis' group every time Ellington came to town. The record is just about as casually swinging as you could imagine it being, the soloing all coming from a relaxed but buoyant atmosphere. Davis shows today's youngsters, the ones who have a fascination with all things swinging and Hammond B-3-influenced, where it all started. His tone ebbs and flows like a separate pulse in tandem to the music; it's Organ 101. Lawrence Brown's trombone work is exquisite and bluesy as all get out on the Hodges original "Taffy," and quartet regular Bob Brown contributes nice support on tenor and flute throughout. The drumming chores are pushed along nicely by Bobby Durham, while Dickie Thompson (who wrote "13 Women," the flip side of "Rock Around the Clock") plays some bluesy guitar riffs in between the spot-on Freddie Green-styled comping, shining brightly on Hodges' "Rockville"; six and a half minutes of the band locked in to a gentle but relentless groove with inspired soloing out of everybody. This is a top-notch session of top-notch musicians just enjoying one another's company. It's jazz that puts a smile on your face.

Review by
In the sixties, the two master musicians Wild Bill Davis and Johnny Hodges often met up for jam sessions, at galas with Duke Ellington, and in various studios to make recordings for several record companies. However, their live concerts in Grace’s Little Belmont in Atlantic City in 1966 were the declared highlights for critics, the public and musicians alike. This is not only proved by the masses of people who swarmed to the club, which was always jam-packed, it is also reflected in the sales figures of their recordings.
On the present recording, the listener is offered a first-class program of original compositions, Duke Ellington hits, and heady arrangements. "Good Queen Bess" and "Rockville" are quite exceptional, and the other titles are hardly less enthralling. The rhythm group is hotter than hot with Lionel Hampton’s Bobby Durham on the drums, and the two grand old men of swing really let themselves go. The trombonist Lawrence Brown, musical buddy from the Duke Ellington Orchestra, grooves in the background and we can be happy (thanks to the producer Rad McCuen) that we can still thoroughly enjoy this great disc almost 50 years later!

The Metropolitan Museum Of Art New York - The Vatican, 2 pdf

The Vatican Collection, The Papacy and Art
pdf / Idioma. Inglés / 262 págs.

The Vatican Spirit And Art Of Christian Rome
pdf / Idioma. Inglés / 400 págs. 

Polaris! • Polaris