egroj world: febrero 2015

sábado, 28 de febrero de 2015

Billy Larkin & The Delegates • The Best Of

01. Pygmy
02. Ice Water
03. Sticky Wicket
04. Blues For Dinner
05. Hainty
06. The Peeper
07. There Is No Greater Love
08. Killer Joe
09. Grooveyard
10. Blue Lights

Don Patterson • Tune Up!

01. Just Friends (6.10)
02. Flyin' Home (11.39)
03. Tune Up (4.44)
04. Blues For Mom (14.36)

Don Patterson - Organ
Billy James - Drums (tracks: 01, 02, 03)
Frankie Jones - Drums (tracks: 04)
Grant Green - Guitar (tracks: 03)
Virgil Jones - Trumpet (tracks: 04)
Booker Ervin - Tenor Saxophone(tracks: 01, 02)
George Coleman - Tenor Saxophone (tracks: 04)
Houston Person - Tenor Saxophone (tracks: 04)
Sonny Stitt - Alto and Tenor Saxophone, Varitone (tracks: 02, 03)

viernes, 27 de febrero de 2015

Ramsey Lewis Trio • Barefoot Sunday Blues

A1 Lonely Avenue 2:56
A2 Don't Even Kick It Around 4:26
A3 Salute To Ray Charles 5:51
A4 Barefoot Sunday Blues 3:35
A5 Island Blues 2:47
B1 I Spend My Life 3:42
B2 Act Like You Mean 2:23
B3 Sarah Jane 5:20
B4 The Train Won't Wait 3:02
B5 Come On Baby 2:30

Bass – Christopher White (tracks: A1, B2)
Bass, Cello – Eldee Young
Drums – Red Holt
Piano – Ramsey Lewis

Eddie ''Lockjaw'' Davis & Shirley Scott • Bacalao

When it came to tenor saxophonists, the late organist Shirley Scott had excellent taste. One of the big-toned tenor men she worked with extensively was Stanley Turrentine, whom she married; another was Eddie "Lockjaw" Davis. Recorded in Rudy Van Gelder's New Jersey studio in 1959, Bacalao is among the many solid hard bop/soul-jazz albums that resulted from Davis' association with Scott. The two of them enjoyed an incredibly strong rapport in the late '50s and early '60s, and they are very much in sync on Bacalao (which unites them with bassist George Duvivier, drummer Arthur Edgehill, and two Latin percussion men: Luis Perez and salsa giant Ray Barretto). The presence of Perez and Barretto gives the album some Afro-Cuban appeal, and both of them do well by Davis and Scott -- who are in fine form whether they turn their attention to two James Moody items ("Last Train From Overbrook" and "Dobbin' With Redd Foxx") or well-known pop standards (which include "That Old Black Magic," "Sometimes I'm Happy," "When Your Lover Has Gone," and "Come Rain or Come Shine"). In the liner notes that he wrote for Bacalao in 1959 or 1960, Amiri Baraka (formerly Leroi Jones) describes "Come Rain or Come Shine" and "That Old Black Magic" as "old beat-up tunes"; even back then, those Harold Arlen standards were considered warhorses. But Baraka also goes on to say that Davis and his colleagues revitalize the songs. Organ combo soul-jazz was still new and fresh in 1959, and Scott was helping Davis find new ways to interpret very familiar melodies. Although not quite essential, Bacalao is a rewarding example of Davis' ability to thrive in an organ/tenor setting.

Morris Nanton • Something We've Got

A1 Something We've Got 7:45
A2 Any Number Can Win 2:20
A3 The Masquerade Is Over 4:45
B1 Mood Indigo 6:34
B2 My Man's Gone Now 3:10
B3 Taboo 6:37

Bass – Norman Edge
Drums – Al Beldini
Piano – Morris Nanton

Producer – Cal Lampley
Recorded By – Rudy Van Gelder

Pucho & The Latin Soul Brothers • Tough!

Review by Richie Unterberger
A bit more jazz- and pop-oriented than some of his later sessions, with covers of "Yesterday," "The Shadow of Your Smile," "And I Love Her," "Walk On By," and "Goldfinger." However, when Pucho decides to pull out the funky grooves -- as he does on "Cantaloupe Island," "Vietnam Mambo," and "Strange Thing Mambo" -- he and the Latin Soul Brothers can smoke. Even at its slightest, this is decent mood music. At its best, it's significantly more than that.

Biography by Richie Unterberger
In the 1960s, no one combined more or less equal elements of jazz, Latin music, soul, and funk as well as Henry "Pucho" Brown (b. November 1, 1938). A somewhat forgotten figure until recently, Pucho never achieved the wide recognition of some other Latin jazz performers exploring similar territory, such as Mongo Santamaria, Willie Bobo, and Cal Tjader. The timbales player and bandleader also may have been too eclectic, and too open to outside influences, to achieve much recognition within the jazz community.
What's a weakness in one circle's view, however, is a strength for other listeners. As a result, Pucho has a wider appeal than many straight jazz performers. Fans of R&B, rock, and Latin music can immediately connect with him, especially as he's always made sure to play music that's hot and danceable. His accessibility, however, has by no means compromised the quality of his material or his Latin Soul Brothers bands, which have featured fine and versatile players.
Contrary to the assumptions of many listeners, Pucho himself is not Latino, but African-American. As a Harlem teenager, he cultivated loves for jazz, rhythm & blues, and mambo. In the late '50s, he served for several years in the band of pianist Joe Panama. When the group broke up in 1959, Pucho formed a band of his own, recruiting several alumni from Panama's outfit. Even before he'd cemented his reputation on record, Pucho's band attracted notice from top Latin jazzmen. Willie Bobo took several musicians from Pucho's band for his own group, as did Mongo Santamaria. One of the musicians that Santamaria lured away, in fact, was a young Chick Corea.
Pucho began recording in 1963, and really hit his stride between 1966 and 1970, when he cut over half a dozen albums for Prestige. On these he helped pioneer a style termed Latin boogaloo, which mixed jazz, New York-style Latin music, R&B/soul, and the sort of funk that was just emerging from James Brown and other performers. Pucho wasn't afraid to mix up his material on his LPs, which placed originals by Brown and the Latin Soul Brothers next to covers of tunes by Herbie Hancock, the Temptations, the Beatles, Duke Ellington, and John Barry.
This ensured a certain erratic flavor, but the groove was almost always on the money. The Latin Soul Brothers were at their best when they went for the hottest and funkiest grooves, as on their fine version of "Canteloupe Island," or eccentrically titled originals like "Soul Yamie" and "Vietnam Mambo." Once in a while, he even used engagingly raw soul vocals, as on the infectiously good-natured "Shuckin' and Jivin'," which could have been an R&B hit. The Latin Soul Brothers certainly couldn't have been accused of predictability, incorporating straight modern jazz chops, psychedelic flourishes, and soul-jazz organ grooves into their repertoire when the mood suited them. The constant factor was the active Latin percussion section, featuring conga, bongos, and Pucho's own timbales.
When his brand of Latin-soul-jazz fusion started to fall from commercial grace in the early '70s, Pucho disbanded the Latin Soul Brothers. For the next 20 years, he made his livelihood by performing conventional Latin music in the Catskill Mountain resorts of New York State. In the early '90s, however, Pucho's back catalog began to generate interest in Britain, where he was a hit with the acid jazz crowd, and where several albums were reissued by the Ace label. Happily, he made a return to Latin-soul-jazz-funk with his 1995 comeback effort, Rip a Dip, which found his skills intact. How'm I Doing followed in mid-2000.

jueves, 26 de febrero de 2015

Rusty Bryant • Fire Eater

Review by Richie Unterberger
Fire-Eater features just four long cuts, all between seven and ten minutes in length, on a session that has Bryant stretching out his meaty tone and improvisations a bit further than usual. This is respectable soul-jazz with a lot of funk, but no fusion, employing the tenor sax-organ-guitar-drums lineup. All of the material was written by Bryant or members of the quartet, and favors a laid-back groove that's on the slow side, except for "Mister S.," on which guitarist Wilbert Longmire has a particularly engaging solo.

A1 Fire Eater 9:30
A2 Free At Last 8:35
B1 The Hooker 9:25
B2 Mister S. 7:45

Drums – Idris Muhammad
Guitar – Wilbert Longmire
Organ – Bill Mason (tracks: A1, A2), Leon Spencer, Jr. (tracks: B1, B2)
Saxophone [Tenor] – Rusty Bryant

Johnny Hodges & Wild Bill Davis ‎• Joe's Blues

A1 Joe's Blues 6:03
A2 I'll Walk Alone 4:23
A3 Harmony In Harlem 3:30
A4 Warm Valley 4:27
B1 Wild Bill Blues 5:10
B2 Somebody Loves Me 4:55
B3 Solitude 6:00
B4 Clementine 3:10

Alto Saxophone – Johnny Hodges
Bass – Bob Bushnell, Bob Cranshaw
Drums – Grady Tate
Guitar – Grant Green
Organ – Wild Bill Davis
Trombone – Lawrence Brown

miércoles, 25 de febrero de 2015

Juan Amalbert's Latin Jazz Quintet • Hot Sauce

A1 Summertime
A2 'Round Midnight
A3 Out Of This World
B1 Blue Moon
B2 April Afternoon
B3 Ain't Dat Right
B4 Polly's Delight

Bobby Capers (alto saxophone)
Will Coleman (vibraphone, melodica)
Jose Ricci (piano)
Bill Ellington (bass)
Ernest Phil Newsom (drums, timbales)
Juan Amalbert (congas, leader)

martes, 24 de febrero de 2015

Don Wilkerson • Shoutin'

A1 Movin' Out
A2 Cookin' With Clarence
A3 Easy Living
B1 Happy Johnny
B2 Blues For J
B3 Sweet Cake

John Patton • That Certain Feeling

It took Big John Patton nearly two years to return to the studio as a leader following the sessions that produced the exceptional Got a Good Thing Goin'. When he finally cut its sequel, That Certain Feeling, the musical climate had changed just enough to make a difference in his music. Where Got a Good Thing Goin' was down and dirty, That Certain Feeling was smooth. That's not to say that it didn't groove -- it was just cleaner, which means that the groove wasn't as infectious or hot as before. Still, Patton and his band -- guitarist Jimmy Ponder, tenor saxophonist Junior Cook and drummer Clifford Jarvis -- play very well, and there are moments when everything comes together and it just cooks. And those are the moments that make That Certain Feeling worth a search. by Stephen Thomas Erlewine, AMG

01 String Bean
02 I Want To Go Home
03 Early A.M.
04 Dirty Fingers
05 Minor Swing
06 Daddy James.

BLP 4281 John Patton - That Certain Feeling

Junior Cook (ts)
John Patton (org)
Jimmy Ponder (g)
Clifford Jarvis (d)

Rudy Van Gelder Studio, Englewood Cliffs, NJ, March 8, 1968

Dan Papaila • Positively!

A San Diego based jazz guitarist whose roots are firmly planted in the blues, Dan honed his bluesy style playing with the likes of R&B legends Eddie “Cleanhead” Vinson, Big Joe Turner, Plas Johnson, and Johnny “Hammond” Smith.
At age 16 Dan was given $60 by his mother to acquire a guitar from a local pawn shop. Within two years he was working in local pop groups. It was around 1970 that Dan familiarized himself with the work of Wes Montgomery, Grant Green, Kenny Burrell and George Benson. He also became close friends with another jazz guitarist from Omaha, Billy Rogers; they studied together for several years before Rogers’ untimely death in 1987. His Los Angeles years found Dan working the black club circuit with various trios. “Nearly all the clubs on the South side of Wilshire Boulevard had Hammond B-3 organs,” he recalls. “I played lots of R&B with Billy Larkin, Cleanhead Vinson and Big Joe Turner.” In 1976 Dan began what would become a definitive association: he started working with the organist Johnny "Hammond" Smith. The Hammond Smith years found Dan playing the "Chitlin Circuit". Later, Dan traveled to Las Vegas in 1981 and played the Nevada circuit for a couple of years. Then it was back to the blues, co-leading an R&B fusion group with Tower Of Power keyboardist Roger Smith in Sacramento before the move to San Diego. Since then he has enjoyed success locally and on the jazz festival circuit.".
..Leonard Feather

DAN PAPAILA, guitar;
JOHNNY HAMMOND SMITH, Hammond B -3 organ;
RICKEY WOODARD*, tenor saxophone;
TOMMY AROS**, percussion

1. Loverman Jimmy Davis, Ram Ramirez 5:02
2. Prisms Dan Papaila 6:22
3. Things Ain't What They Used To Be* Duke Ellington 4:50
4. When A Man Loves A Woman Percy Sledge 5:28
5. Rush Hour Dan Papaila 4:56
6. Positively* Plas Johnson 4:13
7. That's The Way Of The World Earth, Wind & Fire 6:39
8. VeraCruz** Milton Nacimento 5:02

lunes, 23 de febrero de 2015

Chico Hamilton • The Further Adventures Of El Chico

A1 Got My Mojo Working (But It Just Won’t Work On You) 3:05
A2 Who Can I Turn To (When Nobody Needs Me)? 3:35
A3 That Boy With The Long Hair 4:10
A4 Daydream 2:10
A5 The Shadow Of Your Smile 2:53
B1 Evil Eye 3:15
B2 Monday Monday 2:23
B3 Manila 4:45
B4 My Romance 2:50
B5 Stella By Starlight 4:50

Alto Saxophone – Charlie Mariano
Bass – Richard Davis (2) (tracks: A1, A3, A4, B2), Ron Carter (tracks: A2, A5, B1, B3, B4, B5)
Drums – Chico Hamilton
Flute, Flute [Alto] – Jerome Richardson
Guitar – Gábor Szabó*
Percussion [Latin] – Victor Pantoja, Willie Bobo
Piccolo Flute – Danny Bank (tracks: A1, A3, A4, B2)
Trombone – Jimmy Cheatham (tracks: A1, A3, A4, B2)
Trumpet – Clark Terry (tracks: A1, A3, A4, B2)
Engineer – Bob Simpson
Producer – Bob Thiele

Albert King • The Big Blues

The Big Blues is a blues album by Albert King, released in 1962
by King Records. Featuring mostly songs composed by Albert King himself,
this was his first album and the only one before he signed with
Stax Records, where he would record most albums along his career.
The album is a collection of songs previously released by
King Records and Bobbin Records as singles and B-sides.
King recorded "Blues at Sunrise" and "Let's Have A Natural Ball"
(which appears on the album) for Bobbin in 1956, which helped
to establish him in recording. King Records bought his contract
from Bobbin in 1961.

Albert King – Electric guitar and vocals
Ike Turner – piano on "Don't Throw Your Love On Me So Strong"

Tracks list:
All songs were written by Albert King, except where noted.
"Let's Have A Natural Ball" – 2:55
"What Can I Do To Change Your Mind ?" – 2:54
"I Get Evil" – 2:31
"Had You Told It Like It Was (It Wouldn't Be Like It Is)" (Sonny Thompson) – 3:09
"This Morning" – 2:12
"I Walked All Night Long" – 2:56
"Don't Throw Your Love On Me So Strong" – 3:00
"Travelin' To California" – 3:05
"I've Made Nights By Myself" – 2:40
"This Funny Feeling" (Rudy Toombs) – 2:37
"Ooh-Ee Baby" – 3:58
"Dyna Flow" – 2:52

sábado, 21 de febrero de 2015

VA • Chillout Jazz Organ

01. Walter Wanderley - Summer Samba (Samba De Verao) (03:07)
02. John Scofield - Chank (06:47)
03. James Brown - All About My Girl (06:31)
04. Pat Metheny. Michael Brecker. Larry Goldings - Renaissance Man (08:35)
05. Joey DeFrancesco. Jeff Lorber - Give It Up (05:52)
06. Joey DeFrancesco. Roy Hargrove - All I Need (05:23)
07. Lou Donaldson - Midnight Creeper (06:32)
08. Wes Montgomery - Mellow Mood (08:44)
09. Stanley Turrentine. Shirley Scott - The Lamp Is Low (08:05)
10. Jimmy Smith - Blues In The Night (04:46)
11. Larry Young - Paris Eyes (Remastered) (06:42)
12. Baby Face Willette - Willow Weep For Me (Remastered) (08:15)
13. Kenny Burrell - I'll Close My Eyes (04:54)
14. Pat Martino - All Blues (Live) (12:03)
15. Shirley Scott - I've Grown Accustomed To Her Face (04:43)
16. Grant Green - You Dont Know What Love Is (07:38)
17. Jack McDuff - Butter (For Yo' Popcorn) (04:08)
18. Jimmy McGriff - Cute (Remastered) (03:30)
19. Dr. Lonnie Smith - Eleanor Rigby (Remastered) (09:19)
20. Count Basie - K.C. Organ Blues (02:54)

viernes, 20 de febrero de 2015

Stephane Grappelli • Feeling+Finesse=Jazz

Review by Scott Yanow
Although he was very active in France during the 1950s and '60s, violinist Stephane Grappelli recorded relatively little until 1969. This Atlantic LP from 1962 finds Grappelli in good form in a quintet with guitarist Pierre Cavalli, performing a Django-dominated repertoire that is not all that different from what he would be playing 30 years later.

1. Django
2. Nuages
3. Alabamy Bound
4. You Better Go Now
5. Daphne
6. Le Tien
7. Minor Swing
8. Makin' Whoopee
9. How About You
10. Soft Winds

Mike Mangan's Big Organ Trio • Big Organ Trio

1. Diva Mode
2. Number 9
3. Holy Roller
4. Down and Dirty
5. Earthquake
6. Organ Grinder
7. Dim the Lights
8. Showtime
9. Clown Boy
10. Road Rage

Johnny 'Hammond' Smith • Gettin' Up

1. The Sin-In [Smith]
2. Stand by Me [King/Leiber/Stoller]
3. Knock on Wood [Cropper/Floyd]
4. The Soulful Blues [Smith]
5. Ebb Tide [Maxwell/Sigman]
6. Summertime [Gershwin/Gershwin/Heyward]
7. Gettin' Up [Smith]
8. The "In" Crowd [Page]

Virgil Jones (tp)
Houston Person (ts)
Johnny "Hammond" Smith (org)
Thornel Schwartz (g)
Jimmy Lewis (el-b)
John Harris (d)

Rudy Van Gelder Studio, Englewood Cliffs, NJ, March 3, 1967

lunes, 16 de febrero de 2015

Byrdie Green • I Got It Bad (And That Ain't Good)

A1. See See Rider
A2. I Got It Bad (And That Ain't Good)
A3. Yesterday's Kisses
A4. The Poor Side Of Town
B1. (I've Been) Lonely Too Long
B2. I Had A Man
B3. Hold On To Him
B4. This Bitter Earth
B5. People

domingo, 15 de febrero de 2015

Clark Terry & Chico O'Farrill ‎• Spanish Rice

Review by Ken Dryden
Clark Terry joined forces with Cuban bandleader Chico O'Farrill for these 1966 studio session, which consist almost exclusively of Latin tunes. Although there are a number of all-stars present in addition to Terry, including trumpeters Joe Newman, Ernie Royal, and Snooky Young, along with guitarists Everett Barksdale and Barry Galbraith, the solos are all by Terry, so there is little interaction in these brief charts. Terry is in top form, as always, with his rich flügelhorn in "Angelitos Negros" and his fat-toned trumpet in an original blues called "Joonji." Terry and O'Farrill collaborated on the narrative comic original "Spanish Rice," though it isn't particularly memorable. Terry's modification of the lyrics to "Happiness Is" salutes a number of fellow jazz greats (particularly his impression of Louis Armstrong's singing), though the anonymous vocal group that accompanies him is quite forgettable. This is a fun recording that had the potential to be a memorable one, but it falls a bit short.

A1 Peanut Vendor 2:15
A2 Angelitos Negros 2:38
A3 El Cumbanchero 2:09
A4 Joonji 3:34
A5 Que Sera 2:14
A6 Mexican Hat Dance 2:40
B1 Spanish Rice 2:44
B2 Say Si Si 2:28
B3 Macarena (La Virgen De La Macarena) 2:58
B4 Tin Tin Deo 2:43
B5 Contigo En La Distancia 2:58
B6 Happiness Is 3:20

Year: 1966

Arranged By – Chico O'Farrill
Bass – George Duvivier
Guitar – Barry Galbraith, Everett Barksdale
Percussion – Bobby Rosengarden, Chano Pozo, Frank Malabe, Julio Cruz
Trumpet – Clark Terry, Ernie Royal, Joe Newman, Snooky Young

sábado, 14 de febrero de 2015

Diplomats of Solid Sound • Instrumental, Action, Soul

01. Hugh's Hefner [02:59]
02. Cookie Time [03:54]
03. Willie's Theme [02:58]
04. Bullfrog Bugaloo [03:13]
05. El Corazon Negro [03:20]
06. Chinese Connection [04:59]
07. Stoned Preacher [03:25]
08. Hot Stick [03:13]
09. Soul Slaw [03:56]
10. Mobley Turnaround [04:29]
11. Tennessee Toothpick [03:00]
12. Soul Beat Pt 2 [02:59]
13. The Men From S.C.E.P.T.E.R. Theme [02:57]

viernes, 13 de febrero de 2015

Shirley Scott with Stanley Turrentine • Soul Shoutin'

Review by Scott Yanow
Organist Shirley Scott and her then-husband, tenor great Stanley Turrentine always made potent music together. This CD, which combines together the former Prestige LPs The Soul Is Willing and Soul Shoutin', finds "Mr. T." at his early peak, playing some intense yet always soulful solos on such pieces as Sy Oliver's "Yes Indeed," "Secret Love," and his memorable originals "The Soul Is Willing" and "Deep Down Soul." Scott, who found her own niche within the dominant Jimmy Smith style, swings hard throughout the set and (together with drummer Grassella Oliphant and either Major Holley or Earl May on bass) the lead voices play with such consistent enthusiasm that one would think these were club performances. Highly recommended.

jueves, 12 de febrero de 2015

Billy Butler • Guitar Soul!

A1. Blow For The Blessing {Billy Butler, Charles Black} (9:28)
A2. Golden Earrings {Ray Evans, Jay Livingston, Victor Young} (4:04)
A3. The Thumb {Wes Montgomery} (4:18)
B1. Honky Tonk {Bill Doggett, Billy Butler, Clifford Scott, Shep Shepherd} (5:46)
B2. B & B Calypso {Bob Bushnell} (3:03)
B3. Seven Come Eleven {Benny Goodman, Charlie Christian} (5:43)
B4. Autumn Nocturne; You Go To My Head {Josef Myrow, Kim Gannon; J. Fred Coots, Haven Gillespie} (3:28)

Total Time: 35:52

Supervision - Bob Porter
Recording Engineer - Rudy van Gelder
Recorded 22nd September, 1969 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

miércoles, 11 de febrero de 2015

Lou Donaldson • Blowing in the Wind

Review by Jason Ankeny
Blowing in the Wind is perhaps the most curious and oddly compelling of the dates Lou Donaldson cut for Cadet during his mid-'60s exile from the Blue Note stable -- a mish-mash of contemporary pop hits, stage favorites, and standards all packaged in a bizarrely Picasso-like cover, the record's inconsistencies and contradictions make for an experience that's unique even in the context of Donaldson's erratic and eclectic oeuvre. The rollicking and buoyant reading of the Bob Dylan perennial which lends the set its title is completely wide of the mark -- Donaldson's arrangement is so upbeat and feather light, it's as if he never even glanced at the song's original lyrics, yet at the same time the groove is genuinely funky, and it's arguably the record's most truly soulful moment. A close second is the Donaldson original "The Wheeler-Dealer," which benefits from Sam Jones' "Duke of Earl"-inspired bass and its composer's blistering alto leads; although an ill-conceived rendition of "Hello Dolly" is forced and insipid, the group redeems itself with the lovely "Relaxin' in Blue," a 12-bar blues notable for the grace and restraint of its solos.

A1 Blowin' In The Wind 3:52
A2 Who Can I Turn To 4:21
A3 The Wheeler-Dealer 3:50
A4 Passing Zone 3:51
B1 Hello, Dolly! 4:53
B2 Relaxing In Blue 8:40
B3 Herman's Mambo 4:47

Alto Saxophone – Lou Donaldson
Bass – Sam Jones
Congas – Richard Landrum
Drums – Leo Morris
Piano – Herman Foster

martes, 10 de febrero de 2015

James Taylor's Fourth Dimension • Picking Up Where We Left Off

1 Picking Up Where We Left Off 7:32
2 Boot Up 5:31
3 Easy Time 5:38
4 Mr Z 3:25
5 Never In My Wildest Dreams 4:09
6 Acorn 2:46
7 Showdown 3:03
8 Dead Leg 5:13
9 French Quarter Strut 3:14
10 Like A Fool 4:02
11 Mincemeat 3:33
12 Specialplusextra 2:59

Bass – Andy McKinney
Drums – Neil Robinson
Engineer – Paul Golding
Guitar – Nigel Price
Written-By, Organ – J. Taylor

Recorded on 11 & 12 January 2007.

lunes, 9 de febrero de 2015

Anita O'Day • Anita O'Day & The Three Sounds

A1 When The Worlds Was Young 3:30
A2 Someday My Prince Will Come 4:21
A3 All Too Soon 3:15
A4 My Heart Stood Still 3:33
A5 My Ship 4:30
B1 Leave It To Me 5:12
B2 Whisper Not 2:52
B3 Blues By Five 4:36
B4 (Fly With Me To The Moon) In Other Words 3:44
B5 You And The Night And The Music 2:35

domingo, 8 de febrero de 2015

Booker T. & The MG's • Soul Dressing

Review by Richie Unterberger
Assembled mostly from (non-hit) 1963-65 singles, this is solid stuff, but a notch below their peak collections. The best tracks ("Soul Dressing," "Tic-Tac-Toe," "Can't Be Still") are usually included on their best-of anthologies, but "Plum Nellie," featuring some ferocious, cutting-edge solos by Cropper and Jones, is an overlooked highlight.

Soul Dressing 2:24
Tic-Tac-Toe 2:30
Big Train 2:30
Jellybread 2:27
Aw' Mercy 2:34
Outrage 2:31
Night Owl Walk 3:12
Chinese Checkers 2:25
Home Grown 2:39
Mercy Mercy 2:32
Plum Nellie 2:03
Can't Be Still 1:57


Booker T. Jones - organ, bass guitar, electric piano
Steve Cropper - guitar
Lewis Steinberg - bass guitar
Al Jackson, Jr. - drums
Donald "Duck" Dunn - bass guitar

viernes, 6 de febrero de 2015

Rhythm Future Quartet • Rhythm Future Quartet

01. Night And Day
02. Summertime
03. Made For Wesley
04. Tears
05. Ornithology
06. Cherokee
07. La Gitane
08. Tico Tico
09. My Blue Heaven
10. Clair De Lune
11. Caravan

Jason Anick - Violin
Olli Soikkeli - Guitar
Vinny Raniolo - Guitar
Greg Loughman - Bass

jueves, 5 de febrero de 2015

David Grisman • Hot Dawg

Review by Ken Dryden

It's no wonder that mandolinist David Grisman came up with the name "Dawg Music" to describe his style of playing, which draws from bluegrass, jazz, and many other forms of music. This 1978 recording has long been a favorite of Grisman's fans, as all of the compositions and performances have stood the test of time. Grisman's lively "Dawg's Bull" and guitarist Tony Rice's upbeat "Devlin'" set a high standard at the opening of the album, yet the remaining tracks continue to meet the high watermark of the first two songs. In addition to Rice's presence throughout the recording, Grisman utilizes five different bassists (only one song, "Dawgology," features two of them together), violinist Darol Anger, mandolinist Mike Marshall, and on two selections, the jazz violin master Stéphane Grappelli.

1 Dawg's Bull
2 Devlin'
3 Minor Swing
4 Dawgology
5 Neon Tetra
6 Janice
7 Dawg-ola
8 16...16

David Grisman – mandolin
Tony Rice – guitar, + violin (#6)
Darol Anger – violin (#1,2,4,6,7), violectra (#5)
Mike Marshall – mandolin (#3,4,8)
Todd Phillips – bass (#1,5)
Eddie Gómez – bass (#3,4,8)
Stéphane Grappelli – violin (#3,8)
Buell Neidlinger – bass (#2,7)
Bill Amatneek – bass (#6)

miércoles, 4 de febrero de 2015

The James Taylor Quartet • Room At The Top

01. Mr. Bridger Said So (4:14)
02. Message From Sicily (3:35)
03. Stop! (ft. Yvonne Yanney) (4:30)
04. Daydream No.9 (1:50)
05. Show Me All Your Colours (ft. Roy Ayers) (3:31)
06. Black Tuesday (3:22)
07. Lausanne Revisited (1:21)
08. Still Got Your Sense Of Humour Jack (3:06)
09. South To Perpignon (4:56)
10. Free (ft. Lara Rose and Ian Anderson) (4:41)
11. Batten Down The Hatches (5:17)
12. Farewell Canale Grande (3:01)
13. Dark Forest (3:56)
14. Full Moon (2:09)
15. Sweet Lover (ft. Linda Muriel) (4:56)

Organ, Keyboards – James Taylor
Bass – Gary Crockett
Drums – Neil Robinson
Guitar – David Taylor (2)
Saxophone, Flute – John Willmott
Trumpet – Graham Flowers

lunes, 2 de febrero de 2015

Lucky Peterson • Organ Soul Sessions

A frequent performer in France since the early 90's, Lucky Peterson is back with a triple album event: Organ Soul Sessions.
For his return to the front of the scene Lucky has chosen a mostly soul repertoire. "I just love Donny Hathaway for instance, and Stevie Wonder, for the joy they share". Lucky the organist takes up 60's and 70's classics like I Heard It Through The Grapevine and I Can't Stand The Rain, and revives the sounds of Jack McDuff, Lonnie Smith, and Jimmy Smith. He also revisits Thelonius Monk's Hammond B3 Misterioso, and adds a thoughtful version of Amy Winehouse's Rehab.


CD1: Brother Where Are You?
01. Soul Bossa Nova
02. Cantaloupe Island
03. Crying Time
04. I Heard It Through The Grapevine
05. The Jody Grind
06. Mercy, Mercy, Mercy
07. Misterioso
08. Midnight Blue
09. Don't Know Why
10. Unchain My Heart
11. Brother Where Are You

CD2: Mercy
01. Mercy
02. Son of Precher Man
03. Stolen Moments
04. Tell it Like it is
05. I Walk the Line
06. The Sidewinder
07. Yellow Moon
08. Rainy Night in Georgia
09. Me and Bobby Mcgee
10. Am So Lonesome I Could Cry
11. I Cant Stand the Rain

CD3: The Music is the Magic
01. Well you needn't
02. Rehab
03. The Preacher
04. A song for you
05. The music is the magic
06. Up from the sky
07. Ode to Billie Joe
08. The Mooche
09. My cherie Amour
10. Song for my Father
11. Will the circle be unbroken

Lucky Peterson - hammond (C3) organ
Cindy Blackman - drums
Rodney Jones, Cornell Dupree - guitar
Danny Sadownick - congas
Lenny Pickett, Houston Person - saxophone (tenor)
Sly Johnson, Tatiana Heintz, Sharon Jones - vocals

Toulouse-Lautrec • Fritz Novotny, pdf

pdf / Idioma: Inglés / 208 págs. / texto editable (copiar y pegar en traductor)