egroj world: mayo 2015

sábado, 30 de mayo de 2015

Dave Pike Set • Infra-Red

David Samuel Pike (born March 23, 1938 in Detroit, Michigan) is a jazz vibraphone and marimba player. He appears on many Herbie Mann albums as well as those by Bill Evans, Nick Brignola, Paul Bley and Kenny Clarke. He has also recorded extensively as leader, including a number of albums on MPS Records.
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Tail Dragger & His Chicago Blues Band • Crawlin' Kingsnake

James Yancy Jones, aka Tail Dragger, was born in Altheimer, AR, in 1940. He was brought up by his grandparents and was influenced as a child by the electric Chicago blues of Muddy Waters, Sonny Boy Williamson, and especially Chester Burnett, the Howlin' Wolf. Jones was a Howlin' Wolf devotee, right down to his deep, gruff voice. After moving to Chicago in the '60s, he began playing with blues legends on the West Side and South Side. It was Howlin' Wolf who gave Jones the title "Tail Dragger" because of his habit of showing up late to gigs.
The blues get served up hard, heavy and raunchy on the debut album from Chicago blues club legend Tail Dragger & His Chicago Blues Band. The 12 tracks here run the gamut from the modal "Don't Trust No Woman," six-and-a-half minutes of a non-stop trance groove, to the nastiest version of "Baby Please Don't Go" you'll ever hear, to the Jimmy Reed groove of "Cold Outdoors." With a straightforward, driving band featuring Studebaker John on harmonica, Rockin' Johnny Burgin on lead guitar, and Twist Turner on drums, a great song selection with seven of the 12 tunes emanating from the pens of either Tail Dragger or producer George Paulus, and an uncluttered production, this is one modern-day blues album that captures the spirit of Chicago blues in its classic period, yet in the here and now. The cover of this CD announces that disc contains "one hour of hardcore juke joint blues." Believe it. Cub Koda, AMG

Cal Tjader • Tjader plays mambo

Review by Richard S. Ginell
Having finished his tenure with George Shearing in 1954, a thoroughly Latin-inoculated Cal Tjader took off on his own, recording several short slices of infectious Latin jazz, from which a dozen were selected for this album. Many of the selections are standards retrofitted with percolating Latin rhythms, cut and shaped to fit the old three-minute limit of 45 or 78 rpm singles. Tjader's crystalline vibes are teamed with a San Francisco Latin percussion section that lays down the grooves crisply and succinctly, with an occasional emulation of the more laid-back Shearing Latin sound ("East of the Sun"). Elsewhere, Cal experiments with a hot four-man trumpet section on four of the tracks, the best of which is a rhumba version of "Fascinating Rhythm." The earliest Tjader-led recording of "Guarachi Guaro" (later known as "Soul Sauce") is also included here. These seminal tracks helped launch the Cal Tjader Latin jazz style, and they still sound fresher than many other such historical landmarks.

Akiko Tsuruga • Sakura


VA • Voodoo Blues, Hoodoo & Magical Practices

Richard ''Groove'' Holmes • After Hours

Jason Anick • Sleepless

Jason Anick (born October 3, 1985, Framingham, Massachusetts) is an American jazz violinist, mandolin player and composer. He currently resides in Boston, Massachusetts, and teaches at the Berklee College of Music.
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"Sleepless" is the debut solo album of Boston based jazz violin and mandolin player Jason Anick. It includes seven of Jason's originals as well as six arrangements of jazz and Gypsy jazz standards.

Stereophonic Space Sound Unlimited • The Spacesound Effect

viernes, 29 de mayo de 2015

VA • Hot Spot

Mary Osborne • A Memorial

Mary Osborne (1921 - 1992) began her musical career in Minot, North Dakota before she was 11 years old. In a few years she was doing radio work and soon was playing with some of the big bands then playing in the upper Midwest. She met Charlie Christian in North Dakota and she was heavily influenced by his style. But, like most of the great players she also developed her own unique approach and sound.
In the late 1930’s she moved east to Pittsburgh and later to New York. There her talents as a jazz player caught the ear of some of the jazz greats like Coleman Hawkins, Dizzy Gillespie and Art Tatum all of whom used her as rhythm and solo guitarist in their bands. In the period of 1945 – 1947 she made a number of recordings with several important jazz figures; Mercer Ellington, Mary Lou Williams, Coleman Hawkins, Stuff Smith and Meryl Booker.
During that same period she formed her own group, The Mary Osborne Trio in which she also supplied the vocal interest. Her trio made a series of successful public performances and recordings that were originally released on 78 RPM records. She later gave up the trio format to perform on her own at clubs and on TV where she played on the Arthur Godfrey and Ted Steele shows.
In the 1950’s she recorded with Tyree Glenn and produced a long playing record under her own name, A Girl and Her Guitar.
In 1968 Mary Osborne moved to Bakersfield, California where she operated the Osborne Guitar Company and performed in local venues. In 1977 she made a recording with Marian McPartland entitled Now’s The Time with a lineup of some of the best women jazz musicians of the day. In 1982 Stash records released Now And Then which included new material and material from A Girl and Her Guitar.
Mary Osborne died in Bakersfield, California in 1992.

La Pompe • Rue De Thoiry

Muddy Waters • Folk Singer

Dutch Swing College Band • Back To The Roots

The Dutch Swing College Band "DSCB" is a traditional dixieland band founded on May 5, 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort.
Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) - among many others.
The band continues to tour extensively, mainly in Europe & Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort's death on November 17, 1990. Schilperoort had led the band for more than 45 years, albeit with a five year sabbatical from September 13, 1955, when he left to pursue an engineering career before returning to lead the band again officially on January 1, 1960.


En mayo de 1945, cuando Europa estrenaba la paz, en medio de los tiros que aún sonaban, un grupo de estudiantes de música en Holanda no tuvo mejor idea para festejar la liberación que fundar una banda que con los años se convirtió en una de las mejores bandas de jazz. Como nombre lleva el de Dutch Swing College Band o como se la conoce "Los Estudiantes Holandeses"

Milt Jackson • Wizard of the Vibes

Louis Jordan • Let The Good Times Roll_The Anthology 1938-1953

Louis Jordan (Brinkley, 8 de julio de 1908 - 4 de febrero de 1975) fue un saxofonista y cantante estadounidense de blues, uno de los pioneros del jazz y del rhythm and blues.
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Louis Thomas Jordan[1] (July 8, 1908 – February 4, 1975)[2] was a pioneering American musician, songwriter and bandleader who enjoyed his greatest popularity from the late 1930s to the early 1950s. Known as "The King of the Jukebox", he was highly popular with both black and white audiences in the later years of the swing era.
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jueves, 28 de mayo de 2015

Reuben Wilson • Blue Mode

Review by Stephen Thomas Erlewine
If Love Bug skirted the edges of free jazz and black power, Blue Mode embraces soul-jazz and Memphis funk in no uncertain terms. Opening with the cinematic, stuttering "Bambu" and running through a set of relaxed, funky grooves -- including covers of Eddie Floyd's "Knock on Wood" and Edwin Starr's "Twenty-Five Miles" -- Blue Mode isn't strictly a jazz album, but its gritty, jazzy vamps and urban soul-blues make it highly enjoyable. Reuben Wilson has a laid-back, friendly style and his supporting band -- tenor saxophonist John Manning, guitarist Melvin Sparks, and drummer Tommy Derrick -- demonstrate a similarly warm sense of tone. While none of them break through with any improvisations that would satiate hardcore jazz purists, they know how to work a groove, and that's what makes Blue Mode a winner.

Silas Hogan • So Long Blues

Silas Hogan (September 15, 1911 – January 9, 1994) was an American blues musician. Hogan most notably recorded "Airport Blues" and "Lonesome La La", was the front man of the Rhythm Ramblers, and became an inductee in the Louisiana Blues Hall of Fame.
Hogan learned guitar playing as a teenager and was performing on a regular basis by the late 1930s. Similar to Lazy Lester and Slim Harpo, Hogan was influenced by Jimmy Reed. He had relocated to Baton Rouge, Louisiana by the early 1950s, and equipped with a Fender electric guitar, Hogan put together the Rhythm Ramblers. They assisted in the development of the Baton Rouge Blues sound, and with band members Hogan (guitar), Isaiah Chapman (lead guitar), Jimmy Dotson (drums), plus Sylvester Buckley (harmonica), they stayed together for almost ten years.
In 1962, by which time he was aged 51, Hogan was belatedly introduced by Harpo to the Crowley, Louisiana based record producer, J. D. "Jay" Miller. Miller, via the offices of Excello Records, started Hogan's recording career, at a time when interest in variations of swamp blues was starting to wane. Hogan did nevertheless see the issue of several singles up to 1965, when Miller's disagreement with the record label's new owners brought the recording contract to a swift finale. On some of his recordings, Hogan was backed by the harmonica player, Moses "Whispering" Smith. Hogan had to disband the group, and returned to his full-time job at the Exxon oil refinery. In the late 1970s, Hogan recorded further tracks with both Arhoolie and Blue Horizon.
Hogan died in January 1994 of heart disease, at the age of 82.

Odell Brown • Ducky

Review by Jason Ankeny
Despite the absence of a single track as memorable or invigorating as the hit "Mellow Yellow," Odell Brown and the Organ-izers' Ducky is nevertheless a worthy follow-up, boasting much the same soulful swagger as its predecessor. With its relaxed yet insistent pulse and tight arrangements, the record's slow-burning energy owes more to the first half of the soul-jazz equation than the second -- though not quite on the level of contemporary organists like Jimmy McGriff, Brother Jack McDuff, or Groove Holmes, Brown boasts a supple, romantic sound ideally suited to the material at hand. While the Organ-izers' renditions of pop nuggets like "The Look of Love" and "Ain't No Mountain High Enough" manage to stay close to the familiar hits, the group nevertheless lends their own distinctive touch to the songs, and in particular the latter sports a lush groove worthy of the Motown house band itself -- high praise indeed.

Odell Elliott Brown Jr. (February 2, 1940 – May 3, 2011) was an American jazz organist. He was mainly active in the late 1960s and early 1970s, playing in a soul jazz and jazz funk vein, initially appearing with his backing band as Odell Brown & the Organ-Izers. Brown was born in Louisville, Kentucky. He started playing the piano aged 4 as his mother was a part-time piano teacher. His father bought him a baby grand piano. After playing in various junior & senior high school bands, he went to Nashville, Tennessee & met musicians attending Tennessee State A&M. Wishing to enroll himself, his plans were soon curtailed when he was drafted into the army where he joined the Army Post Band. During this period, he gained valuable insight into arranging & orchestrating. After leaving the army, he moved to Chicago where he was re-united with some of the musicians from his Nashville days. They formed a band becoming known as "The Organ-Izers" & within two years, were signed to Chess Records' jazz subsidiary label, Cadet. The band's personnel was O'Dell Brown, organ, Artee "Duke" Payne and Tommy Purvis, tenor saxophones, Curtis Prince, drums.[1] Their debut album was titled 'Raising The Roof' in 1966 followed by their most popular record, 1967's Mellow Yellow, which reached #173 on the Billboard 200. Third album, 'Ducky' was the last to feature the band. While at Chess, Brown was not only signed to the label but also worked as a staff musician playing & arranging for a wealth of other artists & gaining great insight & expertise into other styles of music. After the death of Leonard Chess in 1969, Brown decided not to re-sign with the label & during the 1970s, pursued a solo career as an independent arranger, producer & studio musician. During this period, he worked with artists such as Minnie Ripperton (with whom he arranged and conducted an album on Epic records), Curtis Mayfield, Johnny Nash & Marvin Gaye (both live & in the studio). Brown also co-wrote Marvin Gaye's hit single "Sexual Healing" winning two Grammy awards. He went on to receive further awards recognising his many talents, later in life. Brown had been living in Richfield, Minnesota since the early 1990s, to stabilize his professional and personal life. He died there on May 3, 2011.

Lionel Hampton • Lionel Hampton Plays Love Songs

Recordings made in the mid-'50s with Oscar Peterson, Art Tatum and Buddy Rich; sensitive, sensual ballads - recordings of museum importance, whose potency has not been even slightly diminished by time.

Pat Bianchi • East Coast Roots

Review by Scott Yanow
Inspired by Joey DeFrancesco and, like every organist, by Jimmy Smith, Pat Bianchi plays very much in their two overlapping styles. This set teams him with guitarist Mark Whitfield (who spent a period playing with Smith) and with DeFrancesco's longtime drummer, Byron Landham. To try something a little different, Bianchi recorded eight songs that are not associated with organists and in most cases were probably never recorded previously by an organist. The modern jazz classics, which include songs by Bobby Hutcherson, John Coltrane ("Straight Street"), Jimmy Heath, and Bill Evans, all adapt themselves well to this soul-jazz setting, particularly "Gingerbread Boy" and Ernie Wilkins' exciting "Dizzy's Business." Fans of the Hammond B-3 organ now have another hero in Pat Bianchi. East Coast Roots is an excellent example of his artistry.

Svend Asmussen • Embraceable

Svend Asmussen: violin;
Georges Arvanitas: piano;
Patrice Caratini: bass;
Charles Saudrais: drums.

Kenny Barron Quintet • Images

Hard-bop pianist Kenny Barron has been a "musician's musician" for decades, playing behind such towering figures as Dizzy Gilles pie, Yusef Lateef, Stan Getz, and Freddie Hubbard. But in the 1990s, Barron began to take center stage, leading mostly trios through a series of albums that established him as a fine composer of intricate but madly swinging tunes. On IMAGES, he's assembled a somewhat unusual lineup, dispensing with any reeds or brass--just piano, flute, vibes, bass, and drums. The result is a set of bright, deceptively easygoing straight-ahead jazz--imagine the Modern Jazz Quartet after a long vacation in Brazil, where they drank lots of coffee.

Henry Gray & Rudi Richard • Louisiana Swamp Blues

Review by Steve Leggett
Dedicated to Slim Harpo, this brief album, recorded in Baton Rouge, LA, in 1990, is a split affair, with blues pianist Henry Gray alternating tracks with guitarist (and accordion player) Rudi Richard in a nifty little swamp blues collection. Although one wishes the two musicians had done some of these songs together, their approach to the blues (different as they are) complement each other well, and the sequence doesn't suffer for this split format. Gray, in particular, has an intriguing sound, adding a certain intangible bayou sensibility to his Chicago piano style, and his rough, everyman vocals on sides like "Talkin' About You" and the self-penned "Gold Chills" carry a degree of authenticity, particularly with Slim Harpo's drummer, Jess Kenchin, pounding away. Richard is less distinctive as a vocalist, but as Harpo's longtime guitarist (he put the guitar sting in "I'm a Kingbee," and if you've heard the song, you know about the sting), he, too, has an authentic claim to this material, and while his version of the bayou chestnut "Tee Ni Nee Na Nu" essentially seems to be by the numbers, his sleek, angular version of "Good for the Goose" is a solid delight. Again, it would have been nice if Gray, Richard, and Kenchin had all worked together on a few of these tracks, but even without that, this set still functions pretty well as a simple and unassuming introduction to Louisiana swamp blues.

Modern Jazz Quartet • Django

Review by Lindsay Planer
Hailing from a trio of Modern Jazz Quartet (MJQ) sessions, Django (1955) contains some of the earliest sides that Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums) recorded for Prestige Records. Initially, the combo was part of Dizzy Gillespie's influential backing band and after a change in drummers (to Connie Kay), they continued as one of the more sophisticated aggregates of the post-bop era. The album commences with Lewis' sublime and serene title track "Django," dedicated to the memory of guitarist extraordinaire Django Reinhardt. This musical paean aptly recaptures the essence of Reinhardt's enigmatic gypsy-like nature, especially evident within Jackson's leads, which emerge from the thoughtful opening dirge with a refined, warm tone throughout. Reinhardt's playfulness is recalled in Lewis' well-placed interjections between and beneath Jackson's lines. "One Bass Hit" is an homage to Gillespie with Heath taking charge of the intricate melody, showing off his often criminally underutilized skills. From the same December 1954 gathering comes the moody Lewis-penned ballad "Milano." There is a notable Mediterranean feel resounding in the opulence of MJQ's unassuming interaction. The centerpiece is the lengthy four-movement showcase "La Ronde Suite" circa January of 1955. The MJQ maneuver with unquestionable grace, alternately supporting and soloing, each taking the reigns as the others construct their contributions around the respective soloist. The remaining four selections date back to June of 1953 and are highlighted by "The Queen's Fancy," a simple and refined fugue that carries a distinct air of nobility. "Delaunay's Dilemma" is a definite contrast as it allows the players to cut loose with some frisky and fun exchanges that perfectly demonstrate their ability to glide through the sinuous syncopation. Both the understated splendor of "Autumn in New York" and the equally sublime cover of "But Not for Me" provide some familiar backdrops for the MJQ to collaborate and perhaps more directly display their essential improvisational abilities. In terms of seminal Modern Jazz Quartet entries, it is hard to exceed the variety of styles and performances gathered on Django.

Gypsy Swing Revue • Puttin' On The Ritz

The music of Gypsy Swing Revue is the swinging jazz of the 30's and 40's plus a cross-section of songs from the modern Gypsy Jazz repertoire. With instrumentation similar to Django s Hot Club, namely: two acoustic guitars, upright bass, and violin, each Gypsy Swing Revue performance provides exciting, engaging music for all to enjoy. This album was recorded 'live' in the studio, without any overdubs or edits. Notable tracks include two original compositions (Elliot Reed's Zapala, and Farewell, by Art Gibson), one of the very few bolero-style tunes composed by Django Reinhardt (Troublant Bolero), the title track, a timeless standard by Irving Berlin (Puttin' On The Ritz), modern songs from the Gypsy Jazz repertoire (Jojo Swing, Number One), as well as a rare Russian swing song, contemporary with Django's early career, and never before recorded in United States (Unfortunate Rendezvous).

miércoles, 27 de mayo de 2015

Melba Liston • Melba Liston and Her 'Bones

Melba Doretta Liston (January 13, 1926 – April 23, 1999) was an American jazz trombonist, musical arranger, and composer. She was the first woman trombonist to play in big bands during the 1940s and 1960s.
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King Fleming • Trio Stand By

Walter "King" Fleming (May 4, 1922 – April 1, 2014) was an American jazz pianist and bandleader. He was born in Chicago, Illinois.
A classmate of Sonny Cohn, after playing trombone in the McKinley High School band, Fleming went on to study at the Midwest College of Music. He had already led several informal bands before King Fleming and His Swing Band first performed in September 1942. When he was drafted into the U.S. Army in July 1943, the band continued performing under the leadership of other bandmembers until too many of its members had been called up for it to be viable.
Discharged in 1945, Fleming started doing session work in Los Angeles and joined Johnnie Alston & His All Stars for recording dates backing Wynonie "Blues" Harris on Apollo. Johnny Alston and His Orchestra later signed for the Bihari Brothers' Modern label, and Fleming and Al "Cake" Wichard were joined by Addison Farmer. By mid-1946, Fleming had joined the Swing combo Oliver "King" Perry's Pied Pipers with Norman Bowden (trumpet); George "Happy" Johnson (trombone); Wesley Prince (bass) and Joe Harris (drums) before returning to Chicago to lead his own King Fleming's Four with Jay Peters (tenor sax), "Hog" Mason (bass), and Tommy Hill (drums) and getting a write-up in Down Beat for June 18, 1947.
In 1950 he was a member of the Dallas Bartley Quartet, with Johnny Thompson (tenor sax) and Oliver Coleman (drums), and that summer he recorded as a session pianist for the vocal group, the Dozier Boys, at their recording session for Chess Records. Later that year he joined Oliver Coleman's Palmaires; the other members were Nelson Berry (tenor saxophone) and Sylvester Hickman (bass).
In 1954 he finally recorded under his own name, on the Blue Lake label, with John Neely (tenor saxophone); Russell Williams (bass); Aubrie Jones (drums); Lorez Alexandria (vocals) and in 1955 for the Chess label. The Chess brothers invited him back the following year, again with vocalist Lorez Alexandria, to record "Stompin' at the Savoy". In 1957, his group backed Lorez Alexandria on her first two albums for the King label, and collaborated with Muhal Richard Abrams, who wrote arrangements for a King Fleming-led big band.
Between 1960 and 1965, he recorded three piano trio albums for Argo and Cadet Records, which were Phil and Leonard Chess's jazz labels. He also appeared on two singles released locally by singer George Green.
After many years during which his trio worked steadily in the Chicago area without drawing interest from the recording industry, King Fleming resurfaced on the Southport label in 1996.
Fleming died at the age of 91 at a retirement home in Manteno, Illinois on April 1, 2014.

Illinois Jacquet • Collates № 2

Herbie Mann • America-Brazil

Review by Jim Newsom
America/Brasil is a rollicking, celebratory album that keeps Herbie Mann on the winning streak he started with the release of Peace Pieces in 1995. Recorded during a week of concerts to mark his 65th birthday in April 1995, this disc is much stronger than its immediate predecessor, Celebration, also taken from the same week of live concert performances at New York's Blue Note jazz club. The material here is superb, and the playing top-notch. As the title implies, the emphasis here is on Mann's Brazilian side, but there are touches of the non-Brazilian with Bill Evans' "Peri's Scope" and Miles Davis' "All Blues." "Summertime" is recast in an Afro-Cuban mode with Paquito D'Rivera sharing the solo space on alto sax. However, lengthy Brazilian showstoppers are placed at the beginning, middle, and end of this wonderful disc. The opening "Keep the Spirits Singing" is propelled by the polyrhythmic pulse of percussionists Cyro Baptista and "Café," and the 17-minute title track finale features trumpeters Randy Brecker and Claudio Roditi, trombonist Jim Pugh, and guitarist Romero Lubambo. Even with the all-star cast assembled for this special week of concerts, it's Herbie Mann himself whose playing shines the brightest throughout this recording, celebrating his past and affirming his place in the present as the finest flutist working in jazz.

Todd Rhodes • Dance Music That Hits the Spot!

Todd Rhodes (August 31, 1900 – June 4, 1965) was an American pianist and arranger and was an early influence in jazz and later on in R&B.
He was born Todd Washington Rhodes, in Hopkinsville, Kentucky. Rhodes attended both the Springfield School of Music and the Erie Conservatory, studying as pianist and songwriter.
In the early 1920s he played with Benny Carter, Coleman Hawkins, Fats Waller, Rex Stewart, Doc Cheatham, and Don Redman in McKinney's Cotton Pickers, a jazz group. Rhodes lived and played in Detroit in the 1930s. In the late 1940s he started his own group, Todd Rhodes and His Toddlers, and started doing more R&B arrangements. With his Toddlers, he recorded "Your Daddy's Doggin' Around" and "Your Mouth Got a Hole In It." Rhodes also worked with Hank Ballard, The Chocolate Dandies and Wynonie Harris. He featured African American female lead singers, such as Connie Allen, who recorded "Rocket 69" in 1951. After she left the band in early 1952, her position was taken by LaVern Baker.
His instrumental "Blues For The Red Boy" became a top 5 R&B hit late in 1948, and was later famously used by Alan Freed as the theme song for his "Moondog" radio show. Freed apparently insisted on referring to the song as "Blues For The Moondog" instead of its actual title.
Rhodes died in June 1965 in Detroit, at the age of 64.

martes, 26 de mayo de 2015

Ad Van Den Hoed Kwartet • King's Clarinet

Illinois Jacquet • Collates

Tom Conway • El Tigre

Howlin' Wolf • Chicago Blue 1957-1965

Jazz Ansambl Mojmira Sepea • Ansambl Sepe Jazz

Founded in the late 50-ties. They were proned to modern jazz style (bebop, cool, swing ).
Country: Yugoslavia
Trumpet, piano: Mojmir Sepe
Clarinet, saxophone: Ati Soss
Vibraphone, piano: Jure Robežnik
Guitar: Mitja Butara
Bass: Borut Finžgar (later Pavle Oman)
Drums: Janez Sever (later Koko Jagodic)

Beverly 'Guitar' Watkins • Don't Mess With Miss Watkins

Artist Biography by Richard Skelly
Georgia-based guitarist, singer, and songwriter Beverly "Guitar" Watkins is one part soul singer, one part rockin' roadhouse mama, and one part gifted songwriter. She's also been chronically under-recorded for a woman with her résumé: she spent the early '60s playing rhythm guitar with Piano Red & the Interns. She recorded with Piano Red from 1959 until the mid-'60s, and can be heard on his popular singles "Doctor Feelgood" and "Right String But the Wrong Yo Yo." Watkins learned guitar and got her earliest musical sensibilities from several of her aunts, who had a quartet named the Hayes Family. She also had a banjo playing grandfather, Luke Hayes. On holidays and at family get-togethers, these musicians would assemble and the blues and gospel were passed on in a true folk process to the young Watkins.
Her earliest influences included Rosetta Tharpe, Bessie Smith, Ma Rainey, and Memphis Minnie, and she was exposed to the music because of her grandmother, who would play their recordings on the family Gramophone. She began playing guitar as an eight-year-old, learning by listening to the records her mother would play for her. Later, she was exposed to the records of touring bands, including Louis Jordan's and Count Basie's. She began to model her playing after Charlie Byrd and Basie's rhythm guitarist, Freddie Green. Throughout high school, she participated in a variety of talent shows and played trumpet in the school band. Her high school band master helped broaden her knowledge of jazz and blues guitar, and piano. After a succession of bands in high school, she settled in with playing with Piano Red, who later changed their name and found their widest appeal, as Piano Red & the Houserockers, which led to bookings outside Atlanta and northern Florida in cities like Chicago, Detroit, and Washington, D.C.
In 1965, the band broke up, but not before going through several more name changes. Watkins then hooked up with Eddie Tigner and the Ink Spots and toured extensively with that group, playing for nearly a year with him before he was felled by a stroke. Watkins came off the road and took a break from the brutal touring she had done for much of the '60s. She worked a procession of day jobs as a domestic and in car washes before joining Leroy Redding & the Houserockers. Watkins worked on and off with Redding until the late '80s before striking out on her own and creating a residency for herself at Underground Atlanta, an Atlanta nightclub, often accompanied by a drummer and her son on bass. Here she developed her singing and harmonica-playing skills. Back in Business, her solo debut album, was released in 2001 as part of the Music Maker Series distributed by Sire Records Group/ Warner Bros. The album showcases Watkins' flexibility and prowess in a wide range of styles: roadhouse blues, jazz-inflected blues, and rockabilly-blues. Now in her sixties, Watkins continues to perform in Atlanta-area blues clubs and at major festivals around the U.S.. She put in a particularly compelling, energetic performance at the 2000 Chicago Blues Festival.
Watkins was playing internationally (for example, the Main Stage at the Ottawa Blues Fest in 2004) as well as in her hometown Atlanta until temporarily sidelined by surgery in 2005, but is recovered and taking bookings. She performed a set at the 2008 Cognac Blue Festival.

lunes, 25 de mayo de 2015

El arte del bordado en oro en Rusia, pdf español

Pablo Picasso • Anatoli Podoksik, pdf

Gabor Szabo • Live with Charles Lloyd

Herbie Mann & Buddy Collette • Flute Fraternity

Bruce Ewan • Mississipi Saxophone

Basily • Antara, correct link

Basily est un groupe de jazz manouche hollandais.
Peu connus en France, ce sont des stars aux Pays-Bas où ils tournent beaucoup : concerts, festivals, télés... On a d’ailleurs pu les apprécier récemment au festival de Samois cette année (édition 2005). Ils ont à ce jour réalisé cinq disques sous leur nom.
La formation est un sextet familial organisé autour des deux solistes : Popy Basily (guitare solo) et Tucsi Basily (violon). Trois guitares tenues par Gino Basily, Zonzo Basily et Martin Limberger assurent une pompe solide. A cette base viennent se greffer d’autres musiciens qui varient selon les disques (on a pu entendre ainsi Sani van Mullen à la basse, Peter Beets au piano, ou encore Giani Lincan au cymballum...).
Antara est leur tout premier disque, paru en 1991. Les musiciens sont encore des gamins, comme on peut le constater sur la pochette... mais ils jouent déjà terrible et sans complexe ! Le style est très inspiré des Rosenberg (on reconnait des plans de Stochelo !), et les influences vont chercher des rythmes du côté de l’Espagne, voire même au delà de la Méditerrannée avec l’ajout de percussions appuyée sur quelques morceaux.
Un disque toujours agréable à écouter, même si le son d’ensemble reste par moment un peu daté (et je parle pas des coupes de cheveux...).

Musiciens :
Tucsi Basily : violon
Popy Basily : guitare solo
Zonzo Basily : guitare
Gino Basily : guitare
Martin Limberger : guitare
Marino Basily : contrebasse
Stan Stolk : contrebasse
Invités :
Nippy Noya : percussion (2, 7, 9)
Erik Visser : guitare 12 cordes (13)

Lou Levy • Jazz in Four Colors

sábado, 23 de mayo de 2015

Ehud Asherie • Organic

By Perry Tannenbaum
After three releases on Posi-Tone leading small combos from the piano, 31-year-old Israeli native Ehud Asherie switches over to Hammond organ for his latest quartet outing, Organic. Fats Waller and Count Basie come readily to mind as jazz immortals who doubled on the two instruments. While their piano styles were more individualized than Asherie’s at this stage of his career, their doubling is reduced to dabbling when compared to Asherie’s imposing proficiency at the organ, which instantly catapults him to the front ranks of current B3 practitioners and invites comparisons with the greats of the past.
The first Jimmy Smith parallel comes on the opening track, Leonard Bernstein’s “Tonight,” as the leader, guitarist Peter Bernstein and alto saxophonist Dmitry Baevsky finish attacking the head and Asherie fills the bars before his solo with Smith-like heraldry. None of Asherie’s ideas sound borrowed, unless you object to the Jobim allusions that creep into the organist’s solo and arrangement. With that tip-off, it’s not surprising that a Jobim line, “Favela,” makes it onto the playlist, along with covers of Sonny Rollins’ “The Stopper” and the Johnny Green-Gus Kahn hit “Coquette.” Echoes of “Tonight” can be heard in one of the four Asherie originals, “It’s Impossible.”
Asherie starts off “Favela” so high on the keyboard that the Hammond momentarily sounds like a marimba. Baevsky throws down the gauntlet with scorching work on “The Stopper,” and Asherie responds resoundingly, with additional pyrotechnics from drummer Phil Stewart. Baevsky frequently evokes Bird, but in Asherie’s “Apostrophe,” with the composer playing the “So What” vamp behind him, echoes of Cannonball Adderley sound inevitable. Bernstein’s most gorgeous work is on the midtempo “Valse Pra Jelena,” the catchiest of Asherie’s originals, and he’s at his funkiest on the leader’s lovingly retro closer, “Blues for Fats.”

Don Byron • Do the Boomerang - The Music of Junior Walker

Review by Thom Jurek
Anybody interested in Don Byron gets his range, and his willingness to try almost anything that tickles his fancy, whether it be klezmer, swing, funk, out jazz, blues or funky soul. He explores and leaves his mark on something and moves on. From Music for Six Musicians and Tuskegee Experiments to Nu Blaxploitation and Bug Music, from Fine Line: Arias and Lieder and Plays the Music of Mickey Katz to Ivey-Divey, Byron has explored -- not usually reverently -- his inspirations and curiosities with mixed results, but it's the investigation that counts for him in the first place. Do the Boomerang: The Music of Junior Walker is a curious outing in that Walker didn't always write his own material, but he wrote enough of it (five cuts on this set) and, like Byron, put an indelible stamp on anything he took on, from singing to blowing the saxophone. Byron assembled a dream band for this offering that includes guitarist David Gilmore, B-3 organist George Colligan, drummer Rodney Jones and bassist Brad Jones as the core group. The guests who augment the proceedings are Curtis Fowlkes, Chris Thomas King and Dean Bowman. Is the music reverent? Nope; but it's totally recognizable as Walker's. Byron doesn't set out to re-create anything exactly. His concern is for that thing he can't put his finger on, and discovering the place where the magic happens. But this is no academic set of Walker tunes, it's funky, it swings, and the grooves are deep and wide. Walker was a killer vocalist and Byron enlisted bluesman King on four cuts (he plays guitar on a pair as well) and Bowman. The set begins on a late-night smoky groove with "Cleo's Mood," the B-3 carries it in with Gilmore's guitar playing in the gaps before the tune's melody slithers to the fore with Byron and Bowman, and from here it's the blues as read through post-bop, soul-jazz, and the ghost of Leon Thomas through Bowman's vocal solo that sounds right at home here. Byron is in the pocket with this band. They aren't reaching for margins, but exploring how much was in Walker's music to begin with, there are traces of many things in the tune, and Byron finds them all. Digging into the classic "Shotgun," King's vocal delivery on the title track struts and steps to Byron's clarinet floating in the boundaries as Colligan's B-3 and Gilmore's meaty guitar heighten the groove to the breaking point. On "Shotgun," Byron plays it close to home and King's vocal is brilliant. This, like the title cut, is a dance tune on par with James Brown's; the lyrics are particularly compelling for the times we live in. Walker acknowledged the influence James Brown had on him readily and on "There It Is," both Bowman and King pump themselves to front this band that is so greasy and nasty one would never know that this is Byron's group. This joint burns the house down, baby! While there isn't a dud in the set, other big standouts include "Satan's Blues," "Pucker Up, Buttercup," and the ballad "What Does It Take (To Win Your Love.)" Here the bass clarinet is distracting for a moment, but transposing the opening saxophone part and letting King and Gilmore play sweet and slow lays a fine ground for both the hypnotic B-3 chart and King's lonesome vocal. Byron uses clipped, right phrasing with the airiness of his horn, solos around the fringes of the tune, and brings it back inside and underscores the fact that this is a soul tune. King's vocal could have been a bit tougher and leaner, but that's a really small complaint. Ending the set on Holland-Dozier-Holland's "Roadrunner" takes it out on a honking high point. Byron's done justice not only to Walker here, but to his Muse and to the grand tradition of funky jazz records on Blue Note -- hopefully they'll get it in the A&R department and bring the groove back wholesale. This baby is a smoking slab of greasy soul with a jazzman's sense of adventure.

viernes, 22 de mayo de 2015

Deacon Jones • Makin' Blues History

Zoot Sims & Bob Brookmeyer • Stretching Out & Kansas City Sound

Bob Brookmeyer’s early environment was in the jazz bedrock of his native Kansas City. As a player, he has been one of the most expressive and emotional of all modern trombonists… His specialty being the one with valves rather than a slide. But despite his style not being limited to any school or attitude, he have always been very conscious of the foundations of jazz—with a heavy emphasis on the wonderful, rolling swing that was so much a part of the Basie organization.
His ideas evolved from his own experiences. “I’m not afraid of being called regressive,” he said. “Music can be like love and painting. Just because a song and spirit have been around for awhile doesn’t mean it’s diminished in value.” On these two great 1958 sessions, Brookmeyer and friends revisit some old, swinging Kansas City sounds along with pleasant new tunes. Over-all, there is a wonderful rhythm and feeling replete with good solos that make for very rewarding listening.

Berhard Ullrich, Martin Breinschmid Quintet • Mission to Swing

Berhard Ullrich - cl, saxes
Martin Breinschmid - vibe
Thilo Wagner - piano
Karsten Gnettner - bass
Michael Keul - drums

Charley Musselwhite's South Side Band • Stand Back

Review by Dan Forte
Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: here was a harpist every bit as authentic, as emotional, and in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redemptor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.

Lightnin' Slim • Trip To Chicago

jueves, 21 de mayo de 2015

VA • Rhythm Accordeon

Fred van Zegveld • Dynamite

Organist Fred van Zegveld heeft o.a. gespeeld bij Roek's Family (Roek Williams & The Fighting Cats) en zijn naam duikt ook op als muzikant bij de Amsterdamse groep The Flood (Gin fizz, Eagle 4, 1969) met Wil Luikinga op sax en Richard de Bois op drums.
Rare groove-jazz

Gary Burton & Friends

Gary Burton - Vibraphone, Percussion
Bob Berg - Tenor Saxophone
Larry Goldings - Organ, Keyboards
Paul Shaffer - Organ, Piano
Mulgrew Miller - Piano
Kevin Eubanks - Guitar
Jim Hall - Guitar
B.B. King - Guitar
Kurt Rosenwinkel - Guitar
John Scofield - Guitar
Ralph Towner - Classical Guitar
Steve Swallow - Bass
Will Lee - Bass, Percussion
Jack DeJohnette - Drums

Review by Chris Slawecki
For his first album for the Concord jazz imprint, vibraphonist Gary Burton goes back: back to some of the most enduring compositions in the jazz lexicon, constructing the program on Departure completely from jazz standards, except for "Tossed Salads and Scrambled Eggs" (the theme from the television show Frasier). Along with guitarist John Scofield, drummer Peter Erskine, pianist Fred Hersch, and bassist John Patitucci, Burton also returns here to the quicksilver, porcelain sound of the George Shearing quintet, Burton's first job after graduating from the Berklee College of Music. For the uninitiated, Departure is a worthwhile introduction to Burton's style on vibes, with his strong sense of swing swaddled in a sound that's most often elegant yet sometimes surprisingly funky. Scofield really shines here, too. Departure is also a great way to discover less-known compositions by some of the best-known composers and performers in the history of jazz, including Duke Ellington ("Depk," from his "Far East Suite"), Chick Corea ("Japanese Waltz"), and Horace Silver ("Ecaroh," which is "Horace" spelled backwards), as well as Mel Tormé ("Born to Be Blue"), and "If I Were a Bell," a staple that rang throughout in the 1950s repertoire of Miles Davis and whose title chimes harmoniously with the sonorities of Burton's vibes.

Dave Pike • Latin Lounge Cafe

Dave Pike has been a consistent vibraphonist through the years without gaining much fame. He originally played drums and is self-taught on vibes. Pike moved with his family to Los Angeles in 1954 and played with Curtis Counce, Harold Land, Elmo Hope, Dexter Gordon, Carl Perkins, and Paul Bley, among others. After moving to New York in 1960 he put an amplifier on his vibes. Pike toured with Herbie Mann during 1961-1964, spent 1968-1973 in Germany (recording with the Kenny Clarke-Francy Boland big band), and then resettled in Los Angeles, playing locally and recording for Timeless and Criss Cross. ~ Scott Yanow.

J.B. Lenoir • J.B. Lenoir

Wild Bill Davis • In The Groove!

With the dynamic, swirling, sounds of his Hammond B-3 organ, Wild" Bill Davis provided a bridge from the big band swing of the 1930s and ‘40s to the organ-driven R&B of the 1950s and early-60s. Together with guitarist Floyd Smith and drummer Chris Columbus, Davis set the framework for the jazz organ combo sound.
Initially a guitarist, Davis made his debut with Milt Larkin's band in 1939. The group is remembered for the double saxophone attack of Eddie “Cleanhead Vinson and Arnett Cobb. Davis, who was inspired by the guitar playing of Freddie Green, remained with the band until 1942.
Moving to the piano, Davis joined Louis Jordan's Symphony Five in 1945. By then, he had already attracted attention as a skilled writer and arranger. He later furnished original material and arrangements for both Duke Ellington and Count Basie. He was scheduled to record his arrangement of "April In Paris", with the Count Basie Orchestra, in 1955 but was unable to make it to the recording sessions. Recorded without his participation, the tune wen on to be a top thirty pop hit.
Intrigued by the organ playing of Fats Waller and Count Basie, Davis began to experiment with the Hammond B-3. He soon developed his unique approach. “I thought of (the organ) as a replacement in clubs for a big band," he said during a late-1980s interview.
Although he left Jordan's band, after five years, to form his own trio, Davis periodically returned to play special engagements.
Although eclipsed by succeeding jazz organists, including Jimmy Smith and Bill Doggett in the late-1950s and Booker T. Jones in the 1960s, Davis remained active until his death, from a heart attack, in August 1995. His summer appearances in Atlantic City, New Jersey were an annual treat for almost three decades.
A native of Moorestown, New Jersey, Davis studied music at Tuskogee University and Wiley College in Texas.
- Craig Harris.

Dana Gillespie • Hot Stuff

Dorothy Ashby • The Best Of Dorothy Ashby

There have been very few jazz harpists in history and Dorothy Ashby was one of the greats. Somehow she was able to play credible bebop on her instrument. This is an absolutely beautiful album that lightly swings and cooks, backed-up by the lovely ballad Moonlight In Vermont as well on which Wess' flute work is simply gorgeous.

Gismo Graf Trio • Absolutely Gypsy