viernes, 28 de agosto de 2015
Review by Stephen Thomas Erlewine
Designed to appeal to hip-hop and acid jazz fans, not jazz purists, Talkin' Verve: Roots of Acid Jazz collects 14 tracks Jimmy Smith cut for Verve during the late '60s. Comprised of pop covers and funky workouts, the music is "jazzy," not jazz -- there's little improvisation on the record, but there is a lot of hot vamping, with Smith creating dense, funky chord clusters and bluesy leads. It's music that is devoted to the groove, and while a few of these cuts fall flat -- "Ode to Billie Joe" has no funk in it, no matter how hard you try -- but for the most part Talkin' Verve is soulful fun. Not much of this sounds like acid jazz, especially since the rhythms are a little stiff, but it's enjoyable lite funk, and it's more palatable in the compilation than it is on their original albums.
The Most Exciting Organ Ever is the first album by Billy Preston. The fully instrumental album was released in 1965, several weeks before Preston's nineteenth birthday. Extra songs recorded during the sessions of The Most Exciting Organ Ever were released in the next album.
Review by Scott Yanow
Bradley Leighton is a fine flute player who is a bit reminiscent in tone and style of Herbie Mann. Like Mann, Leighton is often heard in a wide variety of settings, ranging from creative jazz to crossover pop. The music on Soul Collective almost ranges that far, from fine examples of funky jazz to a pair of throwaway R&B vocals. Some of the music seems aimed at the smooth market while other selections would function best as background music for dancers. The musicianship is excellent, the rhythm sections groove, and the horn section (which includes Tom Scott on three selections) is full of talent. Leighton plays quite well throughout. But nothing all that unexpected occurs and the results are a bit too predictable and safe to be all that memorable.
Fernando Rusconi, cultor del órgano Hammond en Argentina, presenta “No moon, no sun, no age”, su quinto trabajo discográfico. El trío compuesto por Pablo Vernieri en guitarra eléctrica, Ezequiel Chino Piazza en batería y Rusconi en Hammond y Clavinet, explora una fusión entre el jazz-funk-blues y agogo característica de los organ trio de los 60s.
Fernando Rusconi, sculptor of the Hammond organ in Argentina, presents "No moon, no sun, no age," his fifth album. The trio Pablo Vernieri electric guitar, Ezequiel Chino Piazza on drums and Rusconi on Hammond and Clavinet explores a fusion between jazz-funk-blues and feature agogo of the organ trio 60s.
If you want to spice up your lounge, this volume contains plenty of spicy lounge classics like "Sway" (two versions, one by Dean Martin and another by Julie London), "Recado Bossa Nova", "The Carioca", "A Nega Se Vingou", "Cha Cha Cha d'Amour", "Desafinado", "So Nice (Sambo)", and "Rock-Cha-Rhumba". Great songs for a hot summer day, trip across the border, or if you just want to imagine being there while having a marguarita.
The Surfaris es un grupo de rock estadounidense formado en Glendora, California, en 1962. Son reconocidos por dos canciones de las listas de éxitos de Los Ángeles, California y que se convirtieron en éxitos de nivel nacional en mayo de 1963: "Surfer Joe" en la cara A y "Wipe Out" en la cara B de su disco de 45 RPM.
The Surfaris were an American surf rock band formed in Glendora, California in 1962. They are best known for two songs that hit the charts in the Los Angeles area, and nationally by May 1963: "Surfer Joe" and "Wipe Out", which were the A-side and B-side of a 45 rpm single.
miércoles, 26 de agosto de 2015
Review by Scott Yanow
Steve Allen wrote a countless number of songs in his career, most of which have been long forgotten. On two CDs (of which this is the second), bandleader Tom Kubis and his orchestra perform Kubis' arrangements of some of Allen's tunes. Although the melodies are generally not memorable, the band's performances are impeccable, reasonably inventive, and swinging. Many soloists are heard from along the way, including Kubis himself (on tenor and soprano), trumpeters George Graham, Jeff Bunnell, and Stan Martin, all three trombonists, guitarist Grant Geissman, altoist Sal Lozano, and Rusty Higgins on tenor. Jack Sheldon guests on "Tango Blues" (which he sings) and "Chittlins," while Steve Allen himself sings the humorous if downbeat "Livin' in L.A."
Omar Metioui, con su introspección en el estilo de los antiguos maestros de principios de este siglo, herederos de la tradición andalusí y accesibles mediante antiguas grabaciones de radio, y con su virtuosismo, esta devolviendo al laúd la importancia que tuvo históricamente este instrumento en la música hispano-árabe. Los instrumentos de cuerda frotada, y especialmente el violin, han tomado recientemente el protagonismo en la orquesta árabe.
martes, 25 de agosto de 2015
This collection is almost too cool for the average.
A collection so perfectly paced it leaks retro-cool.
From travelin' music of "Route 66 theme" to the cold rainy Sunday morning sounds of "Black Coffee" this is a must have for the Atomic Lounge cat.
lunes, 24 de agosto de 2015
Leonard George DeStoppelaire (January 5, 1923 – February 12, 2006), better known as Lenny Dee, was a virtuoso organist who played many styles of music. His record albums were among the most popular of easy listening and space age pop organists of the 1950s through the early 1970s. His signature hit, Plantation Boogie, charted as a Top 20 hit in 1955. He also had a gold record with 1970's Spinning Wheel.
Dee played a variety of songs in numerous styles. He played original compositions, popular songs, and novelty tunes, and was a master of improvisation. Although his unique style was a pop/boogie-woogie blend, he also played ballads, country and western, jazz, rock, and patriotic songs.
Review by Ken Dryden
David Grisman doesn't stick exclusively to mandolin on this top-notch duo date with guitarist Martin Taylor, playing mandola, mandocello, tenor guitar, and guitar as well. As on this album's predecessor, the two artists play a different vintage instrument on each track, though the music this time is much more familiar to jazz fans. The interpretations of such classics as "Swanee," "Anything Goes," "Blue Moon," and "Over the Rainbow" are consistently both stunning and fresh. The gems among the jazz compositions include Django Reinhardt's "Tears" and a tour de force arrangement of Chick Corea's "Crystal Silence." Two surprising tracks are the usually trite "Mairzy Doats" (an irritating song that was a huge hit in the '40s) and the very snappy take of the often tedious "Besame Mucho"; when musicians the caliber of Grisman and Taylor can make something out of unpromising songs like these, it demonstrates how gifted they are. Highly recommended.
Tone Poems 2 is an album by American musicians David Grisman and Martin Taylor, released in 1995. It is Grisman's follow-up to his collaboration with guitarist Tony Rice on Tone Poems. This is a more jazz-oriented recording, on which Grisman and Taylor play on a variety of vintage fretted classic instruments (altogether they use 41 guitars, mandolins, mandolas, tenor guitars and mandocellos). https://en.wikipedia.org/wiki/Tone_Poems_2https
Steve Cropper, Raymond Jackson, Robert Johnson, Harold Beane, Teenie Hodges (guitar), Andrew Love (tenor saxophone),Wayne Jackson (trumpet), Sidney Kirk (piano), Booker T. Jones (keyboards), Donald "Duck" Dunn, Roland Robinson (bass), Al Jackson, Jr., Jerry Norris (drums).
One of the weirdest and most fun entries in the series. 'Seance On A Wet Afternoon' & 'Experiment In Terror' sound like what the Addams family might play at their twist parties; spooky yet very danceable! Other highlights include: a swingin', Tijuana Brass-style version of 'Moon River', funny teen exploitation movie music like 'Hot Rod Rumble' & 'Beat Girl', the smooth as silk Billy May take on 'Girl Talk', the proto-muzak 'Man And A Woman', and one of my personal favorites... Ferrante & Teicher's 'Barbarella'! The strange 'whooshing' voices at the end of the track really take you to outer space!
So, if you like the campier and stranger enries in the series, you'll love this one!
jueves, 20 de agosto de 2015
Review by Al Campbell
Organomically Correct revisits selections from three of Charles Earland's late-'70s Muse recordings. While most fans of "The Mighty Burner" treasure his Prestige dates released earlier in the decade, his sessions for Muse contained as much gritty funk without the fusion-ish over-production Earland toyed with that marred recordings like Intensity. The musicians on these tracks are spectacular, including tenor saxophonists George Freeman, Frank Wess, or Houston Person; guitarist Jimmy Ponder or Melvin Sparks; and Grady Tate or Walter Perkins on drums. Of the 12 tracks, nine are Earland originals, alongside Wayne Shorter's "Infant Eyes" and the standards "Undecided" and "Old Folks." Fans of organ jazz or funk should check this out.
Charles Earland: organ; George Coleman, Houston Person, Mack Goldsbury: tenor sax; Frank Wess: flute and tenor sax; Bill Hardman: trumpet; Jimmy Ponder, Melvin Sparks: guitar; Walter Perkins, Bobby Durham, Grady Tate: drums; Ralph Dorsey, Lawrence Killian: percussion.
miércoles, 19 de agosto de 2015
Shirley Scott, the queen of jazz organ (fellow Philadelphian Jimmy Smith, a major influence, is, of course, the once and future king), began her reign during the late 1950s, the peak of the "soul-jazz" era. Almost all of the performances herein are taken from the May 1958 session for Prestige Records that was her first as a leader and yielded the LPs Great Scott! and Shirley's Sounds. With these two albums Scott (1934-2002) kicked off a lengthy relationship with Prestige. Though she let her feet do the bass-line walking when playing live, "Scottie" preferred to use a bassist when in the studio, and in George Duvivier she had one of the finest and most flexible. On these 16 vintage trio selections (Arthur Edgehill was her regular drummer), Scott's sophisticated swinging (and hard swing, as well--check out "Bye Bye Blackbird"), sustained bluesy grooves, and ability to elicit a variety of sounds from her instrument are but three reasons why she became one of Prestige's most popular artists.
There's a good reason why Scott's second album as a bandleader sounds very much like her first, Great Scott!, for both albums were cut at the same May 23, 1958, session. On Shirley's Sounds, Scott's again backed by the rhythm section of George Duvivier on bass (though George Tucker takes over the instrument for one number, "Bye Bye Blackbird") and Arthur Edgehill on drums. Like its predecessor, it's superior early organ jazz, full-sounding but streamlined owing to the trio format. Devoted entirely to outside compositions, the tracks capture both her virtuosic skill on the organ and her taste, squeezing the bluesiest inflections out of a standard like "Summertime." "(Back Home Again In) Indiana" is the cut that cooks the hardest, and blues colors are a big part of her interpretations of "Baby Won't You Please Come Home" and "I Can't See for Lookin'." ~ by Richie Unterberger
Shirley Scott - Organ
George Duvivier - Bass
George Tucker - Bass (#A4)
Arthur Edgehill - Drums
Kenneth Norville (Beardstown, 31 de marzo de 1908 - Santa Mónica, 6 de abril de 1999), Red Norvo, vibrafonista, xilofonista y director estadounidense de jazz.
Conocido como Mr. Swing (junto con su mujer Mildred Bailey, conocida asimismo como Mrs.Swing), fue una de las grandes figuras de la época del swing tocando el xilófono; en 1943 empezó a tocar el vibráfono y, aunque no alcanzó las cotas de popularidad de otros maestros como Lionel Hampton, su presencia en el mundo del jazz fue constante tanto como músico como líder de pequeñas orquestas.
Bio completa ...
Red Norvo (March 31, 1908 – April 6, 1999) was one of jazz's early vibraphonists, known as "Mr. Swing". He helped establish the xylophone, marimba and later the vibraphone as viable jazz instruments. His major recordings included "Dance of the Octopus", "Bughouse", "Knockin' on Wood", "Congo Blues", and "Hole in the Wall".
Imagine yourself on a wrap-around porch of some grand house basking in the warmth of a summer sunset. Maybe you are simply lounging on a beach with a cocktail in one hand and the hand of the one you love in the other. Perhaps you are in a tuxedo or flaming red cocktail dress and having a wonderfully dry martini (shaken, not stirred) before you get ready to head to the dance floor.
martes, 18 de agosto de 2015
This is it. The essence of the space age refined into one convenient package. All of the ultra-lounge titles are so campy they're cool, but for my money, nothing else so perfectly captures the mood of late '50s-early '60s America as the Space Capades CD. Transport yourself back to a time when bigger was better, the Atom was our friend and the superiority of The American Way was unquestioned. 'Though it may be campy now, there is actually an amazing amount of musical talent on this CD, as well as the other Ultra-Lounge titles. When we think '50s and '60s music today, most of us think Rock 'N' Roll. In those days, though, Rock was just a fad-- disposable kid music. All the SERIOUS contemporary artists were doing the sort of thing you hear on this CD. Its ironic, then, that most of these artists and their music have been passed over by posterity, while the early rockers have become legendary. Whatever your musical taste, if you are open to something different, and especially if you have a soft spot for martinis, pearls, and the '59 Imperial, you will like this CD.
Peter Appleyard, OC (26 August 1928 – 17 July 2013) was a British–Canadian jazz vibraphonist, percussionist, and composer. He spent most of his life living and performing in the city of Toronto where for many years he was a popular performer in the city's nightclubs and hotels. He also played and recorded with many of the city's orchestras and been featured on Canadian television and radio programs. In the early 1970s he drew wide acclaim for his performances with Benny Goodman's jazz sextet with which he toured internationally. In 1992, he was made an Officer of the Order of Canada in recognition of his being an "internationally renowned vibraphonist who has represented the Canadian jazz community across North America, Europe, the Middle East and Australia".
more ... https://en.wikipedia.org/wiki/Peter_Appleyard
lunes, 17 de agosto de 2015
miércoles, 12 de agosto de 2015
lunes, 10 de agosto de 2015
Cool Blues is a live album by American jazz organist Jimmy Smith featuring performances recorded at Small's Paradise in New York City in 1958 but not released on the Blue Note label until 1978. The album was rereleased on CD with three bonus tracks recorded at the same performance.
Born Otha Lee Moore, 22 May 1930, Chicago, Illinois
Died 16 August 1964, Chicago, Illinois.
Active from the mid-40s, when she sang with the Al Smith band in Chicago, Tiny Topsy also made a number of well-received R&B records under her own name during the late 50s and early 60s. Among her recording sessions are some for Federal Records, from one of which came ‘Aw! Shucks, Baby’/‘Miss You So’, billed as by Tiny Topsy And The Five Chances, and which featured tenor saxophonist Ray Felder and vocal group the Charms. Also for Federal she made ‘Come On, Come On, Come On’/‘Ring Around My Finger’, ‘Waterproof Eyes’/‘You Shocked Me’, ‘Western Rock’n Roll’/‘Cha Cha Sue’ and ‘Just A Little Bit’/‘Everybody Needs Some Loving’. Of these, ‘Just A Little Bit’ was later covered very successfully by several artists, including Rosco Gordon and Jerry Lee Lewis. She also released ‘After Marriage Blues’ and ‘Working On Me, Baby’, recorded in 1961 for Argo Records. For some years ‘Tiny Topsy’ was believed to be a pseudonym used by singer-songwriter Bernice Williams (who wrote ‘Western Rock’n Roll’) although this is now largely discounted. Just who Tiny Topsy was remains unknown.