egroj world: 2016

sábado, 31 de diciembre de 2016


Ein gutes neues jahr 
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Larry Young • Into Somethin'

While most practitioners of the instrument have followed closely on the heels of Jimmy Smith, on Into Somethin', Larry Young demonstrates his unique horn-like approach to melody. With the help of Sam Rivers (saxophone), Grant Green (guitar), and Elvin Jones (drums), Young puts forth a swinging collection of tunes that isn't particularly drenched in the traditional gospel/soul sound usually produced by an organ ensemble. Instead, this is a crisp, exciting session that, along with Unity, would eventually help make Young one of the legends of the B-3. The effortless waltzing bounce of "Tyrone" opens the set as Rivers and Young glide through the melody while Jones swings intensely in the background. The heavy Latin groove of "Plaza de Toros" sets up some stunning rhythmic interactions between Grant, Young, and Jones. The intricate "Paris Eyes" and the bluesy "Backup" are both excellent swinging numbers that further display Young's non-traditional approach to the instrument and his masterful soloing prowess. Finally, the classic "Ritha" is an exhilarating composition that displays the full wealth of Young's legendary abilities.

Herbie Mann • Afro-Jazziac Bop

Review - by John Bush
Few jazz musicians did more to introduce American audiences to the Latin-jazz fusion than flutist Herbie Mann, whose pop crossovers -- a generous soul would describe them as "easy to digest" -- were heard by many more listeners than the work of artistic innovators like Machito or Antonio Carlos Jobim. Though he wasn't exactly a trailblazer, Mann recorded a lot of exemplary music, and two of his earliest and most vital dates are heard on Afro-Jazziac Bop, a 2003 compilation released by Fuel 2000. (The same items also appear on a 1999 Entertainers collection titled Brazilian Soft Shoe.) Comprising a pair of co-billed LPs recorded just before he formed his Afro-Jazz Sextet in 1959, the disc includes music originally heard on the 1959 Roulette LP Machito With Flute to Boot and the 1958 Mode LP Flute Fraternity (with Buddy Collette). For the first, Mann is featured in front of Machito's Orchestra, with the addition of Johnny Griffin on tenor and Curtis Fuller on trombone. His jaunty solos fit in well with Machito's stately swing, while the titles alternate boppish experiments ("To Birdland and Hurry") with evocative overseas postcards ("African Flute," "Calypso John"). The other session is a slim and limber West Coast date, featuring Mann and fellow reed player Collette playfully trading solos -- in fact, "Herbie's Buddy" has them interacting first on flute, then tenor, then clarinet. Taken together, the two sets heard on Afro-Jazziac Bop don't equal his Savoy work of the same time, but both of them equal or go beyond his more popular Atlantic records.

jueves, 29 de diciembre de 2016

VA • Peter Gunn Theme

1 - Duane Eddy & His Rebels  - Peter Gunn
2 - King Curtis  - Peter Gunn
3 - Mundell Lowe  - Peter Gunn
4 - Buddy Morrow and His Orchestra  - Peter Gunn
5 - Ray Anthony and His Orchestra  - Peter Gunn
6 - Billy Vaughn and His Orchestra  - Peter Gunn
7 - Bud Ashton  - Peter Gunn
8 - Si Zentner and his Orchestra  - Peter Gunn
9 - Ralph Martie  - Peter Gunn
10 - Warren Barker  - Peter Gunn
11 - The Frankie Capp Percussion Orchestra  - Peter Gunn
12 - Jack Costanzo and His Orchestra  - Peter Gunn Mambo
13 - The Jesters  - Peter Gunn Twist
14 - The Dazzling Sounds Of Keith Williams and His Orchestra  - Peter Gunn
15 - Jimmy and Marian McPartland  - Peter Gunn
16 - Aaron Bell and His Orchestra  - Peter Gunn

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The Art van Damme Quintett • Keep Going

Grant Green • The Main Attraction

En este álbum Grant se inclina hacia el blues y el funky, lo cual puede decepcionar a su fans por abandonar en parte su estilo netamente jazzístico. En mi caso trato de escuchar el disco desde la perpectiva de la época, no olvidemos que los buenos músicos en general buscan siempre nuevos sonidos, otros enfoques a su estilo y en definitiva no quedarse con lo que dió buenos frutos.


In this album Grant leans towards the blues and the funky, which may disappoint his fans by abandoning in part his purely jazzy style. In my case I try to listen to the album from the perspective of the time, let's not forget that good musicians in general always look for new sounds, other approaches to their style and in short not to stay with what gave good results.

Afro Blues Quintet Plus One • Afro Blues Today

Artist Biography by Ron Wynn
A mid-'60s sextet with a Latin edge, the Afro-Blues Quintet + 1 featured a vibes/sax front line and a rhythm section augmented by congas and timbales assisting the standard piano/bass/drums instrumentation. The group's albums included political and protest pieces, originals, remakes of standards like "Green Dolphin Street," religious/spiritual numbers, soul/jazz and R&B hits, plus some challenging tunes such as "3/4-5/4-7-2." Joe De Aguero on vibes and alto saxophonist/flutist Jack Fulks were the principal soloists, with pianist Bill Henderson, bassist Norm Johnson, conga player Moses Obligacion, and Michael Davis on drums and timbales completing the lineup.

Jimmy Smith • The Champ

Jimmy Smith did not invent the organ. This is a fact. Long before his arrival, the instrument had been the vehicle of countless memorable performances. Word to Fats Waller. But as with anything, there are architects and then there are innovators. I prescribe unto Smith the latter.
Anyone can learn to play the organ, but few can extend it beyond the possibilities agreed upon in its formative years. Progression is what defines many, if not most, of those we consider legends. These moments exist throughout the canon of music. Jimi Hendrix reinvented the electric guitar. Little Walter repurposed the harmonica. And while too often overlooked, Jimmy Smith redefined the electric organ for an entire generation of artists.
Jimmy was a virtuoso. And that doesn’t mean that he simply played really fast (People like to make that the catch-all of technical acuity.) Smith maximized the endless space found on a B-3. With one hand, he played his role. And with another, he could play yours, probably better. Imagining a bass line constructed entirely on an organ is unfathomable. To be honest, I’m waiting for this part of the Jimmy Smith legend to be revealed as a hoax. But I suppose that’s a tenet of sainthood—performing miracles.
His significance was understood early and often, perhaps, most actualized on The Champ (1956). On just his second release, Jimmy Smith solidified himself as a solo artist. However you want to look at it, this is his show. From the beginning, Smith is an absolute loose cannon. He blitzes the opening track with an aggressive performance that never seems to let up. For a full nine minutes, Smith keeps the audience both uncomfortable and engaged with his frantic play. His organ display is as dynamic as it is unique, but what’s most significant about this record is that the underlying text is bebop. This is a Dizzy Gillespie composition and Smith translated it into a language only spoken on the Hammond. “The Champ,” indeed.
Structurally, this is the album’s blueprint—organ-driven bebop. Its vivacity is, however, a bit of a misnomer. The frantic pacing discovered at the onset, does speak to The Champ in its entirety. Smith levels the mood with “Bayou,” incorporating a blues feel not yet explored. It gives the ballad an additional touch of soul. The same can be said about his rendition of the standard, “Moonlight in Vermont.” Before this, my lasting impressions of the composition began and ended with the tender feelings emerging from the collaborative efforts of Ella Fitzgerald and Louis Armstrong. And yet, Smith’s succinct strokes create a more demanding auditory experience. Yes, it is a ballad. But it is anything but reserved.
What Smith gives us on The Champ is remarkable in two very distinct ways. On a very basic level, we’re dealing with quality music. The album just sounds good. There needn’t be any of the standard breakdown or deconstructive overachievement. On any level, this can and should be recognized as something worth listening to, if even for background purposes. But in a greater sense this album carries a legitimate importance in the career of Jimmy Smith, as well as all those who came after.
As I said before, the organ existed well before Jimmy Smith arrived on the scene. But what he did in his career and most especially on The Champ was legitimize the organs presence in the jazz world. Up to that point in the mid-50s, no one had made the organ a spirited medium for music making. When I listen to this album, I hear the unrelenting technique of Art Tatum and the demonstrative touch of Ahmad Jamal. But we’re not talking about a piano. We’re now in unchartered territory. From this, we get a compelling reason to elevate the organ into the extended family of jazz instrumentation.
Today, I was listening to Brother Jack McDuff’s “Oblighetto,” a classic in its own right. Having come off of a 24-hour Jimmy Smith diet, I heard McDuff with different ears. It’s not that McDuff had stolen from Smith. That’s not what I was seeing. Instead, I visualized an entire genealogy of jazz musicians making music that begat the next. For me, it all begins with The Champ.

Ron Thompson • Son Of Boogie Woogie

Ron Thompson is the rare guitarist who never strayed from his blues leanings. In an era where dime a dozen rock guitarists attempt to interpret pale imitations of the blues, Thompson is the real deal. The years spent accompanying John Lee Hooker and other top blues artists, instilled in him a driving awareness of how this music should, and has to be played.
Since his debut recording in 1983 "Treat Her Like Gold," Thompson has released six other records with his band The Resistors, the most recent being "Resonator," done in 2007 on the 32-20 label. He has enjoyed constant appreciation on his home turf in the San Francisco Bay Area, but anything vaguely resembling fame and fortune has regrettably eluded him.
This time around Thompson demonstrates he is adept at shuffling blues as the opener "Want Ad Blues," and "Too Late Brother," and can get down and dirty with "Telephone Blues." These are reminiscent of the classic West Coast style of T-Bone Walker, who is an obvious influence. But where he really shows his stuff is on the slide guitar numbers "Broke and Hungry," and "Show Biz Blues." He can expertly pull off riffs from the tough Chicago school, as well as flat out Texas boogie, all while belting out raw and raucous vocals. The final cut is a down home take on the perennial "Frankie and Johnny," which brings to mind the great Jimmy Reed, complete with harmonica and barroom swagger.
Though most of the authentic bluesmen who originated this uniquely African-American music have passed, Ron Thompson continues not only to play in the time honored tradition, but to live the life he sings about. He just might be one of the few left standing who play blues from the heart. ~James Nadal

miércoles, 28 de diciembre de 2016

Ramsey Lewis • Ramsey Lewis's Finest Hour

Review by Zac Johnson
An in-depth 18-track overview of the career of soul-jazz pianist Ramsey Lewis, demonstrating his range from hard bop stylist to his later easy listening jazz interpretations.

Claus Ogerman & His Orchestra • Watusi Trumpets

Review by Tony Wilds
Of Ogerman's four mod albums for Victor, Watusi Trumpets is the best, probably because it stays truest to the mod style. The other key factor is Dick Hyman's prominent (but uncredited) work on Lowrey organ. "The Joker" begins with exotic percussion, builds with a haunting flute, and then becomes a showcase for Hyman's Lowrey. Featuring the old standard "Poinciana," the rock classic "Land of a Thousand Dances," not to mention three tunes with "watusi" in the title, this mod album is as essential as any.

Gene Ludwig • Back On The Track

This CD shows organist Gene Ludwig's unabashed love for soul and blues pure and simple, which is not surprising since he is a native of that area of Pennsylvania which spawned so many of the giants of jazz and blues. Ludwig is no newcomer to the scene, having been performing since the 1960s; he got a big break in 1969 when he recorded with Sonny Stitt and another break when he toured with singer Arthur Prysock. Ludwig has listened to all the great practitioners of the Hammond B3, from the blues/soul promenading of Jimmy Smith to the swinging organs of Bill Doggett and Wild Bill Davis. These listening experiences are reflected on this album as he pulls out all the stops, literally and figuratively, in running through a variety of musical styles. He and guitarist Tony Janflone Sr. team up on "At Last," laying on a melancholy, whimsical sound unique to an organ/guitar combination. The swing comes to the fore with a relaxed medium tempo "Back on the Track," one of Ludwig's compositions. "In Walked Bud" echoes the many bop credentials on Ludwig's extensive resumé. But no matter the genre, swing, bop, ballad, or Latin, they all have that soul tone that has earned the Hammond B3 organ a special niche in jazz. Ludwig is joined by players sympathetic to his musical agenda. In addition to Janflone, fine guitar player Randy Caldwell sits in on three racks and is particularly effusive on the bouncy arrangement of his tune "Papa Gee." The drumming and percussive support by Messrs. Muchoney, Gelispie, and Jones is first rate. Ludwig's first album as a leader since his last recording for Muse almost 20 years ago, the appropriately named Back on the Track successfully welcomes the fine organist back to the fray. The CD is recommended for jazz lovers in general and for jazz organ enthusiasts in particular.

Bio ...

Muddy Waters • Blues & Rhythm Series Classics [1950-1952]

Stephane Grappelli • Sweet Chorus

martes, 27 de diciembre de 2016

Bob Brookmeyer • The Modernity of Bob Brookmeyer

Jimmy Smith ‎• On The Sunny Side

Jimmy Smith wasn't the first organ player in jazz, but no one had a greater influence with the instrument than he did; Smith coaxed a rich, grooving tone from the Hammond B-3, and his sound and style made him a top instrumentalist in the 1950s and '60s, while a number of rock and R&B keyboardists would learn valuable lessons from Smith's example. James Oscar Smith was born in Norristown, Pennsylvania on December 8, 1928 (some sources cite his birth year as 1925). Smith's father was a musician and entertainer, and young Jimmy joined his song-and-dance act when he was six years old. By the time he was 12, Smith was an accomplished stride piano player who won local talent contests, but when his father began having problems with his knee and gave up performing to work as a plasterer, Jimmy quit school after eighth grade and began working odd jobs to help support the family. At 15, Smith joined the Navy, and when he returned home, he attended music school on the GI Bill, studying at the Hamilton School of Music and the Ornstein School, both based in Philadelphia. In 1951, Smith began playing with several R&B acts in Philadelphia while working with his father during the day, but after hearing pioneering organ player Wild Bill Davis, Smith was inspired to switch instruments. Smith bought a Hammond B-3 organ and set up a practice space in a warehouse where he and his father were working; Smith refined the rudiments of his style over the next year (informed more closely by horn players than other keyboard artists, and employing innovative use of the bass pedals and drawbars), and he began playing Philadelphia clubs in 1955. In early 1956, Smith made his New York debut at the legendary Harlem nightspot Small's Paradise, and Smith was soon spotted by Alfred Lion, who ran the well-respected jazz label Blue Note Records. Lion signed Smith to a record deal, and between popular early albums such as The Incredible Jimmy Smith at Club Baby Grand and The Champ and legendary appearances at New York's Birdland and the Newport Jazz Festival, Smith became the hottest new name in jazz. A prolific recording artist, Smith recorded more than 30 albums for Blue Note between 1956 and 1963, collaborating with the likes of Kenny Burrell, Stanley Turrentine, and Jackie McLean, and in 1963, Smith signed a new record deal with Verve. Smith's first album for Verve, Bashin': The Unpredictable Jimmy Smith, was a critical and commercial success, and the track "Walk on the Wild Side" became a minor hit. Smith maintained his busy performing and recording schedule throughout the 1960s, and in 1966 he cut a pair of celebrated album with guitarist Wes Montgomery. In 1972, Smith's contract with Verve expired, and tired of his demanding tour schedule, he and his wife opened a supper club in California's San Fernando Valley. Smith performed regularly at the club, but it went out of business after only a few years. While Smith continued to record regularly for a variety of labels, his days as a star appeared to be over. However, in the late '80s, Smith began recording for the Milestone label, cutting several well-reviewed albums that reminded jazz fans Smith was still a master at his instrument, as did a number of live performances with fellow organ virtuoso Joey DeFrancesco. In 1987, producer Quincy Jones invited Smith to play on the sessions for Michael Jackson's album Bad. And Smith found a new generation of fans when hip-hop DJs began sampling Smith's funky organ grooves; the Beastie Boys famously used Smith's "Root Down (And Get It)" for their song "Root Down," and other Smith performances became the basis for tracks by Nas, Gang Starr, Kool G Rap, and DJ Shadow. In 1995, Smith returned to Verve Records for the album Damn!, and on 2001's Dot Com Blues, Smith teamed up with a variety of blues and R&B stars, including Etta James, B.B. King, Keb' Mo', and Dr. John. In 2004, Smith was honored as a Jazz Master by the National Endowment for the Arts; that same year, Smith relocated from Los Angeles to Scottsdale, Arizona. Several months after settling in Scottsdale, Smith's wife succumbed to cancer, and while he continued to perform and record, Jimmy Smith was found dead in his home less than a year later, on February 8, 2005. His final album, Legacy, was released several months after his passing. ~ Mark Deming

The Aaron Bell Orchestra • Music From Peter Gunn

Lenny Dee • Remember When

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.

more info ...

Wes Montgomery • Movin' Along

Afro Blues Quintet Plus One ‎• Discovery 3

The Afro Blues Quintet Plus One was formed in 1963 by leader and vibes player Joseph "Little Joe" DeAguero. The six man band featured saxophonist Jack Fulks, a veteran of Chico Hamilton's band; and pianist Bill Henderson who also played bass, drums, flute and vibes. Henderson had previously played with Terry Gibbs' band. The original drummer was Jim Keltner who went on to become one of the most popular session drummers in pop history. On their classic 1967 album "Discovery 3," the lineup was Joe de Aguero on vibes; Jack Fulks on alto sax & flute; Bill Henderson on piano; Michales Davis on timbales & traps; Norman Johnson on bass; and Moses Obligacion on congas. The sound of the band is very reminiscent of the Ramsey Lewis group, with the accent on gospel tinged, R&B flavored soul jazz.

Cherry Wainer ‎• Hammond Forever

Al Cohn • Al Cohn's Tones

Review by Stephen Cook
Backed by some of the top bop players of the day, Al Cohn stretches out here for a program heavy with up-tempo swingers. Cut in two sessions during 1950 and 1953, Cohn's Tones finds the usually more mellow tenor great feeding off the driving drum work of both Tiny Kahn and Max Roach. Besides the ballad evergreen "How Long Has This Been Going On" and a bluesy "Ah-Moore," the eight-track set is all Cohn originals done in a Lester Young-on-the-West Coast style. Also featuring the talents of pianist Horace Silver, this early Cohn release is at once hot and cool, vigorous and lithe.

Randy Weston • The Randy Weston Trio

Stringtime Trio • Stringtime Trio

Voilà le premier (mini) Cd d’un trio formé durant l’été 2012 par Alexis Lograda, jeune violoniste natif de Lons le Saunier, Stéphane Neidhardt, guitariste né à Lille mais qui vit à Besançon, tout comme Vladimir Torrès, solide contrebassiste qui officie entre autres au sein de la formation du guitariste Ritary Gaguenetti, qui lui vit à Dôle ; bref un gang franc comtois en quelque sorte !
Cinq titres dont quatre standards que Stéphane Grappelli affectionnait (As time goes by, Fascinating rythm…), et auquel Alexis rend hommage ; certes le jeune homme (il n’a que 21 ans) n’a pas (encore) la souplesse et le sens de l’impro du maitre, mais il ne manque pas de qualités : des accents grappelliens justement, même si son phrasé est encore un peu appliqué, une belle fraicheur d’inspiration sans plan ni esbroufe, un souci de la musicalité et un sens de la respiration ; bref le jeune violoniste qui signe un sinuosity plutôt convaincant a incontestablement du potentiel. Parfaitement équilibré, le trio conjugue fraicheur et sobriété, mêlant judicieusement sonorités acoustique et électrique ; à la guitare électrique, Stéphane Neidhardt conjugue brillamment articulation linéaire et sensibilité dans un phrasé hérité de l’école américaine de guitare (Joe Pass, Barney Kessel…).
Il ya incontestablement de la musique dans ce mini CD qui est plus qu’une carte de visite ; A suivre donc !

lunes, 26 de diciembre de 2016

The Aaron Bell Orchestra • Music From 77 Sunset Strip

with Kenny Burrell, Ray Bryant, Eddie Costa ...

Al Caiola • Surf Riding

Adrienne Hindmarsh • Jazz Moods

Editorial Reviews:
Singer and jazz organist Adrienne Hindmarsh is a truly unique talent on today's music scene. With today's musicians learning jazz within the classroom, it has become an exception rather than the rule for a musician develop and learn "on the road", playing clubs and festivals and touring. This album keeps the legacy of soul jazz/hard bop organists alive while also offering something new.


jueves, 22 de diciembre de 2016

Matt Kane Trio • Suit-Up!

Album Notes
"Matt Kane is a great young drummer who will rightfully be viewed as one of jazz's rising new stars" -Michael Carvin
Matt Kane and the Kansas City/New York connection (by Chuck Haddix)

Originally from Hannibal, Missouri, which is best known as the boyhood home of Mark Twain and the setting for the adventures of Tom Sawyer and Huck Finn, drummer Matt Kane cut his musical teeth in Kansas City. One of four cradles of jazz along with New Orleans, Chicago and New York, Kansas City was known for its hard-swinging style pioneered by Count Basie, Jay McShann, Mary Lou Williams, Charlie Parker and hundreds of other jazz greats.

Arriving in 1989, Kane became immersed in Kansas City’s vibrant jazz scene, where musicians test each other’s musical mettle during all-night jam sessions. Shortly after moving to Kansas City, Kane, armed with more ambition than experience, sat in at a jam session at the legendary Mutual Musicians Foundation. When Kane faltered during the first few minutes a tune, bassist Daahoud Williams, stopped the band cold and told the young drummer that "kid's night is on Wednesday." Like Charlie Parker, who was rebuffed by Jo Jones during a session at the famed Reno Club in the 1936, Kane retreated to the woodshed and honed his chops. Two years later, Kane returned to the jam session at the Foundation, where he was warmly embraced by Williams, who marveled at the young drummer’s musical transformation.

Kane learned his craft from Williams, the McFadden Brothers, Ida McBeth and other veterans of the Kansas City scene. He quickly became known as the “Main Cat” on the drums. In 1995, Kane joined Ahmad Alaadeen’s Deans of Swing. An educator, composer and saxophonist, Alaadeen lead a stellar group of young musicians. While working with Alaadeen, Kane earned what Claude Fiddler Williams referred to as the “Kansas City stamp,” a distinctive style of playing that is instantly recognized by musicians internationally.

In 1997, Kane joined a long line of Kansas City musicians, stretching from Count Basie to Bobby Watson, who moved to New York to further their careers in the jazz mecca of the world. Since then, Kane has emerged as an in-demand sideman and session player noted for his swinging, rhythmically engaging style. He is also an educator, passing the tradition along at his Matt Kane School of Drumming. Now with this new group and CD, Kane has truly arrived.

Chuck Haddix is the coauthor with Frank Driggs of Kansas City Jazz: From Ragtime to Bebop—A History, Oxford University Press 2005.
His biography of Charlie Parker Bird: The Life and Music of Charlie Parker will be published in the fall of 2013 by the University of Illinois Press.

jueves, 15 de diciembre de 2016

Wes Montgomery • The Montgomeryland Sessions

This release contains the complete classic albums The Montgomery Brothers & Five Others (1958), Montgomeryland (1959) and Wes, Buddy & Monk (1958). Also included are all the songs featuring solos by Wes Montgomery from the LPs Kismet (1958) and A Good Git Together (1959) and, as a final bonus, a rare 1955 Montgomery Brothers version of Love for Sale appearing here on CD for the first time ever - taken from a long out of print compilation LP called appropriately, Almost Forgotten.

Michael Silverman • Blues, The Whole Blues And Nothin' But The Blues

martes, 13 de diciembre de 2016

Brother Jack McDuff • The Concert McDuff

Ralph Sutton • Ralph Sutton With Ted Easton Jazz Band

Review by Scott Yanow
The great stride pianist Ralph Sutton was in Europe when he recorded this live concert with Dutch drummer Ted Easton's quintet. The repertoire is mostly filled with Dixieland and New Orleans warhorses (the exceptions are Benny Carter's "Blues in My Heart," "Sunshine of Love," and "Emaline"), but the musicians make the music sound fresh and generally exciting. Sutton, who was always very consistent, excels as usual and there are fine solos along the way by trumpeter Bob Wulffers, trombonist Henk Van Muyen, and clarinetist Frits Kaatee. Highlights include "I'll Be a Friend With Pleasure," "South Rampart Street Parade," "Emaline," and "Honky Tonk Train Blues," the latter one of four unaccompanied Sutton piano solos. An excellent Dixieland date from the mid-'70s; the 1975 date is an educated guess.

Organ Freeman • D.O.G. Trio

Dutch Swing College Band • Dutch Samba

John Arman Organ Trio • John Arman Organ Trio

After about five years of band history has finally come: The first CD is there and with a little "best of" program perpetuates the band their favorite titles in recent years. Heard there mainly Arman and Wegscheider originals, but the composer remains zweitrangig- the blind understanding of the three Tyrolean men makes the music and gives it that unique, unmistakable sound. ~Google translation

domingo, 11 de diciembre de 2016

Jimmy McGriff • Stump Juice

Review by Jason Ankeny
Stump Juice reunites Jimmy McGriff with producer Sonny Lester, who earlier helmed the organist's classic The Worm. Picking up right where their previous collaboration left off, this Groove Merchant date boasts all the hallmarks of McGriff's most potent work, serving up a series of lean, mean solos delivered via Hammond B-3 and keyboards. Unlike the majority of Groove Merchant dates from the mid-'70s, Stump Juice forgoes warhorse pop and soul covers in favor of original tunes -- these tabulas rasa are the ideal canvas for Lester's bare-essentials production and McGriff's sinuous grooves, eschewing fusion and disco influences in favor of raw, unadulterated jazz-funk.

Billy Taylor • The Billy Taylor Trio with Candido

Review by Stephen Cook
Having already dedicated half of 1953's Cross Section to numbers with Machito's band, it was no surprise that Bill Taylor's 1954 follow-up, Trio with Candido, would feature more Latin touches -- this time with star Cuban conga player Candido. In line with fellow jazz pianists George Shearing and Red Garland, Taylor doesn't incorporate the Cuban clavé beat so much as he includes the percussion for accentuation. In spite of this, Candido offers up some provocative solos, especially on the fast-paced Taylor original "A Live One," which features the pianist and percussionist trading an energetic set of fours. Medium to slow-tempo Taylor originals, though, dominate the program, including "Bit of Bedlam," where the chaos is decidedly cool. Throughout the album, Taylor uses his fleet, Teddy Wilson-informed solo chops to pleasant effect, even stretching out a bit on "Mambo Inn" to complement Candido's own lengthy workout. A very nice program of Latin-tinged bop numbers which unfortunately has not found its way to CD, but occasionally can be found on LP. For at least some of Taylor's Latin forays, there is the CD reissue of Cross Section.

Premier Swingtett • Ich brech' die Herzen

German film and revue hits of the 20's and 30's - as we know from Marlene Dietrich, the Comedian Harmonists or Heinz Rühmann - in the style of gypsy jazz.

Deutsche Film- und Revueschlager der 20er und 30er Jahre - wie wir sie von Marlene Dietrich, den Comedian Harmonists oder Heinz Rühmann kennen - im Stil des Gipsy Jazz.

Film allemand et coups de revue des années 20 et les années 30 - comme nous le savons à partir de Marlene Dietrich, les Comedian Harmonists ou Heinz Rühmann - dans le style du jazz manouche.

Pete Fountain • The Blues

Booker T. & The MG's • In The Christmas Spirit

In the Christmas Spirit is the fourth album by the R&B/Soul band Booker T. & the M.G.'s, released in November 1966. The album features instrumental versions of traditional Christmas carols and songs.

sábado, 10 de diciembre de 2016

Terry Snyder & The All-Stars • Percussion Lounge

One of the leading percussionists of the SABPM era, Terry Snyder worked with Bert Block's studio groups, the Bert Block Orchestra, a standard big band, and the Bell Music Orchestra, which anticipated the SABPM era with its arrangements for celesta, bells, and drums. He became a featured player on New York City radio station WNEW in 1940.
Snyder was Perry Como's favorite drummer, and he worked with Como on recordings, radio, and television from the late 1940s until his death. He sat in with a variety of groups through the early 1950s, from classical schmaltz pianist Shura to Stan Freeman's harpsichord album to light jazz combos led by Bill Clifton. He worked with Enoch Light and Lew Davies on the first four "Persuasive Percussion" LPs on Command, then was hired away by United Artists to debut their competing "Wall-to-Wall Sound" series of gatefold LPs.

viernes, 9 de diciembre de 2016

Jaki Byard • Here's Jaki

John Arthur "Jaki" Byard (June 15, 1922 – February 11, 1999) was an American jazz multi-instrumentalist, composer and arranger. Mainly a pianist, he also played tenor and alto saxophones, among several other instruments. He was known for his eclectic style, incorporating everything from ragtime and stride to free jazz.
Byard played with trumpeter Maynard Ferguson in the late 1950s and early 1960s, and was a member of bands led by bassist Charles Mingus for several years, including on several studio and concert recordings. The first of his recordings as a leader was in 1960, but, despite being praised by critics, his albums and performances did not gain him much wider attention. In his 60-year career, Byard recorded at least 35 albums as leader, and more than 50 as a sideman. Byard's influence on the music comes from his combining of musical styles during performance, and his parallel career in teaching.
From 1969 Byard was heavily involved in jazz education: he began teaching at the New England Conservatory and went on to work at several other music institutions, as well as having private students. He continued performing and recording, mainly in solo and small group settings, but he also led two big bands – one made up of some of his students, and the other of professional musicians. His death, from a single gunshot while in his home, remains an unsolved mystery. Complete bio ...

Brother Jack Mcduff • A change is gonna come

Review by Bruce Eder
This album is an elegant mix of soul and sambas, interspersed with a pair of distinctly blues-focused pieces. Jack McDuff's Hammond B-3 organ surges and trills and rocks, at times seeming to talk as the lead instrument on renditions of works as different as Ray Charles' "What'd I Say" and Sam Cooke's "A Change Is Gonna Come." His calls and responses with the five-man brass section on several of the tracks here comprise another highlight, but even the slow numbers, such as "No Tears," offer virtuoso playing by McDuff. The tempo and texture shifts throughout keep this record continually interesting to the listener, and the range of influences, from jazz to gospel with side trips into the blues (culminating with a seven-minute epic in the latter genre), gives a lot of great playing for everybody.

Biography :
A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest. They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. ~ Ron Wynn and Bob Porter

Eddie Higgins • Don't Smoke In Bed

miércoles, 7 de diciembre de 2016

Big Jay McNeely • Live at Birdland [1957]

Review by Bill Dahl
An amazing artifact from 1957, when live recordings like this one didn't happen very often. A Seattle engineer with a spanking-new stereo tape recorder captured the contents of this disc while McNeely and his swinging combo were working out at a Seattle nightspot called the Birdland. He gets plenty of room to peel the paper from the gin joint's walls as he wails on "Flying Home," "How High the Moon," and "Let It Roll."