viernes, 29 de enero de 2016
Ron Carter - bass
Hubert Laws - flute
Roland Hanna - electric piano, piano (tracks 1-3)
Leon Pendarvis - electric piano (track 4)
Jay Berliner (track 3) - guitar
Billy Cobham - drums, field drum
Ralph MacDonald - percussion
El Chicano is an American chicano rock and brown-eyed soul group from Los Angeles, California, whose style incorporates various modern music genres including rock, funk, soul, blues, jazz, and salsa. The group's name is from Chicano, a term for United States citizens of typically Mexican American descent.
El Chicano, originally formed by Freddie Sanchez under the name The VIP's arose during a period of increasing Chicano consciousness in America. Their initial hit, Viva Tirado, was a jazzy soul rock rendition of Gerald Wilson's original song about a bullfighter. The song did very well on Los Angeles radio and remained #1 for thirteen straight weeks. Other notable tracks recorded by El Chicano are the funky Tell Her She's Lovely as well as a cover of Van Morrison's 1967 hit, Brown Eyed Girl.
Original members of El Chicano include Bobby Espinosa, Freddie Sanchez, Mickey Lespron, Andre Baeza, and John De Luna. Ersi Arvisu was lead singer. During the 1970s, new members Rudy Regalado, Max Garduno, Danny Lamonte, Brian Magness, Jerry Salas, Joe Pererria. joined the group.
On their 1970 albumViva Tirado the group covered the Herbie Hancock jazz standard "Cantaloupe Island". The song was one of nine songs which included the hit single "Viva Tirado" which went gold.
El Chicano continues to be active with a combination of original and new members. They performed on the 2009 PBS pledge break special, Trini Lopez Presents the Legends of Latin Rock, along with Thee Midniters, Tierra, and Gregg Rolie (of Santana and Journey fame).
Original keyboardist, Bobby Espinosa ‒ who laid down Hammond organ on some of El Chicano's most recognizable tracks ‒ died on February 27, 2010. Former percussionist, Rudy Regalado, who spent twelve years with the band died on November 4, 2010. Latin percussionist of former Santana renown, Walfredo Reyes, Jr., recorded with the band from 2010 to 2012, and is currently performing with the band Chicago. https://en.wikipedia.org/wiki/El_Chicano
more ... http://www.allmusic.com/artist/el-chicano-mn0000824895/biographyhttp
jueves, 28 de enero de 2016
The Honeydripper is the third album by organist Jack McDuff recorded in 1961 and released on the Prestige label. Guitarist Grant Green, who previously recorded with Sam Lazar, is part of the stellar line-up, as is saxophone legend Jimmy Forrest. wiki
Review by Thom Jurek
The date featured the big tenor Jimmy Forrest, drummer Ben Dixon, and Grant Green on guitar in his recording debut. Green not only held his own with McDuff on the title track, "Dink's Blues," and "Blues and Tonic," but he plays gorgeous fills and chord voicings in Henry Mancini's "I Want a Little Girl." Green was always more than a sideman as this date attests, and though he was part of the rhythm section, his playing is a standout on this date. McDuff was already in full possession of his voice as an organist, and his hard bop leanings began to subside here as he embraced a more soulful approach, no doubt informed by the effect Jimmy Smith was having on jazz with his crossover. This is an excellent date and should be picked up by anyone interested in McDuff as a great place to start, or for any serious collector.
Nota de egroj: En mi humilde opinion disiento con Scott Yanow, puede o no gustar el disco, pero opino que Mance quiere experimentar, como era la tendencia de aquel entonces, con nuevos sonidos y estructuras. Un disco que hay que escuchar desde la perpectiva de finales de la decada del 60.
Egroj note: In my humble opinion I disagree with Scott Yanow, may or may not like the album, but I think that Mance wants to experience, as was the trend of the time, with new sounds and structures. An album you have to listen from the perspective of the late 60s.
Review by Scott Yanow
Most records by pianist Junior Mance are well worth getting, but this obscure Atlantic album was a bit of a misfire. One of the problems is that on three of the eight songs, Mance switches to harpsichord, which doesn't work too well. Otherwise, the material, which includes five Mance originals, is blues-oriented but fairly routine and no one sounds all that inspired. Mance is joined by either Gene Taylor or Bob Cunningham on bass and Ray Lucas, Alan Dawson or Bobby Thompson on drums. There are some good moments (including the title cut) to this album.
miércoles, 27 de enero de 2016
In the '70s, guitarist Grant Green turned to an R&B and funk style in order to keep up with the times and invite as wide an audience as possible. At the time, critics cried foul at what they called "selling out" and disavowed Green from their critical radar. Fast forwarding to the '90s, this period of Green's career became in great demand as the "acid jazz" craze came into vogue. BLUE BREAKBEATS collects some of Green's more revered works from this period. These are the tracks that DJs constantly sample and loop to form new electronically manipulated works.
To be sure, the grooves here are gritty and the melodies, what little there are, are simple and brash, but the determined mood and downright funkiness is nothing to sneeze at. Cuts like James Brown's "Ain't It Funky Now" and the immensely popular "Sookie Sookie" are staples in any self-respecting DJ's arsenal. The driving beats of Ben Dixon's "Cantaloupe Woman" and the stunning "The Final Comedown" offer plenty of fertile sampling opportunities as well. Overall, though, this is a celebration of Green's late-period talent that didn't get its just desserts in his time.
Personnel: Grant Green (guitar); Harold Vick (soprano saxophone); Claude Bartee (tenor saxophone); Blue Mitchell, Marvin Stamm, Irv Markowitz (trumpet); Phil Bodner (woodwinds); Billy Wooten, Willie Bivens (vibraphone); Emmanuel Riggins, Clarence Palmer (electric piano); Earl Neal Creque, Ronnie Foster (organ); Richard Tee (keyboards); Cornell Dupree (guitar); Jimmy Lewis, Chuck Rainey, Gordon Edwards (electric bass); Idris Muhammad, Grady Tate (drums); Richard Landrum (bongos); Candido Camero, Ray Armando, Joseph Armstrong (congas); Ralph McDonald (percussion).
Producers: Francis Wolff, George Butler.
Engineers include: Rudy Van Gelder, Don Hahn.
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey between January 30, 1970 and May 21, 1971; A&R Recording Studios, New York, New York on December 13, 1971; live at the Cliche Lounge, Newark, New Jersey on August 15, 1970. Includes liner notes by DJ Smash.
Recording information: A&R Studios, New York, NY (01/30/1970-12/13/1971); Cliche Lounge, Newark, NJ (01/30/1970-12/13/1971); Van Gelder Studios, Englewood Cliffs, NJ (01/30/1970-12/13/1971).
Niacin is a neo-fusion instrumental trio featuring bassist Billy Sheehan, drummer Dennis Chambers, and keyboardist John Novello. Founded in 1996, the band's name comes from the timbral foundation of the Hammond B3 organ; vitamin B3 is also known as niacin.
While the members pursue solo and sideman projects, they have continued to record and tour as a unit.
Frank Wess has long been one of the most underrated flautists in jazz, but it's his primary instrument on this CD reissue of a Moodsville LP recorded in 1960. With fine accompaniment by piano master Tommy Flanagan, bassist Eddie Jones and drummer Bobby Donaldson, the leader's lyrical chops are evident in Alec Wilder's rarely performed ballad It's So Peaceful in the Country. The light Latin setting of Star Eyes initially spotlights Flanagan's elegant piano, with the rhythm switching gears as Wess works his magic on flute. Flanagan alone introduces the dreamy interpretation of But Beautiful, while Wess will melt any heart with his gorgeous flute solo. Wess is best known for his swinging tenor saxophone, heard on the richly textured Gone With the Wind, a spacious Stella by Starlight (which will rival any saxophonist's recording for pure beauty), as well as his bluesy original Rainy Afternoon, with Donaldson's light percussion possibly suggesting stepping in sidewalk puddles or windshield wipers clearing intermittent precipitation. Highly recommended. - Ken Dryden
Frank Wess - flute, tenor saxophone
Tommy Flanagan - piano
Eddie Jones - bass
Bobby Donaldson - drums
Earl Van Dyke (July 8, 1930, September 18, 1992) was an African American soul musician, most notable as the main keyboardist for Motown Records' in-house Funk Brothers band during the late 1960s and early 1970s. Van Dyke, who was born in Detroit, Michigan, United States, was preceded as keyboardist and bandleader of the Funk Brothers by Joe Hunter. In the early 1960s, he also recorded as a jazz organist with saxophonists Fred Jackson and Ike Quebec for the Blue Note label.
martes, 26 de enero de 2016
Best known for his big instrumental hit from 1956, "Honky Tonk," keyboardist Bill Doggett is not an easy musician to pigeonhole since he had also played with the Ink Spots and Louis Jordan before breaking through on his own. Some people might take issue with the labels that I've assigned to him and say that he should be classified as an R&B musician. To my way of thinking, black music from the 1940s and 1950s described as such is better categorized as blues or rock 'n' roll. Never mind the fact that this LP was recorded in 1966 or thereabouts because the material is still very much in a 1950s and early 1960s vein. Doggett always did have a jazz side to him as well, and many of the cuts here compare favorably with material by other Hammond B-3 organ wizards such as Jack McDuff and Jimmy McGriff.
Recorded for Columbia's budget imprint Harmony, Honky Tonk Organ is a pleasant if not not life-changing instrumental album. It includes a two-part remake of "Honky Tonk" that the liner notes describe as "played at a slightly faster tempo to accommodate the newest dance steps." Don't worry, they don't try to make it psychedelic or anything like that; it's still very much in keeping with the original. Tracks such as "Canadian Sunset," "'Deed I Do," "All Souls Blues," and "Buster" make for agreeable swinging bachelor pad cocktail music. "Opus D" allows Doggett to stretch out a bit, while "St. Louis Blues" and "Careless Love" are nice, swinging interpretations of old standards. "Mommy Part 1" is cut from a cloth similar to "Honky Tonk," but what happened to "Part 2"?
Most of the performances utilize Doggett's typical organ-electric guitar-drum trio format, although there is a saxophonist that appears on many of the tracks as well. It's a pity that the backing musicians are uncredited, and especially the guitarist because his playing will appeal to those who are fans of Kenny Burrell and Wes Montgomery. Overall, this LP is not as great as the classic sides that he did for King Records during the 1950s, but is still worth a spin nonetheless.
Five years on from his career-defining live set AT THE VILLAGE GATE, flautist Herbie Mann returned to that Greenwich Village venue to record a follow-up with a different lineup--now featuring future superstar Chick Corea on piano--and a subtly different sound. Mann's music was still based on the Latin jazz that he had spent years exploring, but rather than the frenetic beats of Afro-Cuban music or samba, the rhythmic pulse of these five tracks is decidedly more laid-back. On the centerpiece eight-minute rendition of the gospel standard "Motherless Child," the vibe is straight-up soul jazz, complete with some bluesy comping by Corea and a long, mellow flute solo by Mann. The rest of the album picks up the tempo, most notably on Arif Mardin's "The Young Turks," but there's still a looser, more flexible sense of rhythm on MONDAY NIGHT AT THE VILLAGE GATE than on its better-known predecessor, one that hints at the full-on fusion of Mann's later career.
Gene Harris Quartet: Gene Harris (piano); Frank Potenza (guitar); Luther Hughes (bass); Paul Kreibich (drums).Additional personnel: Niki Harris (vocals); Ernie Watts (alto saxophone); Red Holloway (tenor saxophone); Brother Jack McDuff (Hammond B-3 organ).Recorded live at Jazz Alley, Seattle, Washington on December 11 & 12, 1998.
No matter where we go, our formative experiences travel with us. That's what Lori Bell appears to say with Brooklyn Dreaming. For her ninth album, this California-based flutist decided to glance eastward, recalling time spent soaking in the sounds of New York City with her musical family in her youth. The result? A love letter that proves that Bell has bi-coastal jazz citizenship, having been baptized in Brooklyn's swing and sizzle while currently belonging to the hot Golden State scene.
Brooklyn Dreaming is clearly Bell's baby, but her band mates deserve equal credit for bringing this music to life. She's joined by a trio of West Coast rhythm aces—Clayton-Hamilton Jazz Orchestra-associated pianist Tamir Hendelman, rising star drummer Matt Witek, and bassist Katie Thiroux, a hot topic since self-releasing her debut and being selected as a semi-finalist in the 2015 Thelonious Monk International Jazz Competition for vocalists. Together, these three expertly navigate their way through six Bell creations and three covers that all fit the New York-centric theme.
While Brooklyn holds Bell's heart and gets top billing here, only a pair of pieces—the airy, calmly waltzing title track and an angular, swinging ode to enjoying a Nathan's hot dog on Coney Island—reference that borough. Six of the seven other numbers are firmly planted in Manhattan by name. The album starts in the tourist-filled heart of New York City, referencing Times Square not once, but twice. Charles Mingus' famed "Nostalgia in Times Square," opening with some incredibly tasty brushwork from Witek, kicks things off, and Bell's own "Times Squared," a wonderful slice of chilled-out funk ushered in with a rubato preface, follows it. As the album continues, Bell moves all around the city. A perky and spicy look at Thelonious Monk's "52nd Street Theme" and a hip "3 Deuce Blues" both nod to the same stretch of jazz clubs that's no longer with us; an inventive take on "Harlem Nocturne," shifting from a mysterious feel in five to a comfortable swing, looks further uptown; and a Latin-ized "Lower Manhattan" points in the opposite direction.
Bell glides, glows, and runs up and down her flute in seemingly effortless fashion throughout. Her rhythm mates, in turn, keep the grooves swinging and flowing while adding their two cents in all the right places. Brooklyn Dreaming is a tight and classy affair that furthers Bell's fine reputation, shines a spotlight on her talented compatriots, and reminds us all that east and west aren't so far apart after all.
jueves, 21 de enero de 2016
Review by Marisa Brown
As the funk and soul resurgence continues to grow and increase in popularity, more and more DJs, collectors, and fans are having to turn less to older material to get their fix of horns and deep bass grooves. One series that highlights some of the best contemporary funk bands is British DJ Adrian Gibson's Stay on Groove. Gibson, who runs Freestyle Records, does make sure to include enough of his label's roster on 2006's Let the Groove Move You: 20 Modern Funk Anthems (the second in the series), but all of them are worthy of the honor. The groups come from all over the world, which not only proves funk's ability to transcend cultural and linguistic barriers contemporarily, it places it as an important global musical touchstone. The focus is on the U.K. here, particularly Will Holland and his burgeoning funk enterprise. He has his hand in a couple of tracks here -- Quantic Soul Orchestra's "Pushin' On," the Limp Twins "A Day in the Life of Mr Jones" (alongside members of Australia's the Bamboos), and Orasio Garcia & Young Musicians Aware's "Outer Space, Pt. 1" -- but nearly equal is the continental European presence, with both the German Poets of Rhythm and the Dutch Soul Snatchers having a track apiece included. Gibson does not neglect the U.S., either, though he does pull from the fairly typical (albeit excellent) sources: Sharon Jones, Breakestra, and the Budos Band. Most exciting, however, is the previously unreleased Desco 45 "Wind Your Clock (Pts. 1 & 2)," which is gritty and soulful and indignant and fun, everything good funk music should be, and is a great way to end an already excellent compilation.
miércoles, 20 de enero de 2016
Jack McDuff - organ
Red Holloway (tracks 2 & 8), Harold Ousley (tracks 3, 6 & 9) - tenor saxophone
Pat Martino - guitar
Joe Dukes - drums
Unidentified orchestra arranged and conducted by Benny Golson (tracks 1, 4, 5 & 8)
Dizzy Gillespie (trumpet)
Charlie Parker, Sonny Stitt (alto saxophone)
Dexter Gordon (tenor saxophone)
Howard Johnson, Lucky Warren, Ray Abrams, John Brown, Saul Moore, Scoops Carey, Billy Frazier (saxophone)
Dave Burns, Raymond Orr, Talib Daawood, John Lynch, Matthew McKay, Elman Wright (trumpet)
Alton Moore, Leon Cormenge, Gordon Thomas, Taswell Baird (trombone)
Milt Jackson (vibraphone)
Frank Paparelli, Clyde Hart, Al Haig, John Lewis (piano)
Chuck Wayne, Remo Palmieri(guitar)
Murray Shipinsky, Slam Stewart, Curley Russell, Ray Brown (bass)
Shelly Manne, Cozy Cole, Sid Catlett, Kenny Clarke, Joe Harris (drums).
Born David Cortez Clowney, 13 August 1938, Detroit, Michigan
Pianist / organist / vocalist / songwriter.
Nowadays, Dave "Baby" Cortez (Clowney) is almost solely remembered for his # 1 record "The Happy Organ" (1959), but he had a long and, at times, successful recording career both before and after this hit. Growing up in Detroit, Dave showed musical aptitude at an early age and was guided toward the piano by his father, who also played the instrument. His musical career took off when he joined the Five Pearls in 1954 as second tenor and pianist, and he moved with them to New York the next year. The group, which became better known as the Pearls, recorded for Aladdin, Atco and Onyx. Clowney then had a short tenure with the group The Valentines, led by Richard Barrett, and recorded two singles with them for Rama. In the autumn of 1956 he recorded two piano instrumentals, "Movin' 'n' Groovin'" and "Soft Lights" (Ember 1010), which were credited to The David Clowney Band and got a good review in Billboard. This was followed by another great unknown R&B instrumental single, "Hoot Owl"/"Shakin'" (Paris 513) in early 1958, with King Curtis on tenor sax, Jimmy Spruill on guitar and Dave himself on pounding piano. A few months later, he cut a Little Richard-styled vocal single, "Honey Baby" and "You Give Me Heebie Jeebies" (Okeh 7102) as Baby Cortez. None of these records registered, good was they were. Meanwhile he did work as a session musician behind such artists as The Chantels, The Isley Brothers, The Aquatones ("She's the One For Me") and Little Anthony and the Imperials.
In 1958, his previous association with Ember Records brought Dave to Clock Records, a brand new label, which was run by veteran English-born EMI record man Wally Moody and his son Doug, and initially distributed by Ember. Now billed as Dave "Baby" Cortez, the young pianist/singer had his first Clock single released in August 1958, "You're the Girl"/"Eenie Meeny Miny Mo", which did nothing at all. But then came "The Happy Organ".
It was a Saturday morning in the fall of 1958 at Allegro Recording Studio in the basement of 1650 Broadway in New York City. Dave was supposed to cut a few vocal numbers, but he lost his voice during the session and said, "Let me try an instrumental". They had a huge Hammond B-3 organ in the corner, and though Dave had never played the organ before, he started doing a tune based on "Shortnin' Bread". The backing musicians (who included Jimmy Spruill on guitar, Buddy Lucas on sax and Panama Francis on drums) started picking up the rhythm. The end of the take was rough, it went on and on and was full of wrong notes, reason why it was faded out on the record after 1:58. The resulting single was called "The Happy Organ", a # 1 pop smash in the spring of 1959 (also # 5 R&B). It did much to popularise the Hammond organ amongst the huge teen market and soon Johnny and the Hurricanes and Bill Black's Combo would score chart hits with organ-led instrumentals.
The follow-up, "The Whistling Organ" was a poor record by comparison and went only to # 61. No further hits on Clock followed, despite strong 45s such as "Piano Shuffle", "Cat Nip" and "Dave's Special". After Clock's distribution deal with Ember ended, RCA Victor stepped in and the album "Dave 'Baby' Cortez And His Happy Organ" came out on RCA in September 1959. Clock later issued the LP on its own label, but not before RCA sold thousands of copies. In 1962, Dave was back in the Top 10 with "Rinky Dink" on Chess (picked up from Julia Records, which was probably Dave's own label), followed by some minor hits on Chess. The mid-sixties saw him recording for the Roulette label and, keeping in tune with the times, Cortez soon moved into funky soul music. In 1973, he had his last chart entry with "Someone Has Taken Your Place" on All Platinum (# 45 R&B). His final single was also released in that year, "Hell Street Junction", which was an imitation of Sly and the Family Stone's "Life". By the 1980s he had turned his back on the music business and was living in Jamaica, New York, with a day-time job. Since then he has always refused to be interviewed about his career as a musician.
martes, 19 de enero de 2016
Nació el 4 de julio de 1913 en Valparaíso, Chile. Comenzó sus estudios de violín a los 8 años, en medio de una familia de no músicos (su padre era político, posiblemente Daniel Oliva integrante de los llamados "señores del salitre", y su madre, ama de casa), llegando a dominarlo rápidamente.
Hacia 1927 ingresó a la orquesta de Ernesto Davagnino. Su padre, quien había elegido para él la carrera de leyes, al enterarse que Hernán solo quería dedicarse a la música, lo conmina a elegir o ser desheredado. Hernán, de carácter bohemio, elige y es expulsado del hogar. Hacia 1935 cruzó a Mendoza. Trabajó pocos meses en la radio LV 10 de Cuyo, con su orquesta.
Migró hacia Buenos Aires, donde vivía Luis Davagnino, hermano de Ernesto y músico el también, quien lo recibe en su casa luego de encontrarlo silbando de esquina en esquina de la calle Alsina una tonada que sabía que Luis reconocería. Le consiguió trabajo como acompañante de Betty Caruso y Fanny Loy, en Radio Belgrano. El 15 de septiembre ingresó a la orquesta de René Cóspito, haciendo los bailables de Radio Belgrano y el té en Gath y Cháves.
Hacia 1940 pasó al grupo que tocaba en la boite La Chaumiere, con Enrique "Mono" Villegas en piano, David Washington en trompeta, y el inglés Phillips en saxo.
Al año siguiente pasó a la orquesta de Oscar Alemán. Disputas musicales y económicas terminaron con una reyerta, que los separó definitivamente.
Hacia 1944 ingresó a trabajar con los Cotton Pickers de Ahmed Ratip. Luego con Tito Alberti y José Finkel formaron la Jazz Casino, debutando en 1951 en el club Villa Crespo, con Lorna Warren como cantante.
De allí pasó al restaurante El Caballito Blanco, tocando lo que viniera. Según declaraba Oliva, la aparición del Club del Clan había desplazado al jazz como música bailable, y por lo tanto comercial.
En sus últimos años, solía rondar por los bares de San Telmo, tocando para quien se lo pidiera, a veces por un vaso de whisky. Muchas veces, los responsables de esos lugares, incapaces de apreciar su enorme talento, ni siquiera apagaban la música ambiental cuando iba a ejecutar, o le decían: "Tocás tres y te vas".¨En esos tiempos solía interpretar tango, para adecuarse al medio, y lo hacía con gran maestría, pero no dejaba de decir que la música que realmente amaba era el jazz.
Falleció en la madrugada del 17 de junio de 1988, a punto de cumplir 75 años. Apareció tirado en una vereda del barrio de Palermo, abrazado al estuche de su violín.
He was born on July 4, 1913 in Valparaiso, Chile. He began studying violin at age 8, amid a family of non-musicians (his father was a politician, possibly Daniel Oliva member of the so-called "masters of salt", and his mother, housewife), reaching quickly master .By 1927 he joined the orchestra of Ernesto Davagnino. His father, who had chosen for him a career in law, to learn that Hernán just wanted to pursue music, it urges to elect or be disinherited. Hernán bohemian character, choose and is sent home. By 1935 he crossed to Mendoza. He worked a few months in the Cuyo LV 10 radio, with his orchestra.He migrated to Buenos Aires, where Luis Davagnino, Ernesto brother and fellow musician lived, who receives at home after finding whistling from corner to corner of the street Alsina a tune he knew Luis recognize. He got a job as companion Betty Caruso and Fanny Loy, on Radio Belgrano. On September 15 he joined the orchestra of René Cospito, doing the dance of Radio Belgrano and tea in Gath and Chaves.By 1940 the group spent playing in the boite La Chaumiere, with Enrique "Mono" Villegas on piano, David Washington on trumpet and sax Phillips in English.The following year he became the orchestra of Oscar Aleman. Musical and economic disputes ended with a brawl, which definitely separated.By 1944 he began working with the Cotton Pickers Ahmed Ratip. After Tito Alberti and José Finkel formed the Jazz Casino, debuting in 1951 at the club Villa Crespo, with Lorna Warren as a singer.From there he went to the restaurant El Caballito Blanco, playing whatever came. As stated Oliva, the appearance of the Club of the Clan had moved to jazz and dance music, and therefore commercial.In his later years, he used to hang around the bars of San Telmo, playing for whom being asked, sometimes for a glass of whiskey. Often, those responsible for these places, unable to appreciate his enormous talent, even when turned off the background music was going to run, or he said, "three touch and go" .In those times used to play tango, to suit the medium, and did it with great skill, but kept saying that music really loved was jazz.He died on the morning of June 17, 1988, about to turn 75 years. It appeared lying on a sidewalk in the neighborhood of Palermo, hugging his violin to the case.
The Sounds of Yusef recorded for Prestige and released in Oct 1957 shows Lateef's blossoming interest in exploring the sounds of the East. This is a predecessor to his classic 1961 "Eastern Sounds" disc. My fave track is the adventurous and experimental "Love and Humor" with it's Chinese gong, Asian style flute lines played by Lateef and a passage of apparently non-traditional instruments like 7-Up bottles and the taught surfaces of balloons stroked til they create that high pitched squeaking kids seem to love way more than adults. Anyhow, it's not all like that, and any traditional jazz fans could still enjoy the melodious opener "Take the 'A' Train".
Georgie Fame (Nacido como Clive Powell el de 26 de junio de 1943 en Leigh cerca de Mánchester en Inglaterra) es un músico británico de rhythm and blues y jazz, cantante conocido principalmente por ser un virtuoso de los teclados, destacando ente ellos el órgano Hammond.
A los dieciséis años llegó a un acuerdo de representación con Larry Parnes, quien ya había descubierto otros artistas tales como Marty Wilde y Billy Fury. Fame fue pianista en una banda llamada The Blue Flames, que luego se llamó "Georgie Fame and the Blue Flames". La banda tuvo un gran éxito con el rhythm and blues. Uno de los músicos que actuó con Fame el 26 de diciembre de 1966 durante tres semanas en el "Fame in ’67 Show" en el londinense teatro Saville fue Cat Stevens, que en aquél momento solo había publicado su primer éxito, "I Love My Dog".1
El mayor éxito de Fame fue "The Ballad of Bonnie and Clyde" en 1968, que fue número uno en el Reino Unido, y número 7 en Estados Unidos; tuvo también otro número uno en el Reino Unido en 1965 con "Yeh Yeh" y "Getaway" en 1966.
Fame continuó tocando en los años setenta, teniendo un éxito con "Rosetta", en 1971. He sufrió un poco de mala prensa por ser condenado por posesión de drogas.
Georgie Fame grabó "Rosetta" con un amigo íntimo, Alan Price, ex-teclista de The Animals, y trabajaron juntos por un tiempo. También estuvo de gira como uno de los The Rhythm Kings, con su amigo, Bill Wyman, tocando el bajo.
Desde primeros de los ochenta hasta 1997 con el álbum The Healing Game, Fame fue miembro de la banda de Van Morrison, así como su productor musical, tocando los teclados y cantando en temas como "In the Days before Rock 'n' Roll". En esta época también hizo giras con su propio nombre.
Fame ha tocado con frecuencia en clubs de jazz de modo residente, tal como en el Ronnie Scott's. También ha tocado el órgano en el álbum Starclub's.
Georgie Fame and the Blue Flames fueron los únicos que actuaron invitados por el sello Motown en el Reino Unido cuando esta empresa hizo una visita a mediados de los años sesenta.
Fame también ha colaborado con algunos de los músicos más exitosos del mundo. Tocó el órgano en todos los discos de Van Morrison publicados entre 1989 y 1997. También hizo de director musical y de protagonista en la fiesta del 60 cumpleaños de Terry Dillon el 10 de mayo de 2008. Fame también fue miembro fundador de la banda de Bill Wyman The Rhythm Kings y también ha trabajado con Count Basie, Alan Price, Gene Vincent, Eddie Cochran, Eric Clapton, Muddy Waters, Joan Armatrading y la banda The Verve. https://es.wikipedia.org/wiki/Georgie_Fame
Georgie Fame (born Clive Powell, 26 June 1943) is an English rhythm and blues and jazz singer, and keyboard player. The musician, who had a string of 1960s hits, is still a popular performer, often working with contemporaries such as Van Morrison and Bill Wyman.
Fame is the only British pop star to have achieved three number one hits with his only Top 10 chart entries: "Yeh, Yeh" in 1964, "Get Away" in 1966 and "The Ballad of Bonnie and Clyde" in 1967.
Fame was born in Leigh, Lancashire. He took piano lessons from the age of seven and on leaving Leigh Central County Secondary School at 15 he worked for a brief period in a cotton weaving mill and played piano for a band called the Dominoes in the evenings. After taking part in a singing contest at the Butlins Holiday Camp in Pwllheli, North Wales he was offered a job there by the band leader, early British rock'n'roll star Rory Blackwell.
At sixteen years of age, Fame went to London and, on the recommendation of Lionel Bart, entered into a management agreement with Larry Parnes, who had given new stage names to such artists as Marty Wilde and Billy Fury. Fame later recalled that Parnes had given him an ultimatum over his forced change of name: "It was very much against my will but he said, 'If you don't use my name, I won't use you in the show'".
Over the following year Fame toured the UK playing beside Wilde, Joe Brown, Gene Vincent, Eddie Cochran and others. Fame played piano for Billy Fury in his backing band, the Blue Flames. When the backing band got the sack at the end of 1961, the band were re-billed as "Georgie Fame and the Blue Flames" and went on to enjoy great success with a repertoire largely of rhythm and blues numbers. https://en.wikipedia.org/wiki/Georgie_Fame
Earl Grant (January 20, 1931 – June 10, 1970) was an American pianist, organist, and vocalist popular in the 1950s and 1960s.
Grant was born in Idabel, Oklahoma. Though he would be known later for his keyboards and vocals, Grant also played trumpet and drums. Grant attended four music schools, eventually becoming a music teacher. He augmented his income by performing in clubs during his army service, throughout which he was stationed in Fort Bliss, Texas. Grant signed with Decca Records in 1957 and his first single "The End" reached number 7 on the Billboard Hot 100 chart. The single "Ebb Tide" sold over one million copies, gaining gold disc status. He recorded five more singles that made the charts, including "Swingin' Gently" (from Beyond the Reef), and six additional albums (mostly on the Decca label) through 1968. He also recorded the album Yes Sirree and the instrumental album Trade Winds, single-tracked on the Hammond organ and piano, featuring the love theme from the film El Cid and Chaplin's "Eternally". This album featured some realistic sounding "tropical bird calls" produced by his electric organ. "The House of Bamboo" was another big-selling single. In all, Grant recorded 30 albums for Decca.
Several of his albums featured tenor saxophonist Plas Johnson.
Grant also made a few appearances in film and television, including Tender Is the Night (1962), Juke Box Rhythm (1959), and The Ed Sullivan Show (1961).
Grant sings the title theme for the 1959 film Imitation of Life in a way very close to an imitation of Nat King Cole
He died instantly in a car accident in Lordsburg, New Mexico, at the age of 39 when the car he was driving ran off Interstate 10. He was driving from Los Angeles to an intended destination in Juarez, Mexico. His 17-year-old cousin was also killed in the accident.
viernes, 15 de enero de 2016
An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals. Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist -- in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade. At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia.
Alex Henderson & Ron Wynn
The SPO-DEE-O-DEE group was established by Tamás Szabó and Zoltán Nemes in 1997. Since our founding, we have been actively performing in local Hungarian clubs as well as abroad and at a variety of music festivals. We have met with a great deal of challenges over the past eight years. Our repertoire has been enriched with innumerable performances which involved among others, fashion shows, exhibitions and special background stage music for theatrical performances, as commissioned by different organizers. Our presence at the different festivals and in clubs here in Hungary and abroad have brought us popularity and a positive reception from the multiple audiences we have played for. Just to mention the different locations where we have been repeatedly invited back to . . . are countries like: Austria, Croatia, Finland, Germany, Holland, Italy, Serbia and Slovenia.
Our group's musical profile represents a wealth of sounds from the "boogie-woogie" of the 1930s through today's modern "New Orleans". Our unique musical world is determined by two dominant instruments: the piano and the harmonica. Although these musical instruments are rarely used in the music of "Blues", they have proven to offer unending creative possibilities. Just as a few examples: Sonny Boy Williamson,Willie Mabon, Sugar Ray Norcia, Carlos Del Junco.
Local Color is a revealing glimpse into Mose Allison's early days; the pianist/vocalist here runs through some bluesy ballads and a few mid-tempo swing numbers in a traditional trio setting. For the most part, Allison keeps it simple within a piano/bass/drums format, where he can execute a swinging solo such as on Duke Ellington's "Don't Ever Say Goodbye," or his own "Ain't You a Mess." Allison keeps it casual and swinging throughout. He employs his distinctly Southern vocal style on the gutbucket blues "Parchman Farm" and the New Orleans-flavored blues ballad "Lost Mind," and even pulls out his muted trumpet for "Trouble In Mind," a smoky ballad that would have made Miles Davis take note. For more recent fans of the Mississippi jazzman, these and the other songs featured on "Local Color" are plentiful reasons to explore the distant past of this musical legend.
by Mike O’Cull
Mississippi Heat is one of the most talented, creative, and hard-working blues bands playing today. For 20 years, the band, led by harpist Pierre Lacocque, has spread its “traditional with a twist” blues sound around the world with ten album releases and countless nights playing live on stage. Delta Bound is the band’s fourth release on Delmark and it is both a celebration of 20 years in the game and a display of new material and continuing energy, enough to imagine MH easily going for another 20. The album features the current band helped out by some outstanding special guests and returning band members from years past; this is a 14-song example of the best that the blues has to offer.
Seguramente el mejor album de la serie "Cocktail Mix" del sello Rhino, más orientado al space-pop que el resto. De los 18 temas que conforman el album se puede decir que estiran los limites de ese estilo musical hasta unos limites antes desconocidos. Después de todo, Mose Allison, Cal Tjader, Brother Jack McDuff, y Pucho & The Latin Soul Brothers eran más conocidos como músicos de jazz, latin y blues que como músicos de estilo cocktail. Dentro del album encontramos a famosos como Mel Tormé (representado por el clásico "Comin 'Home Baby"), Quincy Jones y Connie Francis (con temas de estilo bossa nova), Ann Margaret, Sergio Mendes y Walter Wanderley (con temas de difícil clasificación en un estilo determinado). así como una serie de artistas característicos del estilo cocktail y que harán las delicias de los seguidores de esta musica.
Lalo Schifrin, Mose Allison (piano)
Connie Francis, Mel Tormé, Nancy Wilson (vocals)
Willie Bobo, Quincy Jones (percussion)
Frankie Dunlop (drums)
Les Elgart (trumpet)
Addison Farmer (bass)
Stan Getz (saxophone)
Earl Grant (organ, piano, vocals)
Walter Wanderley, Dick Hyman (organ)
Harold Johnson, René Touzet (piano)
Rahsaan Roland Kirk (flute, reeds)
Jack McDuff (organ, electric piano)
Trudy Pitts (organ, hammond)
Pérez Prado (organ, piano)
Cal Tjader (drums, vibraphone)
martes, 12 de enero de 2016
This was Allison's introductory album, serving notice that here was a unique man of many talents: an earthy intellectual of Faulknerian bent who had imbibed the blues directly from the rural still, and the jazz message from the likes of Armstrong, Basie, and Nat Cole, for openers.
At this point in his history, Mose sang on only two selections in the entire album. His performing emphasis was to shift more and more toward the vocal side over the years. Back Country Suite features his piano playing in a trio format, focusing on the ten selections that make up the suite (which could be suitably subtitled "Impressions of the Delta"), but he reveals, in the other selections, his abilities with a diversified range of material. Back Country Suite, the album, marked the beginning of a singular career in which Mose has captured the ears of lay listeners and musicians of many stylistic persuasions.
Review by Ronnie D. Lankford, Jr.
It's easy to assume that anyone with a nickname like "Blues Boss" would -- when it came to playing the blues -- have the goods, and Kenny Wayne does. But Wayne's blues isn't the kind of music that inspires one to cry in one's beer. From the start of Let It Loose, it's clear that the pianist/singer is determined, above and beyond everything else, to have a good time with the music. "Blackberry Wine" is taken at an upbeat tempo guaranteed to jump-start any country dance, while the chorus of the midtempo "Let Me Go Home Whiskey" recalls the smooth harmony singing of the Mills Brothers. Wayne's a good singer who adds lots of energy to the lyrics of songs like the title track, and it's easy to convince oneself that he recorded these pieces on the stage as opposed to the studio. This vocal approach is perfectly matched with his happy piano playing. Wayne loves upbeat material -- like "I Never Will Forgive You" -- that allows him to cut loose with abandon on the keyboard. It doesn't hurt that he's backed by a sympathetic band, or that he also lets players like guitarist Brandon Isaak and harpist Dave "Hurricane" Hoerl have a piece of the action. All of this is to say that Let It Loose is a good-time album, sure to please anyone who likes spirited blues.
Blues and Boogie Woogie Master Kenny "Blues Boss" Wayne really turns his talent loose on "Let It Loose" his latest offering on the Electro-Fi label. Kenny Wayne is at the forefront of modern day blues piano practioners. Hailed by LIVING BLUES magazine as "an artist bringing the piano back to the front ranks of contemporary Blues". This CD not only highlights Kenny's vocal and piano work, it showcases his prodigious songwriting ability. As a bonus Kenny has also included a three song tribute to past blues piano master Amos Milburn on the disc.
In the spirit of the Meters and Booker T and the MG’s comes COMANGO!, the debut long-player from Jim Viner’s Incredible B3 Band. Comprising veterans of session work and touring acts, the B3 Band trades in the sonics of mid-’60s Memphis, offering here 11 delightful numbers that fill the gap between the dance-floor mover “Chicken Tickin” and the lovely, delicate jazz-fest homage “Saint-Paul.”
Drummer/composer Jim Viner is fronting his own outfit for the first time. A member of The Diplomats of Solid Sound, Brother Trucker, High and Lonesome and Head Candy, Jim has played on stage and in the studio with such artists as Andre Williams, Pieta Brown and Kevin Gordon. His compositions and playing can be heard on myriad film and television soundtracks, including Lionsgate’s “Madea’s Big Happy Family” and Showtime’s hit series “Weeds.” Taking the melodic leads are Hammond B-3 players Nate Basinger and Radoslav Lorkovic, who enjoy empathetic backing by guitarists Mike Fitzpatrick and Doug Roberson, saxophonist Eddie McKinley and percussionist. Paul Cunliffe.