egroj world: mayo 2016

 

martes, 31 de mayo de 2016

Jimmy McGriff • A Bag Full Of Soul




Lou Donaldson • Here 'Tis (RVG-edition)





Alto saxophonist Lou Donaldson is one of a slew of hornmen to emerge from the long shadow of Charlie Parker, one whose distinctive bluesy sensibility eventually became a leading voice in the soul jazz movement. Here 'Tis (recorded in 1961), Donaldson's 14th session as a leader for Blue Note, is a standout release in his catalogue, a high midpoint along a stylistic transition that began with 1958's Blues Walk and would crystallize with 1967's Alligator Bogaloo.

Here 'Tis boasts a stellar supporting cast of Grant Green (guitar), Baby Face Willette (organ) and Dave Bailey (drums) in a vibrant workout over four 12-bar blues tunes and a cover of the Gershwin's "A Foggy Day." Donaldson's playing here contains the best of bop and blues aesthetics; unhurried, fluent, expressive and eminently swinging, his ideas unfold with a seemingly effortless mix of heart and intelligence. As Robert Levin aptly describes it in the original liner notes, "If there is sometimes...a scent of the academy...there is also the vitality and conviction of insight."

Green, a fresh arrival on the New York scene at this point in his career, his talent in full flower, delivers solos that evince a masterful mix of space and density, stop and go. Willette is the emotional epicenter of the session, working the organ with a raw, undisciplined touch that pulls on the listener like a preacher's sermon, milking each phrase to its last emotive drop. While "A Foggy Day," Bird's "Cool Blues" and "Watusi Jump" are brisk swingers, showcasing the combo's driving verve, the title track and "Walk Wid Me" are moody dirges that would past muster with a down-home blues bar crowd.







Stephane Grappelli • Live At Corby Festival Hall



Stephane Grappelli recorded frequently during the last three decades of his life and previously unissued recordings like this 1975 concert at Corby Festival Hall have continued to turn up. On this occasion the violinist is accompanied by lead guitarist Diz Disley, rhythm guitarist Ike Isaacs and bassist David Moses. The set is fairly typical, concentrating on standards from the 1920s through the 1940s, starting with a chugging but brisk take of "I Can't Believe That You're in Love With Me." The marvelous duet by Grappelli and Disley of "Smoke Gets in Your Eyes," Grappelli's inventive treatment of "(Back Home Again In) Indiana" and the crowd-pleasing "Sweet Georgia Brown" are among the highlights. It is simply amazing that Stephane Grappelli never seemed to go on autopilot as he played a song for the hundredth (or possibly thousandth) time; this CD is a valuable addition to his already vast discography.


Jimmy Smith • Rockin' the Boat (RVG-edition)



Rockin' The Boat was one of organist Jimmy Smith's final sessions for Blue Note. Recorded in 1963, it featured Smith's regular band at the time, Quentin Warren on guitar and Donald Bailey on drums, augmented by the soulful Lou Donaldson on alto sax and John Patten on tambourine. Smith recorded many albums for Blue Note, all of them good, some of them great. Rockin' The Boat falls in the former category, as some of the songs are calypso ("Matilda, Matilda!") and spiritual ("Just A Closer Walk With Thee"). These numbers have a different pacing and beat than the down and dirty blues-based ones Smith excelled at. In addition, Smith and Donaldson, who were frequent collaborators, usually generated considerable heat when playing in the hard bop/soul jazz genre as witnessed by the tunes "Pork Chop" and "Please Send Me Someone To Love."





The sound quality of this CD is outstanding. It's another of Blue Note's Rudy Van Gelder releases using 24-bit resolution. While not earth shattering (try Back At The Chicken Shack, The Sermon, or Open House/Plain Talk), Rockin' The Boat is worth rediscovering. A good effort by Jimmy Smith is impressive by other artist's standards. It's wonderful music, one of those CDs that improves with each play. Listen and enjoy.


VA • Genius Of Boogie Woogie




lunes, 30 de mayo de 2016

Cal Tjader ‎• Several Shades of Jade



Review by Stewart Mason
One of the most unique albums of Cal Tjader's career, 1963's Several Shades of Jade is a collaboration with composer and arranger Lalo Schifrin that transposes the vibraphonist's musical travels from Latin America to the Far East. This is no more traditional Asian music than Tjader's similar albums from this period are traditional Latin American music, but the pair wisely avoids the standard clichés of Asian music (no smashing gongs after every musical phrase or melodies that sound like rejects from The Mikado). Instead, Schifrin frames Tjader's meditative vibraphone solos in arrangements that strike a cool balance between western kitsch and eastern exotica, never tipping too far in either direction. Although the follow-up album, Breeze From the East, is rightfully panned by just about everyone whose idea of Asian music doesn't begin and end with the Vapors' "Turning Japanese," Several Shades of Jade is actually an interesting experiment that succeeds more often than it fails.



Herb Ellis • Soft & Mellow



Review by Scott Yanow
Despite the title of this record by guitarist Herb Ellis, the songs are not all sleepy ballads. In fact, the opening number played by the quartet (which also includes pianist Ross Tompkins, bassist Monty Budwig and drummer Jake Hanna) is a rapid version of "Shine" and there is also an uptempo rendition of "Rosetta" to close the date. In between Ellis and his group perform five standards (including a few ballads) plus his original "Jeff's Bad Blues," dedicated to Concord head Carl Jefferson. An excellent all-round set of swinging music.


Ray Bryant • Ray Bryant Plays







Legends of Acid Jazz ‎• Leon Spencer





Steve Allen & Terry Gibbs • Rhythm and Blues










Jack McDuff • Kisses







viernes, 27 de mayo de 2016

Wes Montgomery • Verve Jazz Sides





Booklet


Jackie Mittoo • The Keyboard King at Studio One


Jackie Mittoo (3 March 1948 – 16 December 1990) was a Jamaican keyboardist, songwriter and musical director. He was a member of The Skatalites and musical director of the Studio One record label.

He was born Donat Roy Mittoo in Browns Town, Saint Ann Parish, Jamaica, and began learning to play the piano when he was four under the tutelage of his grandmother.

In the 1960s he was a member of The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors and Sound Dimension. Mittoo's compositions in this period included "Darker Shade of Black", "Feel Like Jumping", and "Baby Why". He played with Lloyd "Matador" Daley in 1968 and 1969.

He emigrated to Toronto, Canada at the end of the 1960s. There he recorded three albums, Wishbone (Summus), Reggae Magic (CTL) and Let's Put It All Together (CTL). He also set up the Stine-Jac record label, as well as running a record store.

In 1970, his song "Peanie Wallie" was reworked into a song called "Duppy Conqueror" and recorded by The Wailers. Mittoo's song Wishbone was a hit in 1971. He performed in local Toronto lounges throughout the 1970s. Mittoo assisted Toronto-area reggae musicians, including Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James and Jason Wilson. Mittoo continued to record for Jamaican producers in the 1970s, mostly Bunny Lee. He co-wrote "Armagideon Time" (later recorded by The Clash) with Willi Williams, release in 1980.

In the 1980s, he often worked with Sugar Minott. In 1989, he briefly rejoined the Skatalites, but left when his health started to deteriorate. In 1989 and 1990 he recorded Wild Jockey for Lloyd Barnes’ Wackies label.

Mittoo entered a hospital on 12 December 1990 and died of cancer on 16 December at the age of 42. His funeral was held at the National Arena in Kingston, Jamaica, on 2 January 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond "Desi Roots" Young, Ruddy Thomas, Tommy Cowan, Clement "Coxsone" Dodd were among the attendees. A memorial concert was held around the same time, with performances by Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart and others.






Red Mitchell • Rejoice






Jim Hall • Jazz Guitar





jueves, 26 de mayo de 2016

Zoot Sims • The Great Zoot Sims Down Home



Review by Scott Yanow
Tenor saxophonist Zoot Sims recorded on a regular basis as a leader for most
of 45 years, and virtually all of his many sessions are worth acquiring. Sims's Bethlehem date also gives one a look at the great pianist Dave McKenna in his early days, along with bassist George Tucker and drummer Dannie Richmond. Sims mostly explores standards from the swing era (including a rare version of "Bill Bailey") on this enjoyable and consistently swinging set.


Euro Cinema • Ten-4



The group's raw jazz funk sound is rooted in late 60s organ funk as well as the anonymous "library music" soundtracks to 70s movies.





Lee Allen • Walkin' With Mr. Lee




Lee Allen (July 2, 1927 – October 18, 1994) was an American tenor saxophone player born in Pittsburg, Kansas.

A key figure in the New Orleans rock and roll scene of the 1950s, Allen recorded with many leading performers of the early rock and roll era. He was semi-retired from music by the late '60s, but in the late '70s, returned to music intermittently until the end of his life.

Bio completa / full bio:  http://en.wikipedia.org/wiki/Lee_Allen_(musician)


Najponk, Pivec & Hutchinson • It's About Time



Mundell Lowe • Guitar Moods



Review by Scott Yanow
This is very much a chamber jazz set. Mundell Lowe plays "Our Waltz" as an unaccompanied guitar solo and his trio with bassist Trigger Alpert and drummer Ed Shaughnessy is joined by either Al Klink or Phil Bodner on various woodwinds during seven of the 11 other selections. The bass clarinet, flute, oboe, and English horn are quite atmospheric, adding to the beauty of the ballads. The brevity of the individual selections is understandable but it is unfortunate that this CD reissue is only 32 and a half minutes long, for what is here is quite memorable. Guitar Moods, which lives up to its name, is recommended anyway.

Kjell Ohman • The Hammond Connection



TRADUCCION AUTOMÁTICA DE LA WIKI
Kjell Öhman Portal : Jazz Kjell Öhman Ingemar (nacido el 3 de septiembre de 1943 ) es un sueco músico de jazz (B3 órgano Hammond, piano ), compositor y director musical (incluyendo por Allsång en Skansen 1994-2010). Ha tocado en más de 8.000 grabaciones. Ha participado en numerosos cooperación escandinava que Svend Asmussen Cuarteto en la década de 1970; de notables internacionales incluyen su juego de Lionel Hampton cumple Lars Erstrand (1991). En su propio "organilleros" jugaron Ulf Andersson saxo, Thomas Arnesen guitarra, Claes Janson voces, Tommy Johnson bajo y Douglas Westlund tambores (En vivo en el Monte de Piedad , 1991, 1993). El noruego Knut Riisnæs y Red Holloway contribuyó él Confessin 'the Blues (Géminis, 1992). Publicó La Conexión Hammond (Opus 3, 1994), con Rune Gustafsson guitarra, Arne Domnerus saxo, Leif Dahlberg tambores, y Mads Vinding bajo. En 1999 jugó un papel decisivo en la liberación de Sandviken Big Band (30 años). Su propio trío (con Sus Volver Roth Bass y Joakim Ekberg tambores) y el invitado Bobby Muéstranos , repartieron No puedo decir que no (2003). En 2004, él (con Alice Babs ) en el Festival de Jazz de Oslo con Homenaje a Duke Ellington . Su propio trío con Ulf Wakenius guitarra y conferencias, en el 2006 de vuelta en Oslo con puesta en escena En el espíritu de Oscar .



Kjell Ingemar Öhman (3 September 1943 – 5 November 2015) was a Swedish jazz musician. He worked as kapellmeister/arranger of music albums, and of TV programs, among them Notknäckarna, Allsång på Skansen (1994–2010), Hasse och hans vänner and Café Luleå.

Öhman appeared in more than 3000 albums and worked with musicians, among them The Telstars, Marcus Österdahl, Alice Babs, Georgie Fame, Charlie Norman, Svend Asmussen, Arne Domnérus, Simons, Ulf Wakenius, Rune Gustafsson, Hans Backenroth and Ulf Lundell.

In 2006 Öhman received the Jan Johansson Scholarship.


martes, 24 de mayo de 2016

The Guitars Inc • "Invitation" & "Soft and Subtle" / Guitar players: Tommy Tedesco, Al Hendrickson, Howard Roberts, Bobby Gibbons & Bill Pitman



These two 1958 albums, “Invitation” and “Soft and Subtle,” brought together five of Hollywood’s finest guitarists—namely Tommy Tedesco, Al Hendrickson, Howard Roberts, Bobby Gibbons, and Bill Pitman—under the direction of Jack Marshall, and with the corporate name The Guitars, Inc. Five talented musicians, each an outstanding soloist in his own right, but all challenged and pleased with the possi- bilities of the group guitar sound. All five were in constant demand for recordings, radio, television and motion pictures, but they joined forces to combine this unique instrumentation with great musicianship and inventiveness, playing a careful selec- tion of material: the familiar and the obscure, the dreamy and the up-tempo, the swinging and the delicate. You are invited on a voyage of discovery to a new musi- cal realm where taste, subtlety, imagination and charm conspire to bring back the joy of listening to fine music.
Source : http://www.freshsoundrecords.com/guitars-inc/6391-invitation-soft-and-subtle-2-lps-on-1-cd.html

Jack Wilson Quartet • Ramblin'







George Thorogood & The Destroyers • Icon



Brother Jack McDuff • Live!



Disco en vivo con mucha energía y feeling.

Eugene McDuffy, más conocido como "Brother" Jack McDuff, fue uno de los principales exponentes del soul-jazz de finales de 1950.

Impuesto por Jimmy Smith, el órgano Hammond B-3, acompañado por guitarra eléctrica, batería y ocasionalmente saxo tenor, se convirtió en el corazón del estilo de soul-jazz y, ya entrada la década de 1960, también fue de uso generalizado en el jazz convencional y en la música pop, siendo McDuff fue uno de los artistas más exitosos en su "aplicación".


En 1963, con dos presentaciones en vivo obtuvo el definitivo reconocimiento como maestro del estilo.
Uno de los conciertos ocurrió en el Front Room de Newark en Junio de 1963, y el otro cuatro meses después en el Jazz Workshop de San Francisco. Ambos tuvieron su disco propio para el sello Prestige y, en 1994, ambos fueron reunidos en forma de disco compacto.
Allí estuvo acompañado por una formación que él le llamaba "The Heatin’ System" y que era considerada como la de mayor renombre del género del momento: Red Holloway y Harold Vick en saxo tenor y flauta, Joe Dukes a la batería y un joven George Benson en guitarra, antes de convertirse en la estrella de la fórmula "soul-pop" en la década de 1970.





"Brother" Jack McDuff (September 17, 1926 – January 23, 2001) was an American jazz organist and organ trio bandleader who was most prominent during the hard bop and soul jazz era of the 1960s, often performing with an organ trio. He is also credited with giving guitarist George Benson his first break.

Born Eugene McDuffy in Champaign, Illinois, McDuff began playing bass, appearing in Joe Farrell's group. Encouraged by Willis Jackson in whose band he also played bass in the late 1950s, McDuff moved to the organ and began to attract the attention of Prestige Records while still with Jackson's group. McDuff soon became a bandleader, leading groups featuring a young George Benson, Red Holloway on saxophone and Joe Dukes on drums.

McDuff recorded many classic albums on Prestige including his debut solo Brother Jack in 1960, The Honeydripper (1961), with tenor saxophonist Jimmy Forrest and guitarist Grant Green, Brother Jack Meets The Boss (1962), featuring Gene Ammons, and Screamin’ (1962).

After his tenure at Prestige, McDuff joined the Atlantic label[1] for a brief period and then in the 1970s recorded for Blue Note. To Seek a New Home (1970) was recorded in England with a line-up featuring blues shouter Jimmy Witherspoon and some of Britain's top jazz musicians of the day, including Terry Smith on guitar and Dick Morrissey on tenor sax.

The decreasing interest in jazz and blues during the late 1970s and 1980s meant that many jazz musicians went through a lean time and it wasn't until the late 1980s, with The Re-Entry, recorded for the Muse label in 1988, that McDuff once again began a successful period of recordings, initially for Muse, then on the Concord Jazz label from 1991. George Benson appeared on his mentor’s 1992 Colour Me Blue album.

Despite health problems, McDuff continued working and recording throughout the 1980s and 1990s, and toured Japan with Atsuko Hashimoto in 2000. "Captain" Jack McDuff, as he later became known, died of heart failure at the age of 74 in Minneapolis, Minnesota.


Joe Pass • For Django



Review by Scott Yanow
Long considered a classic, guitarist Joe Pass' fourth date as a leader finds him performing music that was composed by Django Reinhardt, was part of his repertoire, or is one of two more recent tributes (John Lewis' "Django" and Pass' "For Django"). Pass is joined by the rhythm guitar of John Pisano, bassist Jim Hughart, and drummer Colin Bailey; the quartet would reunite in the 1980s. Although Pass was actually more strongly influenced by Charlie Christian than by Reinhardt and he had already formed his own style, he has no difficulty fitting into the music. Highlights include "Rosetta," "Nuages," and "Limehouse Blues."

Gerald Wiggins Trio • Wigging With Wig






lunes, 23 de mayo de 2016

Charles Earland • If Only For One Night




Review by Scott Yanow

Less than two months before his sudden death, Charles Earland recorded this final rewarding effort. One of the most inventive of the organists to come up after Jimmy Smith, Earland contributed five originals to the set and shows that one can play funky and still be creative and unpredictable. The main surprise of the outing is that Najee, a saxophonist best known for his R&B-ish/crossover records, fits in quite well to the hard bop and soul-jazz jams. Also in fine form as a soloist is underrated guitarist Melvin Sparks. Earland sounds inspired by his sidemen and is heard in excellent form this one last time.


-----


By Owen Cordle

Recorded on Oct. 19, 1999, this was Earland's last studio album. The organist, known as "the Mighty Burner," died less than two months later. He was admired for his heated, climactic performances and walking-bass-pedal technique (the best in the business, it has been said). Arriving on the scene in the late '60s, he recorded for Prestige, Muse and Milestone before joining HighNote in '97.

This album includes saxophonist and flutist Najee, guitarist Melvin Sparks, drummer Buddy Williams and percussionist Gary Fritz. Before the name Najee gets your defenses up, be advised that the smooth-jazz star flexes his straightahead jazz chops convincingly throughout this session. His sound and style on the title ballad and the stepping "My Blues Is Funky," an Earland original, belong to the preaching tenor tradition. While his soprano work on "My Favorite Things" won't challenge John Coltrane's definitive jazz version of this song, it is a respectable, scale-based treatment. Najee's flute, heard on "All My Tomorrows," "Summertime" and Earland's Latin-flavored "Just for You," is also solid.

Earland's ensemble focus resembles a big-band arranger's in terms of harmonic density, instrumental colors, the structure of his accompaniment, and his rhythmic acuity. The title cut is but one good example. As a soloist, he doesn't scatter random flurries of notes and licks; instead, he builds steadily and purposefully. Rhythmically, each track has a well-defined groove.
Sparks lives up to his name with a hot touch and some stinging lines, especially on Earland's "Keep the Faith" and B.B. King-tinged "Smoke." The drums are infectious and well-recorded (e.g., "Smoke"), and the percussion is clean and valuable to the groove.


George Benson & Jack McDuff







James Brown • Nothing but Soul






Grant Green • Green Street (RVG-edition)



Review by Michael G. Nastos
As a trio, this edition of guitarist Grant Green's many ensembles has to rank with the best he had ever fronted. Recorded on April Fool's Day of 1961, the band and music are no joke, as bassist Ben Tucker and drummer Dave Bailey understand in the most innate sense how to support Green, lay back when needed, or strut their own stuff when called upon. Still emerging as an individualist, Green takes further steps ahead, without a pianist, saxophonist, or most importantly an organist. His willpower drives this music forward in a refined approach that definitely marks him as a distinctive, immediately recognizable player. It is also a session done in a period when Green was reeling in popular demand, as this remarkably is one of six recordings he cut for Blue Note as a leader in 1961, not to mention other projects as a sideman. To say his star was rising would be an understatement. The lean meatiness of this group allows all three musicians to play with little hesitation, no wasted notes, and plenty of soul. Another aspect of this studio date is the stereo separation of Green's guitar in one speaker, perhaps not prevalent in modern recordings, but very much in use then. Check out the atypical (for Green) ballad "'Round About Midnight," as the guitarist trims back embellishments to play this famous melody straight, with a slight vibrato, occasional trills, and a shuffled bridge. The trio cops an attitude similar to Dizzy Gillespie for the introduction to "Alone Together," with clipped melody notes and a bass filler from Tucker. Three of Green's originals stamp his personal mark on rising original soulful post-bop sounds, as "No. 1 Green Street" has basic B-flat, easy-grooving tenets similar to his previously recorded tune "Miss Ann's Tempo." Two interesting key changes and chord accents identify the outstanding "Grant's Dimensions" beyond its core bop bridge and jam configuration not the least of which contains a hefty bass solo from the criminally underrated Tucker and Bailey trading fours. "Green with Envy" should be familiar to fans of Horace Silver, as it is almost identically based on the changes of "Nica's Dream," a neat adaptation full of stop-starts and stretched-out improvising over ten minutes. (The alternate take of this one on the expanded CD reissue is a full two minutes shorter.) If this is not a definitive jazz guitar trio, they have not yet been born, and Green Street stands as one of Grant Green's best recordings of many he produced in the ten prolific years he was with the Blue Note label.


Jazz in Comics!



Juke Box Comics was a publication that had six numbers between 1948 and 1949, which stood out for presenting famous jazz and popular music in different stories and adventures. We can see parading through its pages to Woody Herman, Benny Goodman, Duke Ellington, Buddy Rich, Al Johnson, Xavier Cugat, Ella Fitzgerald, Louis Armstrong, Cab Calloway and Lionel Hampton among others.53 comics pages each are online at the link listed at the end.

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Juke Box Comics fue una publicación que tuvo 6 números entre 1948 y 1949, que se destacaba por presentar a famosos del jazz y música popular en diversas historias y aventuras. Podemos ver desfilar por su páginas a Woody Herman, Benny Goodman, Duke Ellington, Buddy Rich, Al Jhonson, Xavier Cugat, Ella Fitzgerald, Louis Armstrong, Cab Calloway y Lionel Hampton entre otros.
Los 6 comics de 53 páginas cada uno se encuentran online, en link que se indica al final.











Svend Asmussen • Still Fiddling



Svend Asmussen (born 28 February 1916) is a jazz violinist from Denmark, known as "The Fiddling Viking".[1] A Swing style virtuoso, he played and recorded with many of the greats of Jazz, including Duke Ellington, Benny Goodman and Stephane Grappelli. He played publicly until 2010 when he had an blood clot, his career spanning 8 decades.

Asmussen was born in Copenhagen, Denmark, raised in a musical family, and started taking violin lessons at the age of 7. At age 16 he first heard recordings by jazz violin great Joe Venuti and began to emulate his style. He started working professionally as a violinist, vibraphonist, and singer at age 17, leaving his formal training behind for good. Early in his career he worked in Denmark and on cruise ships with artists such as Josephine Baker and Fats Waller. Asmussen later was greatly influenced by Stuff Smith, whom he met in Denmark. Asmussen played with Valdemar Eiberg and Kjeld Bonfils during World War II, during which time jazz had moved to the underground and served as a form of political protest.

In the late 1950s, Asmussen formed the trio Swe-Danes with singer Alice Babs and guitarist Ulrik Neumann. The group became very popular in Scandinavia for their music hall style entertainment and also toured the United States. Asmussen also worked with Benny Goodman, Lionel Hampton, and Duke Ellington. Asmussen was invited by Ellington to play on his Jazz Violin Session recording in 1963 with Stéphane Grappelli and Ray Nance.

In 1966 Asmussen appeared alongside Grappelli, Stuff Smith, and Jean-Luc Ponty in a jazz Violin Summit in Switzerland that was issued as a live recording. He made an appearance at the 1967 Monterey Jazz Festival, which included a celebrated violin summit with him, Ray Nance and Jean-Luc Ponty. In 1969 he guested on "Snakes in a Hole," an album by the jazz-rock band Made in Sweden. He was still active playing violin at the age of 94. He turned 100 in February 2016.

Asmussen's collection of jazz music, photographs, posters and other material is held in the jazz collections at the University Library of Southern Denmark. Asmussen's son, Claus Asmussen, is a guitar player in Denmark and a former member of the band Shu-Bi-Dua.

Review by Ken Dryden
Svend Asmussen's career has unfortunately been overshadowed by phenomenal success of Stephane Grappelli. With Grappelli's death in 1997, there is no reason why this swinging violinist shouldn't achieve wider recognition, particularly with this excellent studio date. Accompanied by guitarist Jacob Fischer, bassist Jesper Lundgaard, and drummer Aage Tanggaard, Asmussen's diverse program is full of surprises. The understated treatment of "How Deep Is the Ocean" passes the solo spotlight continuously among the string players, while Fletcher Henderson's "Down South Camp Meeting," a piece pretty much overlooked since the heyday of Benny Goodman, swings like mad. A brisk "Hallelujah," powered by Tanggaard's brushwork, is easily the most adventurous track. "Sermon for Stuff," though obviously dedicated to the late violinist Stuff Smith, is a slow waltz that has a bit of a reverential air to it. The CD also ranges from Eubie Blake's "Memories of You" to classical composer Edvard Grieg's "Jeg Elsker Dig" and the Jewish melody "Shalom Elechem." Asmussen is also a delight as a composer, contributing the joyful "Silly Shuffle." Swing fans should pick up this disc without hesitation.


Don Drummond • Memorial Album






Horace Parlan • Headin' South (RVG-edition)



Headin' South is the fourth album by American jazz pianist Horace Parlan featuring performances recorded in 1960 and released on the Blue Note label.






Melvin Sparks • Legends of Acid Jazz








domingo, 22 de mayo de 2016

Howlin' Wolf • Memphis Days The Definitive Edition Vol. 1



Price, a delightful, romping pianist in the vintage barrelhouse and boogie-woogie genres, interpreted, reworked, and remade a series of traditional blues and jazz tunes on this fine 1975 release. Everything, from song selection to solos, is wonderful.

Sammy Price • Boogie & Jazz Classics



Price, a delightful, romping pianist in the vintage barrelhouse and boogie-woogie genres, interpreted, reworked, and remade a series of traditional blues and jazz tunes on this fine 1975 release. Everything, from song selection to solos, is wonderful.