domingo, 31 de diciembre de 2017
sábado, 30 de diciembre de 2017
New York based keyboardist and composer Ben Paterson is probably best known for his work as a pianist, notably as long-time sideman to Chicago saxophone giant Von Freeman, and as leader of his own trio. That may change however with his newest release. Here, Paterson shows why he has quickly become one of the top Hammond B3 players on the jazz scene today, combining influences from his former hometown of Chicago, and from his more recent surroundings in New York City. He is joined on this disc by two phenomenal sidemen, Peter Bernstein on guitar, and George Fludas on the drums, each representing a connection to these two great cities. Together this trio follows Paterson's lead, bringing a unique style and sound to the classic organ trio format.
At the time of this Prestige set (reissued on CD), Herbie Mann was a flutist who occasionally played tenor and Bobby Jaspar a tenor-saxophonist who doubled on flute. Two of the four songs find them switching back and forth while the other two are strictly flute features. With pianist Tommy Flanagan, guitarist Joe Puma, bassist Wendell Marshall and drummer Bobby Donaldson contributing quiet support, the two lead voices constantly interact and trade off during this enjoyable performance. Highpoints are the haunting "Tel Aviv" and a delightful version of "Chasing the Bird."
Scott Yanow, All Music Guide
viernes, 29 de diciembre de 2017
Antonio Carlos Jobim, Sergio Mendes, Charlie Byrd & Stan Getz, Diana Krall, Lalo Schifrin, Astrud Gilberto, Walter Wanderley, Coleman Hawkins,
Review by Scott Yanow
Pianist Junior Mance has long been typecast as a soulful blues player so, as if to confuse listeners, he starts off this live set with an uptempo "Looptown" on which he displays technique worthy of Oscar Peterson. Mance's many fans have no reason to despair though for, in addition to a boppish rendition of "Girl of My Dreams," the pianist does perform a generous amount of blues and soulful pieces. Bassist Larry Gales and drummer Ben Riley also help out .
jueves, 28 de diciembre de 2017
Recorded at Rudy Van Gelder’s studio while the Szabo quartet was in New York to perform at Carnegie Hall, RAMBLER is primarily a collection of bassist Wolgang Melz compositions. Mostly riff based, clever tunes like "Rambler" and "Reinhardt" (named for Melz’s son) allow for clean, dynamic playing from Szabo and excellent interplay with Melz’s exciting electric bass.
The History Books will tell you all you need to know about the great recording centres of the past such as Nashville, New Orleans, Memphis and Chicago, as well as the hit factories of New York and Detroit in the days when recording locales retained distinctive individual characteristics. Yet, there are parts of America that hardly figure at all in the annals of rock'n'roll and the farming state of Wisconsin in the upper mid-West is one of them. It is the state rock'n'roll forgot. Even neighbouring Minnesota gets a look in, mainly because Bob Dylan came from there, while remote North Dakota attracts a passing mention as the State where Buddy Holly met his end in a plane crash. Wisconsin, on the other hand, is more famous for the breweries of Milwaukee and its dairy produce than for its contribution to music.
Amid this oasis of indifference, Sauk City record-store owner and electronics buff, Jim Kirchstein, set up a small studio cum-label-cum-workshop, which came to dominate the Wisconsin recording scene for a decade without the benefit of publicity or very many hits. Several hundred singles ranging in style from rock to country to polkas were released on Kirchstein's Cuca label and its subsidiaries during that time, and dozens of young Wisconsin musicians owed him their start.
Located on the Wisconsin River, about 25 miles northwest of the state capital Madison, Sauk City could not have been further removed from the mainstream of the record business. The majority of its 2000 or so residents were descended from German and Scandinavian immigrants and the town served as a resource centre for the agricultural trade, farming being the predominant industry. One of Cuca's first releases, Muleskinner Blues by the Fendermen, a rocked-up version of an old hillbilly tune, caught on internationally in 1960 and, despite some legal difficulties, Kirchstein was able to plough back some of the profits into his own studio.
Jim Kirchstein's early success with the Fendermen may have lulled him into believing that hit records happened more by chance than design. However, by prudently keeping things small and manageable, Cuca gradually came into its own as its reputation as a recording locale began to spread: in 1962, teen idol Bobby Vee came in with his brother's instrumental group, the Strangers, while country star Bobby Bare also produced some sessions there around the same time.
The next two hits to emerge from Cuca's studio were both by black American artists. In late 1962, soul songstress Jan Bradley recorded Mama Didn't Lie at the Cuca studios for Formal, a tiny Chicago outfit. Chess subsequently purchased the master and pushed Mama Didn't Lie to #14 nationally in early 1963. Later that year, Kirchstein signed Birdlegs And Pauline, a couple from Rockford, Illinois whose debut 45, Spring, first appeared on Cuca prior to being leased to Vee-Jay Records of Chicago and becoming a sizable R&B hit.
Wisconsin boasted an awful lot of working rock bands, almost as many, in fact, as Merseyside in the early 60S, only the world rarely got to hear about them. Wisconsin kids, weaned since infanthood on polkas, were so starved of rock that they lent their keen support to the thriving local scene. Some of the earlier Wisconsin bands found the going tough to begin with. One veteran of the era recalled: "They didn't like us especially my father! We had to be very careful what rock song we dared do in the late fifties. If you did anything wild like Jailhouse Rock, they frowned on that. We'd play That's All Right Mama and they wouldn't know how to dance to it. Often, to secure a booking, I had to guarantee the band could play polkas!"
However, the Wisconsin rock scene had gradually coalesced by 1962 and the majority of performers gravitated towards Cuca's self-contained little operation by now Kirchstein was even mastering and pressing his own records. Some of the younger bands were landlocked surf instrumentalists dreaming of cutting as big a hit as, say, Wipeout or Boss. Kirchstein would either sign bands directly or offer them a competitively priced custom deal. They would come in, do their session and receive 300 records for $37.50. Some such releases appeared on Cuca while others came out on affiliated logos such as Sara and Night Owl.
It is this rich vein of raw, primitive instrumental rock that has been tapped here. 90% of the material is new to CD. Even the original 45s rarely turn up as these were usually pressed in very small quantities.
Featuring eye catching graphics, "Elemental Instrumentals" is bound to appeal to a wide audience, ranging from fans of rock instrumentals to garage-band freaks. It is one of the most exciting cruisin' instrumental CDs in a long time - a mad whirl of crashing cymbals, poundin' tom-toms and plangent, echo-swathed guitars.
By Rob Finnis
Although pianist Hank Jones gets first billing on this two-disc set from Lone Hill Jazz, it actually contains three complete Tyree Glenn-led sessions that were originally released on LP by Roulette Records as At the Embers, At the Roundtable and At the London House in 1957, 1958 and 1961. Featuring Glenn on trombone and vibraphone running through swing and bop standards backed by a world-class rhythm section of Jones, Milt Hinton and Jo Jones, Quintet/Sextet Complete Recordings makes a fine introduction to an often over-looked and completely professional jazz player. Among the highlights are Glenn's own "After the Rain" (not to be confused with the later John Coltrane composition by the same title), a jaunty "I Wanna Be Loved," and a shimmering vibraphone turn at "Limehouse Blues." Steve Leggett
miércoles, 27 de diciembre de 2017
martes, 26 de diciembre de 2017
lunes, 25 de diciembre de 2017
domingo, 24 de diciembre de 2017
sábado, 23 de diciembre de 2017
Eugène Séguy (1890 – 1 June 1985) was a French entomologist who specialised in Diptera. He held a chair of entomology at the Muséum national d'histoire naturelle in Paris from 1956-1960. He was a French man known for his textiles work.
Eugene Alain Seguy (1889-1985), fue uno de los diseñadores franceses más importante de comienzos del siglo 20. Sus trabajos están enmarcados dentro del Art Decó y el Art Nouveau, realizo múltiples diseños utilizando la técnica del pochoir.
Tras analizar los colores del original, el artesano reconstituye las formas necesarias trazando los contornos de los futuros patrones o pochoirs sobre delgadas láminas de zinc o de cobre: estos son recortados a continuación por medio de una fina punta de acero fijada en un mango de madera y son confiados al colorista. Con ayuda de brochas y pinceles, pochoir tras pochoir, las pasadas sucesivas de los colores desembocan en la imagen definitiva tras conseguir los tonos exactos, los menores matices, los valores más sutiles. El número restringido de coloristas, la importante repetición de las pasadas para conseguir el color (a veces hasta cien o más) y la paciente cadencia de las pinceladas a mano imponen largos plazos de fabricación. El pochoir es pues un trabajo exclusivamente manual; de ahí su dificultad y rareza. Es igualmente uno de los componentes esenciales que aseguran la perennidad de este tipo de estampas y su revalorización.
Esta técnica también llamada esténcil o estarcido es el antecedente de la serigrafía actual, hoy en día escasamente utilizada en la edición de obra gráfica, es, sin embargo, un procedimiento milenario cuya invención se remonta a más de 1000 años a.C, existen estarcidos de manos realizadas en cavernas rupestres que se grababan soplando polvos de hollín a través de una caña que se lanzaban sobre las manos. En el s. XVIII en Japón las plantillas se utilizaron de forma generalizada para la decoración de telas para confección. Utilizado también en Occidente para colorear xilografías y aguafuertes, empleando diferentes plantillas para los distintos colores.
En el siglo XX fue utilizada por artistas como Kitaj, Warhol, Leger, Chagall, Georges Braque o Pablo Picasso. Actualmente los artistas grafiteros, sobre todo en EEUU, México y Francia han adoptado este procedimiento con resultados espectaculares. Los diseños geométricos del Art Deco eran ideales para colocación de letreros y la técnica se convirtió en una moda con los editores de moda francesa. La fotografía era utilizada a menudo para imprimir el esquema principal y, a continuación se añadían los colores con un pincel a través de las plantillas.
Eugene Alain Seguy produjo once álbumes de ilustraciones y diseños desde finales del siglo XIX hasta la década de 1930:
Samarkande: 20 compositions en couleurs dans le style oriental, 1900
Fleurs et leurs applications décoratives, 1902.
Document du décorateur, 1908.
Floréal Dessins & coloris nouveaux, 1910.
Bouquets et frondaisons. 60 motifs en couleur 192?
Papillons: vingt planches en phototypie coloriées au patron donnant 81 papillons et 16 compositions décoratives, 1920.
Laques du Coromandel, 192?.
Primavera: dessins & coloris nouveaux, 192?.
Suggestions pour étoffes et tapis; 60 motifs en couleur, 1923.
Insectes: vingt planches en phototypie coloriées au patron donnant quatre-vingts insectes et seize compositions décoratives, 1929.
Prismes: 40 planches de dessins et coloris nouveaux, 1930.
Ernest Aaron "Ernie" Freeman (August 16, 1922 – May 16, 1981) was an American pianist, organist, bandleader, and arranger. He was responsible for arranging many successful rhythm and blues and pop records from the 1950s to the 1970s.
full bio: https://en.wikipedia.org/wiki/Ernie_Freeman
viernes, 22 de diciembre de 2017
jueves, 21 de diciembre de 2017
miércoles, 20 de diciembre de 2017
El maestro de la guitarra slide J.B. Hutto y su banda grabaron en 1968 “Hawk Squat”, uno de sus mejores discos con la participación del pianista Sunnyland Slim. Este año, el sello Delmark se encargó de reeditarlo con algunos temas extras, que dan cuenta de la forma como el estilo de Hutto se convirtió en inspiración para muchos otros guitarristas además de ser un documento del sonido crudo y fuerte de J.B. Hutto & His Hawks en ese momento. La voz de Hutto está en un alto nivel, muy áspera y perfecta para interpretar blues. “Hawk Squat” es un fino ejemplo del mejor blues urbano hecho en mucho tiempo y es el producto de la unión de veteranos músicos que no solo compartían escenarios sino también amistad, dándole de esta manera mucha naturalidad a su música.
Review by Bill Dahl
The raw-as-an-open-wound Chicago slide guitarist J.B. Hutto outdid himself throughout an outrageously raucous album (most of it waxed in 1966) anchored by an impossible-to-ignore "Hip-Shakin'," the blaring title cut, and savage renditions of "20% Alcohol" and "Notoriety Woman." Sunnyland Slim augments Hutto's Hawks on organ, rather than his customary piano.
martes, 19 de diciembre de 2017
The virtuoso fingerstyle guitarist has long been a favorite of ours. It’s Never Too Late is an especially exciting release because it’s Emmanuel’s first completely solo studio recording in 15 years. On it, he covers a range of genres, including blues (“One Mint Julep”), Latin (“El Vaquero”) and folk (“The Duke”), handling it all with aplomb no matter what style he plays in or what technique he uses.
Tommy Emmanuel is not only one of Australia’s most respected musicians; his legendary guitar skills are admired the world over. The remarkable guitarist has been entertaining and mesmerising audiences for over five decades – a prolific career that has produced over 20 albums and two Grammy nominations, and has seen the artist honoured with the very rare title of “Certified Guitar Player”, by the eminent Chet Atkins. A virtuosic performer of his complex fingerstyle technique, Emmanuel has become a household name in Australia, recording an arsenal of solos, duets, ensemble works, covers, and originals on both his electric and acoustic guitars. On It’s Never Too Late, his first completely solo album since 2000, Emmanuel returns to the intricate acoustic mastery that has shaped his career.
His supreme layering ability resonates from the outset in the spirited joviality of Only Elliott, and continues to sing on the starry-eyed It’s Never Too Late, a title inspired by the recent birth of his daughter; and at 60 years old its sentiment could not ring truer. The relentless frenzy and innocent bliss of The Bug perfectly personifies its subject in less than 2 minutes, before Emmanuel effortlessly traverses continents and styles. He blends country and western and Spanish traditions with natural conviction on EL Vaquero, becomes intoxicated with the blues on the lumbering One Mint Julep, floats on dreamy folk in The Duke and One Day, as well as delving into more contemporary pop-oriented tracks.
An undeniable visionary with his instrument, Emmanuel not only explores different styles, but evokes a spectrum of distinctive emotions with visceral rawness. From comforting optimism on Hope Street, the rollicking wonder and joy of Travelling Clothes and T.E. Ranch, to an ethereal stillness that swathes Miyazaki’s Dream, and the wounded, but resolute, Blood Brothers.
When Emmanuel performs completely solo his outstanding, raw expertise is highlighted even more; the man is able to sing, strum, and drum not only with a single instrument, but in a single moment. It’s Never Too Late is not only a solid and brilliant example for any aspiring instrumentalist; studied guitarists and everyday music fans alike will admire and enjoy it.
A stone groover from the great Ray Bryant – one of his brilliant albums for Cadet from the 60s! Ray's soul jazz trio (with Freddie Waits on drums) is augmented by the 2-horn trumpet section he used on some of his other Cadet recordings from the time – trumpet from Snookie Young and flugelhorn from Clark Terry, both of whom really help the album open up from the usual standard soul jazz trio side! The sound is really unique, and the "bottom" of the brass gives his piano a nice deep sound that you wouldn't necessarily expect from the arrangement – almost a bit of a bounce at the bottom, always helping the groove. The record includes a number of nice originals, like "Little Soul Sister", "All Things Are Possible", "Erewhon", and "Monkey Business" – plus versions of "Gotta Travel On" and "Bag's Groove". - Dusty Groove, Inc
lunes, 18 de diciembre de 2017
This matchup between violinist Joe Venuti and guitarist George Barnes works quite well. With fine accompaniment from rhythm guitarist Bob Gibbons, bassist Herb Mickman and drummer Jake Hanna, the lead voices are free to romp on the ten standards. There are many high points, including "I Want to Be Happy," "Oh Baby," "Hindustan" and "Lady Be Good."
domingo, 17 de diciembre de 2017
Mike Mianieri es un vibrafonista estadounidense de jazz y jazz fusion.
Nacido en una familia de músicos, los estudios musicales de Mike Mainieri comenzaron muy pronto. Con 14 años giraba al frente de su propio trío de jazz al lado de la Orquesta de Paul Whiteman, y con 17 formaba parte del sexteto de Buddy Rich, banda con la que permaneció hasta 1962 y de la que era, además, arreglista. Durante ese período inicial, Mainieri levo a cabo una intensa actividad como músico de estudio, grabando una cierta cantidad de discos pop,1 tocó con figuras tan importantes como Billie Holiday, Dizzy Gillespie, Coleman Hawkins, Benny Goodman o Wes Montgomery, y recibió, con tan sólo 18 años el Premio Internacional de la Crítica.2
En 1962 se une al grupo de jazz rock Jeremy & The Satyrs, al lado de su líder, el flautista Jeremy Steig y de Warren Bernhardt, Donald MacDonald, Adrian Guilery, o Eddie Gomez. La banda actuaría en el famoso Club Go Go de Nueva York junto a artistas como Frank Zappa o Jimi Hendrix, y acabaría convirtiéndose en el germen del que se constituiría la famosa White Elephant Orchestra, una Big band experimental con miembros tan respetados como George Young, Frank Vacari, Michael Brecker, y Ronny Cuber (as, ts, bs), Barry Rogers y Jon Pierson (tb), Jon Faddis, Lew Soloff, y Randy Brecker (tp) y una sección rítmica de lujo: Steve Gadd, Tony Levin, Donald MacDonald, Warren Bernhardt, Joe Beck, David Spinozza, y Hugh McCraken. Entre 1969 y 1972 la White Elephant actuó y grabó en los mejores clubs y estudios de Nueva York, influenciando enormemente a bandas seminales del jazz fusion que se originarían a partir de ella, como Dreams, The Brecker Brothers, Ars Nova, L'Images, etc.2
A finales de los 70, Mainieri funda la legendaria banda de jazz fusion Steps Ahead, que se convertiría en una plataforma para jóvenes músicos y por la que pasarían Michael Brecker, Eddie Gomez, Steve Gadd, Don Grolnick, Peter Erskine, Eliane Elias, Rachel Z, Victor Bailey, Warren Bernhardt, Chuck Loeb, Darryl Jones, Mike Stern, Jimi Tunnel, Joe Henderson, Marcus Miller, Joe Lovano, Larry Coryell, o Jim Hall, entre otros muchos.
En 1992 funda su propio sello discográfico, NYC Records, bajo el que graban nuevas figuras como Zachary Breaux, Rachel Z, George Garzone, Myron Walden, o Philip DeGruy, además del nuevo proyecto de Mainieri al lado de músicos como Joe Lovano, George Garzone, Eddie Gomez, o Peter Erskine (American Diary) y -como no- su Steps Ahead.
Reconocido principalmente como un gran vibrafonista de jazz, el talento de Mainieri abarca asimismo los campos de la producción, arreglos y composición musical. A través de una exitosa carrera que comprende ya cinco décadas, Mike ha colaborado con las más grandes figuras del jazz, ha registrado un gran número de grabaciones y ha contribuido al descubrimiento de no pocos nuevos talentos.2 El talento de Mainieri y el respeto que impone su trayectoria son aspectos bien conocidos por la crítica.
Como compositor, arreglista y ejecutante, Mike ha contribuido participado en más de 100 álbumes de oro y platino. Una figura conocida más allá del ámbito del jazz, Mainieri ha trabajado, entre otros, con Paul Simon, Linda Ronstadt, Aerosmith, Billy Joel, Janis Ian, James Taylor, Dire Straits o Bonnie Raitt. Además, ha sido el productor de artistas como George Benson, Andy Summers, o los integrantes de Steps Ahead, Bendik o Rachel Z.
Michael T. Mainieri, Jr. (born July 4, 1938, the Bronx, New York City) is an American vibraphonist best known for his work with the jazz fusion group Steps Ahead.
Mainieri was a pioneer in introducing an electronic vibraphone, known as a "synth-vibe" and has recorded with such musicians as Buddy Rich, Wes Montgomery and Jeremy Steig. He performed for a live album by Laura Nyro, and was featured on several tracks from the Dire Straits album Love Over Gold as well as on "Ride Across the River" on the album Brothers in Arms. He performed on the albums "Heads" by Bob James Heart To Heart by David Sanborn and Tiger in the Rain by Michael Franks. He has also released numerous albums and videos as a leader for a variety of labels, most notably his 1980 album for Warner Bros. entitled Wanderlust, which featured Michael Brecker and other members of Steps Ahead. There is good video footage of Mainieri performing live with David Sanborn, Neil Larsen, Robben Ford, etc. on David Sanborn's Live At Montreux 1984 DVD as part of bonus footage from 1981.
As a producer, he produced three albums for Carly Simon.
Mainieri married singer-songwriter/harpist Dee Carstensen in 1993. They have a daughter, Ruby Anna. Mainieri also has 5 children from previous marriages. Michelle, Maria and Melissa and two sons, Michael and Jonathan.
sábado, 16 de diciembre de 2017
Geno Delafose (born February 6, 1972 in Eunice, Louisiana) is a zydeco accordionist and singer. He is one of the younger generations of the genre who has created the sound known as the nouveau zydeco. His sound is deeply rooted in traditional Creole music with strong influences from Cajun music and also country and western. His father was the famous zydeco accordion player John Delafose.
Delafose was born and raised in Eunice, Louisiana. At the age of eight, he joined his father's band, the Eunice Playboys as a rubboard player and continued to play with the band until his father's death in 1994. He also appeared on the several of the bands recordings. He switched to the accordion in the early 1990s and started to play as an opening act for his father.
In 1994, he debuted with album French Rockin' Boogie on Rounder Records. The name of this album also became the name of his band with whom he still plays. He released two more albums on the label, before signing with Times Square Records label to release Everybody's Dancin' in 2003.
He has also appeared on the compilation album Creole Bred: A Tribute to Creole & Zydeco released in 2004 by Vanguard Records.
He was nominated for a Grammy Award in the "Best Zydeco Or Cajun Music Album" category for his 2007 album Le Cowboy Creole.
Delafose lives in Duralde, near Eunice, Louisiana, where he operates his Double D Ranch raising cattle and horses. He also holds fan appreciation parties annually at the ranch. [Wiki]
Review by Rose of Sharon Witmer
This is the first CD by zydeco accordionist Geno Delafose. The name of the record, French Rockin' Boogie, is also the name of his backup group, a fine array of musicians including several family members. For as is often true in Louisiana, playing music is a family affair. Such is the case for Geno Delafose, who got his start at the age of eight in his father's band. When the great John Delafose retired, his son took over the band. By then, the younger Delafose was adept at making music on both the button and piano accordions. The sound of this musical artist is unique. In some ways, it is quite traditional Creole music, but it is pepped up with influences from the R&B and country-rock traditions. It is, above all, dance music. And Geno Delafose, with his country cowboy persona, has them smiling and dancing wherever he goes. The recording gives the listener a good sampling of the range of this master accordionist's capabilities. The title cut takes off fast to let you know the man can rock. But, as with the horses that Delafose raises, there are many changes of pace. Stirring waltzes such as "Wedding Day Waltz" are interspersed with ballads and traditional jures. Standout tunes include "Ris et la Gres" (Rice and Gravy) and "One Lie (Leads to Another)." There's nothing like a good two-step to get the blood pumping, and there are plenty of those dance favorites on the record. As Delafose admonishes on the last track, "Watch Your Step."
viernes, 15 de diciembre de 2017
An original and modern exploration of chamber, jazz, classical, and world sounds inspired by the escapism of the 1950s exotica genre, led by composer, vibraphonist, and multi-percussionist Brian "Mr. Ho" O'Neill
Feauturing Albanian flute and bass flute specialist Geni Skendo, Japanese percussionist Noriko Terada (Flangia, Women of the World), bassist Jason Davis (Earthsound, Choro Democratico), and special guest Tev Stevig (Klezwoods, Kafana) on oud.
Beegie Adair is a prolific, award-winning jazz pianist and arranger known for her interpretations of jazz and popular standards and show tunes. She has sold over two-million recordings globally. Her melodic, fleet-fingered style reflects the sounds of her major influences, including George Shearing, Bill Evans, Oscar Peterson, and Erroll Garner.
Adair grew up in Cave City, Kentucky, where she began taking piano lessons at age five. She continued to study piano throughout college, earning a B.S. in Music Education at Western Kentucky University in Bowling Green. During and after college, she played in jazz bands, and spent three years teaching music to children before moving to Nashville, where she became a session musician, working at WSM-TV and on The Johnny Cash Show (1969-1971). She and her husband also started a jingle company to write music for commercials.
In 1982, she and saxophonist Denis Solee formed the Adair-Solee Quartet, which evolved into the Be-Bop Co-Op, a jazz sextet. In 1998, she released Escape to New York, her first trio-led date with a rhythm section consisting of Bob Cranshaw and Gregory Hutchinson.
She signed to the fledgling Hillsboro label for 2001's Dream Dancing: The Songs of Cole Porter; bassist Roger Spencer and drummer Chris Brown joined her. Dream Dancing was the first of dozens of themed albums devoted to songwriters and singers. In 2002, she was named a Steinway Artist.
Most of Adair's recordings have been issued by the independent jazz label Green Hill Productions. They include 2008's Yesterday: A Solo Piano Tribute to the Music of the Beatles, 2010's Swingin' with Sinatra, and 2012's The Real Thing (which spent 20 weeks on the jazz charts and was chosen one of the year's best 100 jazz albums). In 2015, her trio collaborated with saxophonist Don Aliquo on Too Marvelous for Words.
Since 2011, Adair and her trio have played Birdland in New York. While visiting, they have often collaborated with vocalist Monica Ramey. In the spring of 2016, that partnership bore fruit on the album Some Enchanted Evening. ~by William Ruhlmann
Leave it to the geniuses at Ultra-Lounge to put together the Christmas Album you always wanted but could never find. This is Christams through an ironic lens. So cleary not "cool" that its ridiculousness makes it so. Very paradoxial. This is Christmas music devoid of any real sentinment but still shiny with a glossy venner of wholesomeness--underneath one can see (as with all lounge music) the seedy side of the 1950's. This IS Cocktail music after all. (Dean Martin ONLY sang Cocktail music, ask his liver!) Highlights of this edition include Mr. Martin's BABY IT'S COLD OUTSIDE, The delightful Bonus Track "What is a Santa Claus" and Lena Horne's spellbinding JINGLE ALL THE WAY. To hear her sing the word "Horse" with no less than six vowel sounds is worth the price of the album alone. As always the album and jacket art are first rate and the liner notes by RJ SMITH are amoung the best in album commentary EVER! Smith captures the period, the music, and the modern attraction to it in a stylish and comic essay. Once again the Ultra Lounge gives us everything we want from lounge music and more. So sip some spiked egg nog, light the yule log, and have a swinging holiday season.
jueves, 14 de diciembre de 2017
Jimmy Smith,Jimmy McGriff,Quincy Jones,Grant Green,Jack McDuff,Herbie Hancock,Duke Pearson,Blue Mitchell,Lou Donaldson,Lee Morgan,Hank Mobley,Les McCann,Dorothy Ashby,Donald Byrd,Larry Young,Kenny Burrell,Ramsey Lewis,Willie Bobo,Roy Ayers,Shirley Scott,Horace Silver,Bobby Hutcherson,Ike Quebec,Baby Face Willette,Stanley Turrentine,Howard Roberts,Benny Golson,Archie Shepp ...
This CD makes me laugh out loud. That's saying something. Christmas is often a stressful time. I love the CD, I love the concept, I love the packaging, I love the liner notes. I suppose if I lived in the "swinging" era of night clubs, pointy bras, martinis, and ashtrays on every table, I would find it all a big drag; I don't smoke, don't drink, and I'm a feminist. But, at this safe distance, the swinging, Rat Pack era is an archaelogical trove of great fun.
And, heck, these people really knew their way around a song. Even as I'm laughing at the anachronisms in the CD, I'm enjoying the heck out of some really good music. Kay Starr, Nancy Wilson, Nat King Cole -- these folks had pipes, and the bands are tight. I think that if this CD can't shake someone out of his holiday blues, then hospitalization might be the only route.
Herbie Mann (flute, alto-flute)
Bobby Jaspar (flute)
Eddie Costa (vibraphone)
Tommy Flanagan (piano)
Joe Puma (guitar)
Doug Watkins, Wendell Marshall (bass)
Bobby Donaldson (drums)
miércoles, 13 de diciembre de 2017
martes, 12 de diciembre de 2017
lunes, 11 de diciembre de 2017
sábado, 9 de diciembre de 2017
Detroit has always been a home for a multitude of jazz traditions. From big band to swing, from hard bop to the avant-garde, any jazz style can be heard in a given week. The city has especially embraced the organ trio, that staple of neighborhood joints found throughout the urban landscape. Veteran drummer and bandleader RJ Spangler has made that ubiquitous instrument his bread and butter for quite a while. Spangler (who, incidentally, is the nephew of the legendary San Francisco DJ Bud Spangler) has been a fixture on the Detroit music scene for over 30 years, and has been affiliated with some notable Detroit acts. Spangler co-founded the legendary R&B/jazz ensemble the Sun Messengers and has toured and recorded with blues greats Johnnie Bassett, Joe Weaver and Alberta Adams. He even hired a very young James Carter for some of the saxophonist's first gigs. Spangler's most interesting Endeavor, however may be his Planet D Nonet, which may be the only Sun Ra tribute band in the country.
Spangler's bread and butter is his organ trio, which is featured on the superb EP, This Is What We Do. What gives this hit some attraction is its getting some solid radio airplay throughout the Midwest and the prior buzz is well-deserved. Spangler's been with his cats for many years, making this a very tight set. The date is all standards except for one each by the Neil Creque and Big John Patton. Stylistically, Spangler' s crew prefers the breezy melodicism of guitarist Grant Greens Blue Note sessions over Jimmy Smith's gutbucket funk.
The trio starts off with a casual rendition of "Don't Blame Me," featuring some great interplay between organist Duncan Mcmillan and guitarist Ralph Tope. A relaxed "Girl Talk" is followed by some fired-up play on Creque's "Cease The Bombing," highlighting that the late keyboardist's work is really overlooked. After a languid "Idle Moments," the group shifts into high gear on "All Or Nothing At All," and blasts to the finish line with a John Patton burner "Funky Mama." McMillan and Tope really tear up on this piece, showing their Motown funk credentials prodigiously.
There is not a lot of flash, but it is solid blue-collar funk. Spangler and company show that the Motor City can hang with Philly when it comes to the B-3 genre.