martes, 31 de enero de 2017
Johnny Meijer (born 'Jan Cornelis Meijer' 1 October 1912 in Amsterdam; died 8 January 1992 in Amsterdam) was an accordionist who played classical, folk, and swing.
For a time he was known as a jazz accordionist and his 75th birthday was celebrated at the North Sea Jazz Festival. He was also the subject of a film. He is the grandfather of pop singer Eva Simons.
From the 1950s onwards Johnny Meijer frequently toured abroad and earned the title King of the Accordion. Although the accordion is often associated with folk music, Meyer was versatile enough to play jazz and classical music. Twice he was accordion world champion in 1953 and 1954.
Besides the popular songs he also played fast swing numbers, Romanian music and classical pieces and was widely recognized as a virtuoso jazz accordionist. In 1974 he recorded the Dutch Swing College Band Johnny Goes Dixie LP, which went gold.
He will be remembered primarily as a live performer of folk music in Amsterdam. He was typically seen during performances with a cigar in his mouth, and his accordion (which can be seen at the Gert Nijkamp Muziekhuis in Apeldoorn) shows several burn marks as a result of this. In the last years of his life, Johnny Meyer was rarely invited to play large performances, mainly in connection with his short temper and his drinking, and thus the King of the Accordion saw out his final days mostly in silence, occasionally playing at weddings and parties.
In an televised interview during the North Sea Jazz Festival 2015 Richard Galliano specifically named Johnny Meyer as a major influence on his work.
French jazz violinist, born 26 January 1908 in Paris, France, died 1 December 1997 in Paris, France.
One the greatest violin jazz prebop player (but also pianist), Stéphane Grappelli is known for his legendary collaboration with Django Reinhardt in the '30s and '40s in their Quintette Du Hot Club De France.
The group disbanded when the war broke (Grappelli went in London while Django stayed in France).
In England, he played with pianist George Shearing.
After the war, he appeared on hundreds of recordings including sessions with Oscar Peterson, Jean-Luc Ponty, Gary Burton and countless other great musicians (including few recordings with Django Reinhardt again)
He never stopped playing worldwide until his death at the age of 89.
lunes, 30 de enero de 2017
Bill Doggett (February 16, 1916 – November 13, 1996) was an American jazz and rhythm and blues pianist and organist. He is best known for his compositions "Honky Tonk" and "Hippy Dippy", and variously working with the Ink Spots, Johnny Otis, Wynonie Harris, Ella Fitzgerald, and Louis Jordan.[
domingo, 29 de enero de 2017
This album is part of a four part series showcasing Ron Levy as a composer and master musician. It is an anthology drawn from the various recordings Mr. Levy produced, arranged and played his signature sound on piano, electric piano, vibes, guitar and Hammond organ. There are even a couple of his Blues inspired vocals!
Historically over the last twenty years, Ron has blended many different styles and genres into his own unique musical gumbo within each of his critically acclaimed and popular recordings. Enough so, he has now been able to assemble four separate full length albums comprised in each genre of grooves.
These album titles aptly describe each particular mood and vibe contained in each of them: “Mo’ JAZZY Grooves” - “FUNKY Soul Grooves” - “Mo’ BLUES & Grooves” and “LATIN-a-licious Grooves”.
This newest collection is in addition to his three previously released anthologies: Ron Levy’s Wild Kingdom - “Best Grooves and Jams” - “Jazz-a-licious Grooves” and “Best of RLWK”. All distributed by CdBaby and on his Facebook fan page music store.
As usual, Levy has always surrounded himself with many of the most talented musicians in the world throughout his long and celebrated career. They all have interpreted his compositions with soulful empathy, adding their own unique artistic creative contributions and styles to help fulfill Ron’s vision of his original compositions and are featured throughout all four albums.
Included in this collection are: Karl Denson, Melvin Sparks, The Memphis Horns, Idris Muhammad, James Gadson, David T. Walker, Stanley Banks, Jeff Lockhart, Crispin Cioe, ‘Sax’ Gordon, Albert Collins, Tutu Jones, Johnnie Bassett, Preston Shannon, Smokey Wilson, Bobby Forte, Jim Spake and Scott Thompson, Anson Funderburg and Sam Myers, Kim Wilson, Jimmie Vaughan, Roomful of Blues, Lowell Fulson, Larry Davis and Ronnie Earl.
These songs as well as many of these personalities (and many more) are further explained and candidly revealed in Ron’s web-book, “Tales of a Road Dog” available on his website. Look up Ron Levy / Levtron - online. We hope you enjoy these selections and include them in your regular rotation and consider them among your favorites. So stay tuned, there’s much more to come. Enjoy!
Renown Jazz pianist, organist and professor Renato Chicco brings us his debut organ recording, on Barnette Records, 'This Is New'. It features Mr. Chicco on the fantastic Key B organ, designed and built by Elvio Previati. Accompanying Renato Chicco are Guido DiLeone on guitar and Andy Watson on drums. The date particularly exhibits Chicco's musical skill and mastery of the instrument, while always maintaining a sense of spontaneity and fun. There are 7 standards, all arranged by Mr. Chicco and 1 original tune Big Guy, The Shark: an intricate and swinging blues. 'This Is New' is a fresh and sophisticated project in the great tradition of the organ trio in Jazz.
sábado, 28 de enero de 2017
Although it followed a formula similar to the hugely successful Memphis Underground, Muscle Shoals Nitty Gritty stands on its own as a superb example of the fusion of jazz with '60s soul music, a genre that Herbie Mann stood atop at the time of its release. In addition to Mann band members Roy Ayers, Miroslav Vitous and Bruno Carr, the recording employs the Muscle Shoals rhythm section that had played together on numerous soul hits of the '60s, including those of Aretha Franklin. Standout cuts include the title track, with the its horn-driven groove; Sharrock's "Blind Willy," featuring a jew's-harp hook; and a smoldering version of Lennon & McCartney's "Come Together." Throughout the album, Mann's solos wail through the upper register of the flute, while Ayers finds interestingly funky passages on the vibes. - by Jim Newsom, AMG
TRY to do the impossible and just tune out the fact that Herbie Mann was responsible for that blasphemous "Hi Jack" thing during the depths of the disco phase in the late seventies. This remarkable album was recorded in 1970, at/with Muscle Shoals. You know all the Shoals alumni, they're all here on the record, and, funny, they don't sound a'TALL like they did with Wilson Pickett - which is NOT to be interpreted as a "slap," they're just displaying what consumate, remarkable musicians they are. If, for nothing else though, track #5, where Herbie tears into the Beatles' "Come Together" - oh, man, just dig how future Weather Report bassist Miroslav Vitous locks in with Shoals' own bassist-extraordinare David Hood - this is the only, I mean the ONLY time where a Beatles' song has been "covered" by another artist, and the new bass part isn't an insult to Paul McCartney. by "Bill Board", Amazon.com
The 13 performances on this 1997 CD sampler features a variety of the top jazz organists of the previous 40 years on selections (all easily available elsewhere) leased from Telarc, Fantasy, Sony, Polygram, Blue Note and Minor Music. However, although the music is reasonably enjoyable, the poor documentation (no personnel listing or dates) is inexcusable. If one wonders who a particular guitar or saxophone soloist might be, they can keep on wondering or do their own research. Obviously, this release is primarily for the casual listener who simply desires some grooving background music. Heard from are Jimmy McGriff (teaming up with altoist Hank Crawford), Charles Earland, Joey DeFrancesco, Jimmy Smith, Lonnie Smith, Larry Goldings, Richard "Groove" Holmes (his hit version of "Misty"), Johnny "Hammond" Smith, Brother Jack McDuff, Medeski, Martin & Wood, Larry Young, Don Patterson and Will Bouleware. ~Review by Scott Yanow
viernes, 27 de enero de 2017
Review by Scott Yanow
With the popularization of bossa nova in the early '60s, practically every recording artist had to have at least one bossa nova album. This effort by the Dave Brubeck Quartet is better than most due to the high quality of the compositions, of which the title cut is best-known. The date's two standards ("This Can't Be Love" and "Trolley Song") also fare well on this upbeat session.
jueves, 26 de enero de 2017
Boogie Woogie piano and Rhythm & Blues saxophone - Axel Zwingenberger and Big Jay McNeely join forces for some real Jump Blues fireworks!
The latest release of Axel Zwingenberger - with Rhythm & Blues legend Big Jay McNeely on saxophone! That's really cooking! It'shard to believe that Jay even at the age of eighty blows his tenor so wild that it's unparalleled until today. The joy of playing and improvising is truely befired - accompanied by the "Bad Boys", Jay's band (with Michael Strasser - dr, Michael Höglinger - g and Peter Strutzenberger - b), as well as Peter Kölbl - ts, Markus Toyfl - g and Michael Hudec - b. In between you'll hear some quiet Blues "Just For Two" (Axel and Jay) as a contrast to the band tunes. Axel's piano playing with Jump Blues elements - a new favorite for your Boogie Woogie CD collection!
German blues/boogie-woogie pianist Axel Zwingenberger was born in Hamburg on May 7, 1955. Originally, Zwingenberger studied classical piano (for 11 solid years), before discovering such authentic blues artists as Albert Ammons, Meade "Lux" Lewis, and Pete Johnson, who served as an immediate influence on the pianist. Along with three other piano playing friends, Zwingenberger began playing blues concerts and festivals on a regular basis, including the 1974 First International Blues and Boogie Woogie Festival for a West German radio station in Cologne, as well as Hans Maitner's annual festival, Stars of Boogie Woogie, in Vienna.
By 1975, Zwingenberger received his first recording contract, issuing such solo recordings as Boogie Woogie Breakdown, Power House Boogie, and Boogie Woogie Live, as well as lending his talents to recordings by such artists as Lionel Hampton, Jay McShann, Big Joe Turner, Lloyd Glenn, Joe Newman, Sippie Wallace, Mama Yancey, Champion Jack Dupree, Sammy Price, Ray Bryant, Charlie Watts, Vince Weber, and the Mojo Blues Band, among others. In addition to issuing other solo recordings, Zwingenberger continues to tour all over the world and has also authored several publications about blues/boogie-woogie music and musicians.(~Greg prato)
miércoles, 25 de enero de 2017
Review by Scott Yanow
This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' "Vendome," Ray Brown's "Pyramid," Jim Hall's "Romaine," and Lewis' famous "Django," along with cooking jams on "How High the Moon" and "It Don't Mean a Thing." The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh.
Classic soul-jazz, once given the R.I.P. treatment, has crawled from its grave in recent years, raiding the grooves of Medeski, Martin & Wood, showing up in samples manipulated by hip-hoppers, and coloring modern-jazz projects by the likes of Javon Jackson. The sound - saturday night's fish fry bumping into sunday-morning services - has long been the cornbread and butter, if you will, of saxophonist Hank Crawford and Hammond B-3 master Jimmy McGriff. With Crunch Time, that couple is back together for their seventh collaboration in 13 years.
Joined by fatback drummer Bernard Purdie and guitarists Melvin Sparks and Cornell Dupree on various tracks, the pair regularly cross and straddle that sacred-profane divide. They slide into action with Crawford's shuffling "Bow Legs," a showcase for the Memphis native's expressive alto - sometimes wailing, sometimes barking, nearly always subject to being mistaken for a vocal cry. And they send listeners home with Horace Silver's "The Preacher," as the Philadelphia-born McGriff's gospel-blues organ intro sets up the unison and harmony lines of his bandmates.
There's plenty of preaching in between, including "Don't Deceive Me (Please Don't Go)," as sultry a ballad as you'll find this side of closing time at the juke joint; the sing-song testifying of Clifford Brown's "Sandu" (notice Sparks' hint of "St. Thomas"); and the McGriff-penned title track, earthy and swinging mean. Also worked into the sermon are a lightly funked take on Marvin Gaye's hit "What's Going On" and a moody, slow-moving version of "Without a Song" that wouldn't be out of place at a tent revival. Call us converted.
Philip Booth, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc. -- From Jazziz
Review by Richard S. Ginell
Wanderley's second album during Creed Taylor's A&M residency opens with a bang, a fantastic rendition of the old Northern Brazilian standard "Asa Branca" that evokes the exhilaration of a street carnival. Midway through, the tempo kicks up, the band settles into a two-chord vamp, and the performance lifts into orbit; even the normally mild-mannered Wanderley dances wildly on organ and electric harpsichord. Nothing else here, even the provocatively titled "Proton, Electron, Neutron," approaches "Asa Branca"'s energy. Yet on the whole, this is a somewhat better album than its predecessor on A&M; the sound is more open and less confined. The selection remains predominantly Brazilian, with an occasional American ringer like "Soulful Strut" and another Jimmy Webb tune, "5:30 Plane." The female voices (one of whom is Flora Purim) return on a few tracks; so do Hubert Laws and Romeo Penque on flutes. Eumir Deodato is in charge of the mauve-colored charts for flutes, trumpets and violas, and Airto Moreira makes an early impression pumping up the percussion section.
martes, 24 de enero de 2017
Review by Scott Yanow
Most of organist Shirley Scott's records in the 1960s featured her husband, tenor saxophonist Stanley Turrentine, so this trio effort with bassist Ron Carter and drummer Jimmy Cobb was a change of pace. As usual, Scott features an off-the-wall tune ("What The World Needs Now Is Love") in her repertoire, along with standards (including "On A Clear Day" and selections by Henry Mancini, Antonio Carlos Jobim and Irving Berlin) and a couple of basic originals. The music grooves and Scott shows that she did not need a competing horn in order to come up with soulful and swinging ideas.
Review by Scott Yanow
This is a particularly intriguing project, for producer Pete Welding in 1966 gathered together four veteran Chicago blues musicians (three of whom were playing electric blues at the time) and had them re-create the style of a 1920s/'30s string band. Carl Martin (60 at the time) was part of the original era, and he is heard on violin and guitar. Also featured in different combinations are Johnny Young on mandolin, guitarist John Lee Granderson, and John Wrencher on harmonica; all four musicians have their spots taking vocals. The music is very much in the early tradition, and the music is both spirited and delightful.
Review by Michael Erlewine
Ron Levy is one of the finest young masters of the Hammond B-3. Here are 11 soul-satisfying cuts that feature Levy's funky keyboard playing -- many written by Levy himself. Those who look for B-3 jams in the soul-jazz vein that are as funky as can be will not be disappointed. This is a great CD to own.
lunes, 23 de enero de 2017
domingo, 22 de enero de 2017
Stitt plays both tenor and alto sax on this set, backed by his working band of the time: Don Patterson on organ, Billy James on drums, and Paul Weeden on guitar. This small combo jazz fits between Bebop and soul-jazz, dominated by group-penned material. Stitt gets an especially smoky tone on the ballads, particularly on the title track, which is a sultry blues number also featuring the guitarist and organ in their solo turns. Weeden distinguishes himself more as a soloist than Patterson does, particularly on the Wes Montgomery-type lines on 'Silly Billy'.
Merit Hemmingson, born August 30, 1940 in the village Gärdsta in Marby parish in Jämtland, is a Swedish organist, composer and singer.
sábado, 21 de enero de 2017
Interesante grabación de Shirley, tocando piano en vez de su habitual instrumento, el órgano.
Interesting recording of Shirley, playing piano instead of her usual instrument, organ.
Lightnin' Slim, Lazy Lester, Slim Harpo, Leroy Washington, Silas Hogan, Lonesome Sundown, Tabby Thomas ...
viernes, 20 de enero de 2017
jueves, 19 de enero de 2017
"The best we've heard so far from funky organist Ron Levy -- working here with some real heavy hitters, including saxophonist Karl Denson and guitar jazz legend Melvin Sparks! The grooves are lean and clean -- stepping forth with a solid power that recalls the glory days of the funky Hammond combo, and done by Ron in a style that pays more than enough homage to those who have gone before, but which also has a strong voice that's all his own! Loads of great original tracks -- with titles that include "Steady Like Freddy", "I Try & I Try", "Best Cookies", "Cuch Cuch", "Finding My Way", "Some Sorta Blue", and "Exfiled"."
- from DustyGrooves.com