egroj world: enero 2017

martes, 31 de enero de 2017

Johnny Meijer & his Rhythm Band • I Got Rhythm

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.[1] He is the grandfather of pop singer Eva Simons.[citation needed]
From the 1950s onwards Johnny Meijer frequently toured abroad and earned the title King of the Accordion.[citation needed] 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.[citation needed]
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.

Stephane Grappelli • Le Toit De Paris

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.

domingo, 29 de enero de 2017

Ron Levy's Wild Kingdom • Mo' Blues & Grooves

Album Notes
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!

Russian Painting • Peter Leek

pdf / English language / 272 pgs.
pdf / Idioma: Inglés / 272 págs.

Stephane Grappelli • The Best Of

Renato Chicco Organ Trio • This Is New

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

Herbie Mann • Muscle Shoals Nitty Gritty

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",

VA • Kickin' The 3 The Best Of Organ Trio Jazz

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

Big Mama Thornton • Jail

Recorded live at Monroe State Prison, Monroe, Washington and Oregon State Reformatory, Eugene, Oregon.

Artist Biography
 Willie Mae Thornton, known popularly as “Big Mama,” was not only a successful singer/songwriter in her own time, but a major influential voice in the development of American popular music with her original version of “Hound Dog.”
She herself was influenced by the famous blues singers of the 1920s and 1930s like Bessie Smith, Memphis Minnie, and Ma Rainey. She was a popular performer famous for exuberant shows. “Her booming voice, sometimes 200-pound frame, and exuberant stage manner had audiences stomping their feet and shouting encouragement in R&B theaters from coast to coast from the early 1950s on,” according to the Encyclopedia of Pop Rock & Soul. She received no formal training, either for voice, or for the instruments she played, like the harmonica and the drums. She was a true musician and was able to watch others play and then try things out until she got them right.
Born December 11, 1926 in the country outside Montgomery, Alabama, Thornton was one of seven children of a minister. She began her music career singing alongside her mother in her father's church choir and also playing harmonica, an instrument she picked up at a very early age, in small shows around the countryside. When, in 1940, her mother died Thornton was forced to go out and work. Only 14 years old, she took a job scrubbing floors at a local saloon and it was there that she had her first opportunity to sing in public when the regular singer suddenly quit her job one night leaving the place with no entertainment. After her first successful attempt at singing in public, Thornton entered a small talent show in which she won first prize, and it was there that she came to the attention of Sammy Green. Green asked her to join his Hot Harlem Review and Thornton was soon after seen touring with the vaudeville troupe, dancing and singing across the South.
In 1948 she stopped touring and settled in Houston, Texas having signed a five-year contract with Don Robey to be his nightclub singer, singing with Louis Jordan's band. There she met such famous musicians as Junior Parker, Lightning Hopkins, Lowell Fulson, and Gatemouth Brown. They all helped influence her building style, and it was while living in Houston that Thornton released her first recording under the name Harlem Stars. Brought more firmly into the blues world by this release, she was signed onto the Peacock label, which had her heading to Los Angles to perform with Johnny Otis, the famous bandleader.
She toured with Johnny Otis's Rhythm and Blues Caravan throughout the early 1950s. In 1952 they went to New York to perform at the Apollo, it was while there that Big Mama got her nickname, given to her after the first performance because she was six feet tall, was rather large, and had an immense, earthy voice. The name stuck. At the same time she was touring she recorded around thirty songs of her own.
In 1953 she recorded “Hound Dog,” the song later made famous by Elvis Presley. Johnny Otis, asked Jerry Lieber and Mike Stoller to write a song specifically for Thornton and that song was “Hound Dog.” It quickly went up the R&B charts to number one and was the song that made Thornton a big star. Three years later Elvis Presley recorded the song and it became an enormous hit for him. Thornton, in the meantime, always thought she'd never received the credit she should have for the song. Although written by Lieber and Stoller, it was her additions to the song that made it the hit it is today but she received only one check for $500 for the song and never saw another penny that the popular song pulled in.
After the release of “Hound Dog” in 1952, Thornton went on tour with some of her old friends, first with Junior Parker and Johnny Ace from 1953 to 1954, and then with Gatemouth Brown in 1956. After her tours finished she moved to Los Angeles and started playing harmonica and drums in some of the local clubs as the popularity of blues began to decline. In 1961 Thornton was brought into the limelight again with her release of the song “Ball and Chain.”
Although she struggled a bit professionally during her life, Thornton was well received at such festivals as the Monterey Jazz Festival, the Newport Folk Festival, and the Ann Arbor Blues Festival. She also toured Europe with the American Folk Blues Festival in 1964. When she returned she signed a contract with the Arhoolie label in 1965, with whom she stayed until the 1980s. It was while with Arhoolie that she did some of her best work as “Big Mama Thornton in Europe,” (1966) and “Big Mama Thornton with the Chicago Blues Band.” (1967) Her fortunes received a boost when Janis Joplin recorded a cover of her song “Ball and Chain.” She continued to tour and would often headline blues festivals, she also began to record again and made two albums for Mercury Records.
In 1979 she took part in the San Francisco Blues Festival, despite poor health, and gave there what critics called the performance of a lifetime. To recognize her contributions to the blues music scene, Thornton was awarded the San Francisco Blues Festival Award. Thornton appeared on many television shows throughout her life, and in 1980 she was seen onstage at the Newport Jazz Festival in a program “Blues Is a Woman” alongside other veteran female singers.
Thornton was known to be a heavy drinker and her notorious hard living finally took its toll in the 1970s and the 1980s, but Thornton performed in her lively fashion almost to the end. Even after a serious car accident in 1981 for which she required major surgery, she performed at a cabaret in Pasadena, California though she was unable to walk or stand during the performance. She died on July 25, 1984 in a boarding house in Los Angeles, California of a heart attack and complications from cirrhosis of the liver.
After a lifetime of performing, Thornton was inducted into the Blue's Foundations Hall of Fame in 1984.
In the year 2000 Thornton was remembered in a dance show called “Sweet Willie Mae.” Andrea E. Woods, who was the choreographer of the show, wanted to celebrate the freedom she found in Thornton's music. Thornton was also part of an exhibit at the Woman's Museum in Dallas, her recording of “Hound Dog” playing continuously in a room dedicated to female musicians. Also, the Fund for Women Artists website has a page dedicated to The Big Mama Thornton Project. These are high honors for a woman who died penniless and alone, and ones that will most likely be repeated as more and more people discover a woman who helped make Blues and R&B the popular forms of music they are today.
Source: James Nadal


Grabado en vivo en la Prisión Estatal de Monroe, en el Reformatorio Estatal de Monroe, Washington y Oregon, en Eugene, Oregon.

Biografía del artista
 Willie Mae Thornton, conocida popularmente como "Big Mama", no sólo fue una cantante y compositora de éxito en su época, sino también una voz influyente en el desarrollo de la música popular estadounidense con su versión original de "Hound Dog".
Ella misma fue influenciada por los famosos cantantes de blues de los años 20 y 30 como Bessie Smith, Memphis Minnie y Ma Rainey. Era una intérprete popular famosa por sus exuberantes espectáculos. "Su voz en auge, a veces de 200 libras de peso, y su exuberante manera de actuar en el escenario hicieron que el público pisoteara y gritara de costa a costa en los teatros de R&B desde principios de la década de 1950 en adelante", según la Enciclopedia del Pop Rock & Soul. No recibió ningún entrenamiento formal, ni para la voz, ni para los instrumentos que tocaba, como la armónica y la batería. Ella era una verdadera músico y era capaz de ver a otros tocar y luego probar cosas hasta que las hizo bien.
Nacido el 11 de diciembre de 1926 en las afueras de Montgomery, Alabama, Thornton fue uno de los siete hijos de un ministro. Comenzó su carrera musical cantando junto a su madre en el coro de la iglesia de su padre y también tocando la armónica, un instrumento que aprendió a una edad muy temprana, en pequeños espectáculos en el campo. Cuando, en 1940, su madre murió, Thornton se vio obligado a salir a trabajar. Con sólo 14 años de edad, aceptó un trabajo fregando pisos en un salón local y fue allí donde tuvo su primera oportunidad de cantar en público cuando la cantante habitual renunció repentinamente a su trabajo una noche, dejando el lugar sin ningún tipo de entretenimiento. Después de su primer intento exitoso de cantar en público, Thornton entró en un pequeño show de talentos en el que ganó el primer premio, y fue allí donde llamó la atención de Sammy Green. Green le pidió que se uniera a su Hot Harlem Review y Thornton fue visto de gira con la compañía de vodevil, bailando y cantando por todo el sur.
En 1948 dejó de viajar y se estableció en Houston, Texas, habiendo firmado un contrato de cinco años con Don Robey para ser su cantante de club nocturno, cantando con la banda de Louis Jordan. Allí conoció a músicos famosos como Junior Parker, Lightning Hopkins, Lowell Fulson y Gatemouth Brown. Todos ellos ayudaron a influenciar su estilo de construcción, y fue mientras vivía en Houston que Thornton lanzó su primera grabación bajo el nombre de Harlem Stars. Traída más firmemente al mundo del blues con este disco, fue fichada por el sello Peacock, que se dirigía a Los Ángeles para tocar con Johnny Otis, el famoso director de orquesta.
Viajó con Johnny Otis's Rhythm and Blues Caravan a principios de los años 50. En 1952 fueron a Nueva York para actuar en el Apollo, fue allí donde Big Mama recibió su apodo, que le fue dado después de la primera actuación porque medía 1,80 metros de altura, era bastante grande y tenía una voz inmensa y terrenal. El nombre se quedó. Al mismo tiempo que estaba de gira, grabó una treintena de canciones propias.
En 1953 grabó "Hound Dog", la canción que más tarde se hizo famosa por Elvis Presley. Johnny Otis, pidió a Jerry Lieber y Mike Stoller que escribieran una canción específica para Thornton y esa canción era "Hound Dog". Rápidamente subió en las listas de éxitos de R&B al número uno y fue la canción que convirtió a Thornton en una gran estrella. Tres años después, Elvis Presley grabó la canción y se convirtió en un gran éxito para él. Thornton, mientras tanto, siempre pensó que nunca había recibido el crédito que debería tener por la canción. Aunque fue escrita por Lieber y Stoller, fueron sus adiciones a la canción las que la convirtieron en el éxito que es hoy en día, pero sólo recibió un cheque de $500 por la canción y nunca vio otro centavo que la popular canción atrajo.
Después del lanzamiento de "Hound Dog" en 1952, Thornton se fue de gira con algunos de sus viejos amigos, primero con Junior Parker y Johnny Ace de 1953 a 1954, y luego con Gatemouth Brown en 1956. Después de terminar sus giras se mudó a Los Ángeles y comenzó a tocar la armónica y la batería en algunos de los clubes locales a medida que la popularidad del blues comenzaba a declinar. En 1961, Thornton volvió a estar en el candelero con el lanzamiento de la canción "Ball and Chain".
Aunque ella luchó un poco profesionalmente durante su vida, Thornton fue bien recibida en festivales como el Monterey Jazz Festival, el Newport Folk Festival, y el Ann Arbor Blues Festival. También realizó una gira por Europa con el American Folk Blues Festival en 1964. A su regreso firmó un contrato con el sello Arhoolie en 1965, con el que permaneció hasta los años ochenta. Fue mientras estaba con Arhoolie que hizo algunos de sus mejores trabajos como "Big Mama Thornton in Europe" (1966) y "Big Mama Thornton with the Chicago Blues Band" (Big Mama Thornton con la Chicago Blues Band). (1967) Su fortuna recibió un impulso cuando Janis Joplin grabó una versión de su canción "Ball and Chain". Continuó su gira y a menudo encabezaba los festivales de blues, también comenzó a grabar de nuevo y grabó dos discos para Mercury Records.
En 1979 participó en el Festival de Blues de San Francisco, a pesar de su mala salud, y allí dio lo que los críticos llamaron la actuación de su vida. Para reconocer sus contribuciones a la escena musical del blues, Thornton fue galardonada con el San Francisco Blues Festival Award. Thornton apareció en muchos programas de televisión a lo largo de su vida, y en 1980 fue vista en el escenario del Festival de Jazz de Newport en un programa "Blues Is a Woman" junto a otras cantantes femeninas veteranas.
Thornton era conocida por ser una bebedora empedernida y su notoria y dura vida finalmente se cobró su peaje en los años 70 y 80, pero Thornton actuó de manera muy animada casi hasta el final. Incluso después de un grave accidente automovilístico en 1981, en el que tuvo que someterse a una cirugía mayor, actuó en un cabaret en Pasadena, California, aunque no pudo caminar ni estar de pie durante la actuación. Murió el 25 de julio de 1984 en una pensión en Los Ángeles, California, de un ataque cardíaco y complicaciones de cirrosis hepática.
Después de toda una vida de actuación, Thornton fue admitido en el Salón de la Fama de Blue's Foundations en 1984.
En el año 2000 Thornton fue recordado en un espectáculo de danza llamado "Sweet Willie Mae". Andrea E. Woods, que fue la coreógrafa del espectáculo, quería celebrar la libertad que encontró en la música de Thornton. Thornton también formó parte de una exposición en el Museo de la Mujer de Dallas, su grabación de "Hound Dog" tocando continuamente en una sala dedicada a mujeres músicas. Además, el sitio web del Fondo para Mujeres Artistas tiene una página dedicada al Proyecto Big Mama Thornton. Estos son altos honores para una mujer que murió sin un centavo y sola, y que muy probablemente se repetirán a medida que más y más gente descubra a una mujer que ayudó a hacer del Blues y el R&B las formas populares de música que son hoy en día.
Fuente: James Nadal
Traducción realizada con el traductor

viernes, 27 de enero de 2017

The Dave Brubeck Quartet • Bossa Nova U.S.A

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.

Gene Ludwig • Now's The Time

América precolombina • César Sondereguer-Carlos Punta [español]

pdf / Idioma: español / 208 págs.

The Retroliners • Raybans, Roadtrips & Reverb

jueves, 26 de enero de 2017

Axel Zwingenberger & Big Jay McNeely • Saxy Boogie Woogie

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)

Lou Donaldson • At His Best

miércoles, 25 de enero de 2017

Modern Jazz Quartet • Pyramid

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.

VA • Dancehall Stringbusters! Crunchy Guitar Instros From The '60s

Hank Crawford, Jimmy McGriff • Crunch Time

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

Walter Wanderley • Moondreams

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

Shirley Scott • On A Clear Day

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.

The Chicago String Band • Chicago String Band '66

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.

Ron Levy's Wild Kingdom • Funky Soul Grooves

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.

domingo, 22 de enero de 2017

Sonny Stitt • Low Flame

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 • Discotheque Dance A Go Go - At The Esquire Club

Merit Hemmingson, born August 30, 1940 in the village Gärdsta in Marby parish in Jämtland, is a Swedish organist, composer and singer.

jueves, 19 de enero de 2017

VA • French organ jazz

The Reverb Syndicate • Sputnik A-Go-Go

The Reverb Syndicate presents their second reverb-drenched album, scientifically engineered for your listening pleasure.

Ron Levy-Karl Denson-Melvin Sparks • Finding My Way

"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