egroj world: marzo 2017

 

viernes, 31 de marzo de 2017

Willis Jackson • Cool ''Gator''



Cool "Gator" (also released as Keep on a Blowin') is the second album led by saxophonist Willis Jackson featuring organist Jack McDuff and guitarist Bill Jennings which was recorded in 1959 and 1960 and released on the Prestige label.


Erik Söderlind • Happening



Here we have what is virtually an organ trio with a bassist added - which presumably saves the organist from having to supply the bass line on the pedals. The group is led by Swedish guitarist Erik Söderlind, who in many respects is reminiscent of Wes Montgomery. He even plays Montgomery-like octaves at times.

Söderlind's previous album was called Twist for Jimmy Smith, suggesting that Erik sees his group as following the tradition of organ groups which was set by Jimmy Smith from the 1950s onwards. But here the focus is not so much on the organ as on the guitar - and rightly so, because Söderlind is a virtuoso player as well as a talented composer. He wrote seven of the twelve pieces on this album and they exhibit an emphasis on melody which reminds me of Pat Metheny's groups with Lyle Mays.

New Room is an attractive Latin-American theme, while Toots Thielemans' Song for My Lady is delivered as an unaccompanied guitar solo by Erik which ends all too soon. Grandmother's Dream and My One and Only Love are soulful ballads with some lovely playing from Söderlind. Train Tickets shuffles along like a train in Metheny style. The album ends with Alicia, which Erik plays alone on the classical guitar.

Erik is well served by the other members of the group. Kjell Ohman is a useful organist, although he lacks the punch that Jimmy Smith put into his organising. Bassist Kenji Rabson lays down a steady bass and adds some neat solos. Drummer Moussa Federa plays precise drum fours in such tracks as Tfk and Aldrig Mer. Tenorist Fredrik Lindborg joins in to add to the funkiness of Sister Sadie and Syster Yster.

Erik Söderlind is a fairly new name on the jazz scene but you should be hearing more of him in years to come.

Tony Augarde
www.augardebooks.co.uk


Darren Heinrich Trio • New Vintage Tunes For The Hammond Organ



Darren Heinrich is a versatile Sydney-based pianist & organist, who holds a 1st class Honours degree in Jazz from the Sydney Conservatorium of Music, where he studied with Judy Bailey and Kevin Hunt. His influences incorporate the entire spectrum of the Jazz idiom, from its earliest ragtime roots to modern jazz. He regularly gigs with his own trio and freelances with a wide variety of acts both locally and abroad. During the last five years his focus has been jazz organ music, travelling to the US to study with Hammond masters Dr. Lonnie Smith and Tony Monaco, and writing a thesis comparing the styles of Jimmy Smith and Larry Young.


Quino • Sí... cariño



Herbie Mann's Californians • Great Ideas Of Western Mann



Sven Hammond Soul • The Marmalade Sessions



Funky fresh, this music was made for the dance floor. Sven Figees's hammond moans, sweats, sobs and wails over Joost Kroon's (New Cool Collective) mean drumming, while Glenn Gaddum's unwavering bass confidently pins it all to a steady Jazz groove. Contributions by vocalists Sherry Dyanne and Corrina Grayson add that special Soul flavor, while Benjamin Herman on sax adds his own distinctive tone to Benny's Blues. This is an album that makes you want to get up, clear your living room floor in one fell swoop and get down and boogie!




jueves, 30 de marzo de 2017

Stephane Grappelli & Diz Dizley Trio • Violinspiration



Review by Scott Yanow
Violinist Stephane Grappelli teamed up with the perfectly complementary Diz Disley Trio (featuring Disley and Ike Isaacs on guitar and bassist Isla Eckinger) for a spirited program of standards on this LP. Even if he has played some of these songs (such as "Shine" and "Ain't Misbehavin'") a countless numbers of times through the years, Grappelli never loses enthusiasm nor runs out of new variations.


lunes, 27 de marzo de 2017

Herbie Mann • The beat goes on





The Three Sounds • Standards





Dave Pike • Pike's Peak



Review by Scott Yanow
This Portrait LP was vibraphonist Dave Pike's second recording as a leader. Pike is joined by bassist Herbie Lewis, drummer Walter Perkins, and most notably pianist Bill Evans. It was one of the pianist's first sessions after the tragic death of his bassist, Scott LaFaro, and gives listeners a rare opportunity to hear Evans this late in his career as a sideman. The music is fairly spontaneous, consisting of two ballads, "Besame Mucho," "Vierd Blues," and Pike's "Why Not" (inspired by Miles Davis' "So What"). An excellent if generally overlooked straight-ahead set.

Dave Pike — Vibraphone
Bill Evans — Piano
Herbie Lewis — Bass
Walter Perkins — Drums






sábado, 25 de marzo de 2017

Cal Tjader - Don Elliott • Vibrations



Grant Green • His Majesty King Funk



Review by Michael Erlewine
Don't be scared off by the His Majesty King Funk title; this is not Green's later commercial stuff. This is excellent Grant Green with Larry Young on organ, Harold Vick on sax, Ben Dixon on drums, and Candido Camero on conga -- essentially a classic four-piece. And this is soul-jazz with a deep groove. His Majesty King Funk is the last of five albums Green recorded with Young. Produced by Creed Taylor, it is the only album Green did for Verve and perhaps his last real jazz album before several years of inactivity, after which he became somewhat more commercial in his approach. The album includes the standard "That Lucky Old Sun (Just Rolls Around Heaven All Day)."

Grant Green - guitar
Harold Vick - tenor saxophone
Larry Young - organ
Ben Dixon - drums
Candido Camero - bongo, congas

viernes, 24 de marzo de 2017

Dr. Lonnie Smith • Too Damn Hot!



Hammond B-3 boss Dr. Lonnie Smith ends up on yet another new label with Too Damn Hot!, the follow-up to his thoroughly enjoyable -- if curious -- Boogaloo to Beck outing from 2003. This studio set places the organist in the company of two fine guitarists -- Peter Bernstein (lead) and Rodney Jones (rhythm), and alternating drummers Greg Hutchinson and Fukushi Tainaka. The two-guitar format is lovely in that it presents a wide array of colors and harmonic textures to the proceedings. The material is a compendium of new soul-jazz originals like the title track, which is a sultry slow burner with killer chorded solos by Smith, and "The Whip," a slippery funky hard bopper that recalls Johnny Patton's sessions with Grant Green. There are two covers present here as well, a fine version of Horace Silver's ballad "Silver Serenade" and a whimsical read of "Someday My Prince Will Come." The album's final cut, "Evil Turn," cooks like mad in stunning bop fashion. This is a keeper and Smith's best record of the decade so far. http://www.allmusic.com/album/too-damn-hot-mw000025681




jueves, 23 de marzo de 2017

Brian Auger • The Mod Years [1965-1969]



- Brian Auger / Keys and Vocals
- Julie Driscoll / Vocals
- Dave Ambrose/ Bass
- Clive Thacker / Drums
- Gary Boyle Guitar
- Polly Perkins / Flute
- Rodger Sutton Bass
- Clem Catini / Drums
- Vic Briggs / Guitar
- Rickey Brown / Bass
- Mickey Waller / Drums
- Long John Baldry / Vocals
- Rod Stewart / Vocals


martes, 21 de marzo de 2017

Various • Thriller Jazz



It's compilations like this that make one wish she or he lived in some other country where Universal does business because the U.S. gets the last consideration when it comes to reissues. The Japanese and Europeans come first and second, then Brazil and Latin America, then the United States, and this Music Club issue of jazz versions of spy movie music and thriller TV themes is a prime example. Take a gander at the track list: from Basie doing the theme from M-Squad and Lalo Schifrin's original Dirty Harry theme to the James Taylor Quartet's acid jazz reading of the Starsky and Hutch theme, the strange, spacy reading of Isaac Hayes' "Theme from Shaft" by the Alfred Hauser Orchestra, and Sammy Davis, Jr. wailing on "Keep Your Eye on the Sparrow" for the Baretta TV show, this set is all killer, no filler and highly recommended. For the most part, these are indeed jazz versions of these tunes, but there are no extended improvisations or academic strategies employed to cool them off. If anything, the joy most of these performers take in interpreting this material loosens them up considerably.


Eddie ''Lockjaw'' Davis & Shirley Scott • Bacalao







When it came to tenor saxophonists, the late organist Shirley Scott had excellent taste. One of the big-toned tenor men she worked with extensively was Stanley Turrentine, whom she married; another was Eddie "Lockjaw" Davis. Recorded in Rudy Van Gelder's New Jersey studio in 1959, Bacalao is among the many solid hard bop/soul-jazz albums that resulted from Davis' association with Scott. The two of them enjoyed an incredibly strong rapport in the late '50s and early '60s, and they are very much in sync on Bacalao (which unites them with bassist George Duvivier, drummer Arthur Edgehill, and two Latin percussion men: Luis Perez and salsa giant Ray Barretto). The presence of Perez and Barretto gives the album some Afro-Cuban appeal, and both of them do well by Davis and Scott -- who are in fine form whether they turn their attention to two James Moody items ("Last Train From Overbrook" and "Dobbin' With Redd Foxx") or well-known pop standards (which include "That Old Black Magic," "Sometimes I'm Happy," "When Your Lover Has Gone," and "Come Rain or Come Shine"). In the liner notes that he wrote for Bacalao in 1959 or 1960, Amiri Baraka (formerly Leroi Jones) describes "Come Rain or Come Shine" and "That Old Black Magic" as "old beat-up tunes"; even back then, those Harold Arlen standards were considered warhorses. But Baraka also goes on to say that Davis and his colleagues revitalize the songs. Organ combo soul-jazz was still new and fresh in 1959, and Scott was helping Davis find new ways to interpret very familiar melodies. Although not quite essential, Bacalao is a rewarding example of Davis' ability to thrive in an organ/tenor setting.

Morris Nanton • Something We've Got



 


Chuck Berry • Blues



Review by Steve Leggett
Chuck Berry grew up on the blues, taking Muddy Waters as a particular hero, so when he signed with Chess Records in the mid-'50s, the label undoubtedly figured they were getting a blues artist. Which Berry was, but his bright, skittering guitar style and penchant for writing songs with lyrics that set aside blues clichés for something closer to beat poetry meant Berry's forward-looking version of the blues became something else altogether, creating the very template for rock & roll. It also brought a younger teenaged audience into the game, and Berry increasingly aimed for it. But before that groundbreaking shift in style and demographic, Berry turned out some interesting straight blues sides for Chess, several of which are collected here, and it's intriguing to wonder what might have happened had Berry stuck with the blues rather than redefining it into rock & roll. Highlights include the powerful "Wee Wee Hours," a chugging version of Don Raye's "Down the Road a Piece," a try at Guitar Slim's "Things I Used to Do," the hybrid "Driftin' Blues," which features a near doo wop backup chorus, and a revved up and rocking rendition of W.C. Handy's "St. Louis Blues." Berry's guitar work is revealing on these early numbers, his tone always bright and fresh, as if he was a colt who just couldn't wait to get out there and run. And run he did.


Chuck Berry • One Dozen Berrys



Rusty Bryant • Fire Eater



Review by Richie Unterberger
Fire-Eater features just four long cuts, all between seven and ten minutes in length, on a session that has Bryant stretching out his meaty tone and improvisations a bit further than usual. This is respectable soul-jazz with a lot of funk, but no fusion, employing the tenor sax-organ-guitar-drums lineup. All of the material was written by Bryant or members of the quartet, and favors a laid-back groove that's on the slow side, except for "Mister S.," on which guitarist Wilbert Longmire has a particularly engaging solo.




Credits
Drums – Idris Muhammad
Guitar – Wilbert Longmire
Organ – Bill Mason (tracks: A1, A2), Leon Spencer, Jr. (tracks: B1, B2)
Saxophone [Tenor] – Rusty Bryant


Pucho & The Latin Soul Brothers • Tough!



Review by Richie Unterberger
A bit more jazz- and pop-oriented than some of his later sessions, with covers of "Yesterday," "The Shadow of Your Smile," "And I Love Her," "Walk On By," and "Goldfinger." However, when Pucho decides to pull out the funky grooves -- as he does on "Cantaloupe Island," "Vietnam Mambo," and "Strange Thing Mambo" -- he and the Latin Soul Brothers can smoke. Even at its slightest, this is decent mood music. At its best, it's significantly more than that.

Biography by Richie Unterberger
In the 1960s, no one combined more or less equal elements of jazz, Latin music, soul, and funk as well as Henry "Pucho" Brown (b. November 1, 1938). A somewhat forgotten figure until recently, Pucho never achieved the wide recognition of some other Latin jazz performers exploring similar territory, such as Mongo Santamaria, Willie Bobo, and Cal Tjader. The timbales player and bandleader also may have been too eclectic, and too open to outside influences, to achieve much recognition within the jazz community.
What's a weakness in one circle's view, however, is a strength for other listeners. As a result, Pucho has a wider appeal than many straight jazz performers. Fans of R&B, rock, and Latin music can immediately connect with him, especially as he's always made sure to play music that's hot and danceable. His accessibility, however, has by no means compromised the quality of his material or his Latin Soul Brothers bands, which have featured fine and versatile players.
Contrary to the assumptions of many listeners, Pucho himself is not Latino, but African-American. As a Harlem teenager, he cultivated loves for jazz, rhythm & blues, and mambo. In the late '50s, he served for several years in the band of pianist Joe Panama. When the group broke up in 1959, Pucho formed a band of his own, recruiting several alumni from Panama's outfit. Even before he'd cemented his reputation on record, Pucho's band attracted notice from top Latin jazzmen. Willie Bobo took several musicians from Pucho's band for his own group, as did Mongo Santamaria. One of the musicians that Santamaria lured away, in fact, was a young Chick Corea.
Pucho began recording in 1963, and really hit his stride between 1966 and 1970, when he cut over half a dozen albums for Prestige. On these he helped pioneer a style termed Latin boogaloo, which mixed jazz, New York-style Latin music, R&B/soul, and the sort of funk that was just emerging from James Brown and other performers. Pucho wasn't afraid to mix up his material on his LPs, which placed originals by Brown and the Latin Soul Brothers next to covers of tunes by Herbie Hancock, the Temptations, the Beatles, Duke Ellington, and John Barry.
This ensured a certain erratic flavor, but the groove was almost always on the money. The Latin Soul Brothers were at their best when they went for the hottest and funkiest grooves, as on their fine version of "Canteloupe Island," or eccentrically titled originals like "Soul Yamie" and "Vietnam Mambo." Once in a while, he even used engagingly raw soul vocals, as on the infectiously good-natured "Shuckin' and Jivin'," which could have been an R&B hit. The Latin Soul Brothers certainly couldn't have been accused of predictability, incorporating straight modern jazz chops, psychedelic flourishes, and soul-jazz organ grooves into their repertoire when the mood suited them. The constant factor was the active Latin percussion section, featuring conga, bongos, and Pucho's own timbales.
When his brand of Latin-soul-jazz fusion started to fall from commercial grace in the early '70s, Pucho disbanded the Latin Soul Brothers. For the next 20 years, he made his livelihood by performing conventional Latin music in the Catskill Mountain resorts of New York State. In the early '90s, however, Pucho's back catalog began to generate interest in Britain, where he was a hit with the acid jazz crowd, and where several albums were reissued by the Ace label. Happily, he made a return to Latin-soul-jazz-funk with his 1995 comeback effort, Rip a Dip, which found his skills intact. How'm I Doing followed in mid-2000.





Curtis Fuller • The Opener (RVG-edition)



 Artist Biography by Ron Wynn
Curtis Fuller belongs in the select circle with J.J. Johnson, Kai Winding, and a few others who make the trombone sound fluid and inviting rather than awkward. His ability to make wide-octave leaps and play whiplash phrases in a relaxed, casual manner is a testament to his skill. Fuller's solos and phrases are often ambitious and creative, and he's worked in several fine bands and participated in numerous great sessions. Fuller studied music in high school, then began developing his skills in an Army band, where he played with Cannonball Adderley. He worked in Detroit with Kenny Burrell and Yusef Lateef, then moved to New York. Fuller made his recording debut as a leader on Transition in 1955, and recorded in the late '50s for Blue Note, Prestige, United Artists, and Savoy. He was a charter member of the Jazztet with Benny Golson and Art Farmer in 1959, then played in Art Blakey's Jazz Messengers from 1961 to 1965. There were additional recording dates for Warwick, Smash/Trip, Epic, and Impulse! in the '60s. Fuller toured Europe with Dizzy Gillespie's big band in 1968, then did several sessions in New York. During the '70s, he experimented for a time playing hard bop arrangements in a band featuring electronic instruments, heading a group with guitarist Bill Washer and Stanley Clarke. He concluded that phase with the 1973 album Crankin'. Fuller toured with the Count Basie band from 1975 to 1977, and did dates for Mainstream, Timeless, and Bee Hive. He co-led the quintet Giant Bones with Winding in 1979 and 1980, and played with Art Blakey, Cedar Walton, and Benny Golson in the late '70s and early '80s. During the '80s, Fuller toured Europe regularly with the Timeless All-Stars, and performed and recorded with the revamped Jazztet in addition to leading a fine session for Savoy in 1993.


lunes, 20 de marzo de 2017

Jimmy Mcgriff • The Dream Team



Review by Richard S. Ginell
Jimmy McGriff moves back to the Milestone label in style with a great soul-jazz quintet, with whom he recorded one of his best Milestone albums, The Starting Five. This time, with no apologies to the notorious O.J. Simpson legal staff, he calls his quintet "the Dream Team" -- and for this kind of music, indeed they are. McGriff strokes his Hammond XB-3 keys and pedals with a relaxed in-the-pocket feeling; with this group, he doesn't have to push, nor should he. David "Fathead" Newman holds down the tenor chair, Red Holloway (replacing the late Rusty Bryant) is on alto and tenor, Mel Brown plays really tasty guitar, and Bernard Purdie powers the drums. Check out the effortlessly sauntering, hip-swinging boogaloo of "Fleetwood Stroll" or the slow, deeply soulful treatment of Willie Nelson's country standard "Funny How Time Slips Away" or the oooh-ain't-that-funky "McGriffin." Everybody swings, everybody listens intuitively to each other and feels the down-home churchy grooves, and they recorded it all in one day at Rudy Van Gelder's studio. This has the ingredients for ranking as an instant classic in this idiom.

Credits:
Jimmy McGriff (organ hammnod B3)
Mel Brown (guitar)
Red Holloway (alto saxophone, tenor saxophone)
David "Fathead" Newman (tenor saxophone)
Bernard "Pretty" Purdie (drums)


Frank Hammond Quartet • 142nd Street



Buddy Rich & Alla Rakha • Rich A La Rakha



This is a curious album. For one short studio session back in the '60s, the king of jazz drummers Buddy Rich, and Alla Rakha, the master of the Indian tabla, came together in an early attempt at East-West fusion. The resulting album was hailed as a 'landmark' and a 'seminal recording' but nevertheless had sunk without trace by the 1980's. Now re-released in re-mastered and restored form, does it stand the test of time?
As a student in the 1980s, I was given an ancient copy of this disc and wondered at the virtuosity of Alla Rakha. I also wondered what Buddy Rich was doing as he only obviously features on two of the five tracks. With this new CD version I realised that he also appears on a third track, minus his shoes and sitting cross-legged playing the dholak (a small hand drum). It's not that the sound quality of the new release allows such insights, although it is pretty good being re-mastered from the original session tapes, but that the copious sleeve notes explain what's going on in great detail.
The first two minutes of the disc transport you to the Taj Mahal, with sitar and flute introducing a simple theme reminiscent of Indian restaurants everywhere. In common with the other tracks the melody then stops abruptly to allow the stars to shine. The following schizophrenic duet sees Rich imitating the tones of the tabla on a snare drum whilst maintaining a different time signature from Rakha. The third track is fantastic, a battle royal between full drum kit and tabla which still takes my breath away. The last two tracks are tabla solos with Rakha at the top of his form.
If you want a nice disc of typical Indian music, this one's not for you. But this re-release, following the deaths of Buddy Rich in 1987 and Alla Rakha last year, offers a unique insight into the early days of fusion. Worth a listen. [http://www.bbc.co.uk/music/reviews/63qv/]




Johnny Hodges & Wild Bill Davis ‎• Joe's Blues





Juan Amalbert's Latin Jazz Quintet • Hot Sauce






viernes, 17 de marzo de 2017

Ralph Marterie • Trumpeter's Lullaby



Ralph Marterie (24 December 1914 – 10 October 1978) was a big-band leader born in Acerra (near Naples), Italy.

Marterie first played professionally at age 14 in Chicago. In the 1940s, he played trumpet for various bands. His first job as a bandleader was courtesy of the US Navy during World War 2. He was then hired by the ABC Radio network, and the reputation built from these broadcasts led to a recording contract with Mercury Records. His highest success in the U.S. charts was a cover of "Skokiaan" in 1954. In 1953 he recorded a version of Bill Haley's "Crazy, Man, Crazy", which is generally regarded as the first rock and roll song. His version of "Crazy, Man, Crazy" reached #13 on the Billboard jockey chart and #11 on Cashbox in June, 1953. His recordings of "Pretend" and "Caravan" also made the Top 10. "Caravan" sold over one million copies, and was awarded a gold disc. In 1957, he hit #25 on the Billboard Hot 100 with "Tricky", and in 1957 he hit #10 with "Shish-Kebab". His compositions included "Dancing Trumpet", "Dry Marterie", and "Carla".
Joel Whitburn's pop chart research books say that Marterie's version of "The Song Of Love" peaked at #84 for the week ending December 26, 1955. However, Billboard did not put out an issue that week and Marterie never recorded this tune; the listing is in fact a copyright trap, to prevent others from stealing Whitburn's work.
He died on October 10, 1978, in Dayton, Ohio.


Django Reinhardt • The Great Artistry of Django Reinhardt



Review by Richard S. Ginell
This is the Django Reinhardt who might have been, recorded only two months before his death from a stroke. With a French bop rhythm section in tow, he thoroughly adapts himself to the prevailing idiom while allowing himself plenty of gypsy-flavored runs and those unique harmonic turns of phrase. Reinhardt's sharp attacks, fast runs, vibrato, and bright tone on electric guitar delineate the links to Les Paul much more clearly than his acoustic guitar recordings do (explicitly so in one of Paul's famous vehicles, "Brazil"), and runs like those on "Confessin'" must have had an effect upon Chet Atkins. Clearly, Reinhardt would have been a leading, distinctive light of mainstream bop-grounded jazz had he lived and toured outside France. He could also play the blues convincingly on the cool, swinging, and droll "Blues for Ike" (for the newly inaugurated President Eisenhower?). Nevertheless, there is a strain of melancholy that runs through most of this collection, nowhere more so than in his heart-stopping closing rendition of his tune "Manoir de Mese Reves" (also known as "Django's Castle"); one could read a portent of impending mortality into this. Issued on 10" LPs in the 1950s, first on Mercury, then on Clef, mutilated in the '70s with overdubs by a group called Guitars Unlimited, and not issued on CD until the early '90s, these sessions have not been given their due among historians. But they are indispensable for a total understanding of his music.




Don Wilkerson • Shoutin'



Tracks:
A1 Movin' Out
A2 Cookin' With Clarence
A3 Easy Living
B1 Happy Johnny
B2 Blues For J
B3 Sweet Cake


John Patton • That Certain Feeling



It took Big John Patton nearly two years to return to the studio as a leader following the sessions that produced the exceptional Got a Good Thing Goin'. When he finally cut its sequel, That Certain Feeling, the musical climate had changed just enough to make a difference in his music. Where Got a Good Thing Goin' was down and dirty, That Certain Feeling was smooth. That's not to say that it didn't groove -- it was just cleaner, which means that the groove wasn't as infectious or hot as before. Still, Patton and his band -- guitarist Jimmy Ponder, tenor saxophonist Junior Cook and drummer Clifford Jarvis -- play very well, and there are moments when everything comes together and it just cooks. And those are the moments that make That Certain Feeling worth a search. by Stephen Thomas Erlewine, AMG


Dan Papaila • Positively!



A San Diego based jazz guitarist whose roots are firmly planted in the blues, Dan honed his bluesy style playing with the likes of R&B legends Eddie “Cleanhead” Vinson, Big Joe Turner, Plas Johnson, and Johnny “Hammond” Smith.
At age 16 Dan was given $60 by his mother to acquire a guitar from a local pawn shop. Within two years he was working in local pop groups. It was around 1970 that Dan familiarized himself with the work of Wes Montgomery, Grant Green, Kenny Burrell and George Benson. He also became close friends with another jazz guitarist from Omaha, Billy Rogers; they studied together for several years before Rogers’ untimely death in 1987. His Los Angeles years found Dan working the black club circuit with various trios. “Nearly all the clubs on the South side of Wilshire Boulevard had Hammond B-3 organs,” he recalls. “I played lots of R&B with Billy Larkin, Cleanhead Vinson and Big Joe Turner.” In 1976 Dan began what would become a definitive association: he started working with the organist Johnny "Hammond" Smith. The Hammond Smith years found Dan playing the "Chitlin Circuit". Later, Dan traveled to Las Vegas in 1981 and played the Nevada circuit for a couple of years. Then it was back to the blues, co-leading an R&B fusion group with Tower Of Power keyboardist Roger Smith in Sacramento before the move to San Diego. Since then he has enjoyed success locally and on the jazz festival circuit.".
..Leonard Feather


ARTISTS
DAN PAPAILA, guitar;
JOHNNY HAMMOND SMITH, Hammond B -3 organ;
SHERMAN FERGUSON, drums;
RICKEY WOODARD, tenor saxophone;
TOMMY AROS, percussion


jueves, 16 de marzo de 2017

Mike LeDonne • Keep the Faith



Les Baxter • African Jazz



VA • Chillout Jazz Organ





Baby Face Willette, Hammond, James Brown, Jimmy Smith, Joey Defrancesco, Kenny Burrell, Larry Young, Lou Donaldson, Pat Martino, Shirley Scott, Stanley Turrentine, Walter Wanderley, Wes Montgomery ...


Chico Hamilton • The Further Adventures Of El Chico




Sam Yahel • Trio



Review by Michael G. Nastos
At age 27, Yahel is clearly one of the most promising new organists on the New York City & international scene. As a possible walker in Larry Young's shoes, he displays a definite orchestral concept. Sounds seethe and swell, expanding beyond the envelope; he's got that telltale, after-midnight-blue depth of expressionism. Wild drummer Brian Blade and witty guitarist Peter Bernstein give much more than a mere modicum of fuel for Yahel's imagination -- they kick him into fourth and fifth gear during these eight tracks, three written by the organist himself. Two standards appear here. The first, "Never Will I Marry," has Yahel leading the melody while Blade fires up the cauldron with embellished rhythms that run outside of the straight beat, and Bernstein's guitar chords lead to tasty, bluesy solo lines. The second, "A Nightingale Sang in Berkeley Square," finds Yahel introducing by himself on this emotion-drenched ballad, charcoal tracing from similar regret-filled themes as "I Remember Clifford" and "Polka Dots & Moonbeams." Slight grease from Bernstein's lead guitar girds Ray Brown's bluesy, soulful sweet classic "Gravy Waltz." The Bernstein-penned "Blues for Bulgaria" has an easy, steady groove with Yahel's organ setting up the guitar's melody and Blade's drums swirling around -- this one has potential at becoming a sprightly standard. Yahel's three compositions include the waltz "The Gambit" marked with varying key changes and Bernstein nicely linking the styles of Wes Montgomery and Grant Green. "Short Returns" is a cool swinger with guitar-organ unison melody -- one of rare quantity on the CD. "And Then Some" is a very fragmented, 7/4 funk groove, -- quite contemporary and virile; it's as compelling as any cut on the disc. Though this is an entry point, it's an intriguing one for Yahel, a thinking man's organist. This album is easily recommended.


Albert King • The Big Blues



The Big Blues is a blues album by Albert King, released in 1962
by King Records. Featuring mostly songs composed by Albert King himself,
this was his first album and the only one before he signed with
Stax Records, where he would record most albums along his career.
The album is a collection of songs previously released by
King Records and Bobbin Records as singles and B-sides.
King recorded "Blues at Sunrise" and "Let's Have A Natural Ball"
(which appears on the album) for Bobbin in 1956, which helped
to establish him in recording. King Records bought his contract
from Bobbin in 1961.

Albert King – Electric guitar and vocals
Ike Turner – piano on "Don't Throw Your Love On Me So Strong"


The James Taylor Quartet • Hammond a Go-Go - The Best of Acid Jazz



miércoles, 15 de marzo de 2017

Dave Pike • Pike's Groove



Review by Scott Yanow
Vibraphonist Dave Pike has recorded in a variety of settings through the years. His Criss Cross date is one of his finest straight-ahead outings, a quartet session with pianist Cedar Walton, bassist David Williams, and drummer Billy Higgins. Pike's style is somewhere between Milt Jackson and Bobby Hutcherson, while sounding fairly distinctive, and he is heard in top form on such numbers as "Big Foot," "Ornithology," and his own "Reflections in Blue." Highly recommended.


Michal Urbaniak • Ask Me Now



Johnny 'Hammond' Smith • Gettin' Up