egroj world: marzo 2017

viernes, 31 de marzo de 2017

Glenn Hardman And His Hammond Five • Singles

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

Jimmy Smith • Standards

Review by Stephen Thomas Erlewine
Standards is a 12-track collection that is culled from the sessions that resulted in the House Party and Home Cookin' albums, both of which featured Jimmy Smith in a trio with guitarist Kenny Burrell and drummer Donald Bailey. All of the songs are familiar standards along the lines of "Bye Bye Blackbird," "I'm Just a Lucky So and So," "September Song," "Mood Indigo" and "It Might As Well Be Spring," and seven of the tracks are previously unreleased. Throughout the album, the trio is relaxed and laidback, resulting in a warm, inviting collection of standards. It's among Smith's mellowest recordings, and it's all the better for it.

The Merced Blue Notes • Get your kicks on route 99

Artist Biography by

The Merced Blue Notes' career lasted about a decade and a half, but it resulted in few recordings, though apparently it did supply a whole lot of fun for live crowds in central California who wanted to groove to basic, energetic blues, R&B, soul, and rock & roll. That's what the band played on its handful of rare singles, on an assortment of labels, between 1961 and 1966. The group's music was in the stock R&B/blues-influenced rock & roll style, on both vocal and instrumental material, often putting organ and bluesy guitar to the fore, sometimes punctuated with sax and harmonica. In their later days they got into funkier grooves, in the manner that big acts such as Booker T. & the MG's were updating their sound, though they didn't possess the originality to gain a national audience.
The Merced Blue Notes formed in high school in Merced, CA, in January 1957, and would undergo numerous lineup changes over the course of their career, the constant element being singer/songwriter/guitarist Kenny Craig. They actually made their first contacts with the record industry back around 1958, when they auditioned for Specialty Records, with a young Sonny Bono in the control booth. Specialty only wanted to record their singer Roddy Jackson, however, Jackson making three flop 45s for the label in the late '50s. A couple of obscure singles came out on the Merced label in 1960, and they'd intermittently record over the next half dozen years for other companies, including Accent, Tri-Phi, Mammoth, and the Fantasy R&B subsidiary Galaxy. None of the singles caught on in a big way, though their 1961 Accent 45 "Rufus" got enough airplay in Detroit to get them some concert and recording work (the latter for Harvey Fuqua's Tri-Phi label) there in 1962.
With little success on record and a sound that was getting outdated by changing trends in rock and soul music, the lineup that recorded for Galaxy in the mid-'60s broke up in early 1966. Kenny Craig kept the group going with other musicians and continued playing live under the band name for several more years. The member of the Merced Blue Notes with the highest profile in subsequent years was Bobby Hunt, who recorded with the Seven Souls and also formed the trio Head West with fellow Seven Souls musicians Henry Moore and Bob Welch, playing keyboards with the group on several tours while Welch was in Fleetwood Mac in the early '70s.


In the decade before the British Invasion and the completion of Interstate 5, Highway 99 was still California's main north-south thoroughfare. Among the towns evoked by the movie American Graffiti which dot its pathway through the San Joaquin Valley is Merced, approximately seventy-five miles east of San Jose. It is an unlikely crucible, but the whole Merced Blue Notes saga is unlikely: a multi-ethnic rock'n'roll cover band gets nurtured by the blues-loving town Fire Chief and civic activist, shuffles its membership and evolves into one of the all-time regional rocking rhythm and blues bands, leaving a handful of tough 45s including some of the 1960s finest blues-based instrumentals and many unissued tracks in its wake. Nearly forty years after the band split up and twenty years after their only album (of previously unissued material) was released on a small valley label, we can finally celebrate their first complete CD, featuring twenty-six glorious, rousing and bluesy tracks, including eleven heard for the first time and two alternate versions.

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.

Tony Kinsey • Fasinating Rhythm

Long regarded as one of Britain's finest jazz drummers and composers, Tony Kinsey's multi-faceted musical career extends from jazz player to composer of music in many genres, including works for full orchestra and chamber groups. He has worked with many of the world's jazz greats, including Billie Holiday, Ella Fitzgerald, Lena Horne, Sarah Vaughan, Ben Webster, Clark Terry, Sweets Eddison, Annie Ross, Cleo Lane, John Dankworth and many more.

Alan Hawkshaw • Alan Hawkshaw Plays The Philicorda

Django Reinhardt • Django with his American Friends

Bill Heid • Wylie Avenue

Bill Heid is unquestionably one of the most impressive Hammond B-3 organists in modern jazz, and one night of listening to him live in performance solidifies this assertion. He's no less impressive in the studio, but the more visceral energy he brings to the stage can still be enjoyed on his studio releases. Wylie Avenue is a tribute to his native Pittsburgh, PA, where on Wylie near Center Avenue, the legendary Hill District was the location of the chitlin circuit jazz and blues clubs that launched the careers of Don Patterson, Big John Patton, Larry Young, Jimmy Smith, Gene Ludwig, and so many other fellow organists. Heid doles out more of his original music on this disc that combines soul-jazz with mainstream and progressive sounds, all blended together in a physical and virtuoso-driven nutty professor swing and bluesy funk. Of the many Pittsburgh icons Heid pays tribute to, "At the Hurricane" (for the legendary Hurricane Bar) is an easy blues, a bit off-kilter, goofy, and always on the move. The light calypso "Always Larry" (for Larry Young) probes into a sidereal deep-blue mood, while the title track is an up-and-down bopper -- mostly up -- with a fierce drum solo by longtime favored Heid sideman Mike Petrosino. "Toe Tappin'" is atypical for Heid, with its loping pace and spare, patient melody. New York guitarist Peter Bernstein is the special guest on this set, well versed and experienced in this type of music. His adaptability shows during the dirty ankle-biting funk of "Grantulant" (dedicated to Grant Green), or in tandem with Heid's organ for the boogaloo-type solid-sending soul song "The Slinky." A personalized groove, "Waltz of the Corgies" is dedicated to Heid's longtime pooch who passed away, and reflects a missing-in-action status. There's no stopping Heid when he gets cranked up, as on the bouncy swinger "Who Else?," where his nutty, spiky accents and flying fingers should convince anyone as to his enormous talent. As Heid's catalog grows and his music grows on you, you have to come to the conclusion that he's one of those rare talents who doesn't come along too often in life. Wylie Avenue is another high point in the brilliant career of perhaps the most underappreciated musician of modern times. ~ Michael G. Nastos

Brian Kooken • A Minor Thing

Brian Kooken - guitar
Greg Hatza - Hammond B3 organ
Sam King - alto sax
Robert Shahid - drums

Tony Monaco • Intimately Live At The 501

Review by Dave Nathan 
Tony Monaco has moved the Hammond B3 organ beyond its common niche as a vehicle for hit R&B, blues, and soul. Like Larry Young, Monaco has expanded the instrument beyond the chitlin', black beans, and funk so often associated with this musical mechanism and transformed it into a major improvisational force. The organ in his hands has as much of a modern sound to it as others on the scene, with the possible exception of Joey DeFrancesco, as evidenced by such modern jazz classics as "Take the Coltrane" and "Footprints" on the play list. Listen to the complex chordal displays on "Mellow Mood," which offers a highly listenable combination of traditional and new organ styles. By no means does Monaco abandon established uses, as he swings like mad on "Sweet Georgia Brown." But here he discards the melody line rather quickly and races down the improvisational trail with such improbable speed that if this were not a live session, one would swear there was a bit of dubbing going on. The coda to this tune is so strong it will likely make the hair on the back of your neck tingle. Monaco also has a technique which allows him to utilize a variety of riff patterns that are sufficiently diverse to assure that not everything on the album sounds the same. In other words, Monaco's CDs will appeal to those beyond B3 devotees. He is helped considerably by the understated guitar of Robert Kraut throughout, but especially on such cuts as "It's Only a Paper Moon" and a haunting "I'll Close My Eyes," which is molded by an elongated harmonic structure. Intimately Live at the 501 is another good effort from this organ trio and is recommended.

Stephane Grappelli • Live At The Blue Note

Live at the Blue Note album for sale by Stephane Grappelli was released Mar 26, 1996 .

... Q (8/96, p.145) - 4 Stars - Excellent - "...the only jazz fiddler you can ever think of swung like a bastard. Beyond jaunty, his `Night And Day' is a marvel of disciplined aesthetics."...

... Down Beat (5/96, p.46) - 4 Stars - Very Good - "...Grappelli's attack has not only remained rock sure and steady. It has remained deeply rooted and resistant to adulteration and influence....the rhythmic power is irresistible....Like all the best early swing, it exists outside the reach of fashion of a bubble of eternal validity..."

Bass – Jon Burr
Guitar – Bucky Pizzarelli, John Pizzarelli
Violin – Stéphane Grappelli

Johnny Lytle • Done It Again

Bass – Major Holley
Congas – Don Alias
Drums – William Hinnant
Organ – Jimmy Foster
Vibraphone – Johnny Lytle
Xylophone – Johnny Lytle

Ari Seder • Organ Trio

Chicago-based jazz guitarist Ari Seder releases his second album featuring eleven original compositions of straight-ahead jazz with material ranging from slow ballads to some hard-driving rhythms. This recording is one fine session of fresh new jazz delivered by a very capable trio. Seder is joined here by drummer Darren Scorza and Paul Mutzabaugh on the organ. While this is clearly a Seder project with the guitar featured in the lead, organist Mutzabaugh plays a very prominent role in this recording, hence the title of the album Organ Trio.

There’s a terrific variety of jazzy tunes that grabs your attention like the second number "Big Plans," a very catchy melody containing crisp guitar work from the leader accompanied by sharp play by the organist. The group slides into a faster pace with the swinging "Not Alone" revealing an outstanding performance by Seder. In contrast, the music slows down with the beautiful ballad of "The Routine." Another warm and soft piece of music that goes to the heart is the enchanting "Impossible."

The list of splendid music goes on to include the light ballad of "Down Time," in which Mutzabaugh takes center stage with his play, the lively pick up beat of "With Visions" and the melancholy sounds of "Cloudy" just to name a few. All together these clever compositions combine to make one nice package of rhythm-based music that will appeal to the aficionado and the average jazz fan alike. Organ Trio has all of the elements that will make this a successful effort, great writing, excellent musicianship and a sound that deserves to be heard. Kudos for Mr. Seder and his marvelous trio.
Edward Blanco,

"The musicians sound inspired by the fresh material and while the individual solos are colorful, it is the interplay between the musicians and the appealing ensemble sound that makes Organ Trio....well worth acquiring." ~Scott Yanow, L.A. Jazz Scene

"'s easy to hear Wes Montgomery's sense of economy, Pat Metheny's sense of melody, and Grant Green's sense of groove. Add to that the tasteful organ playing of Paul Mutzabaugh and the grooving drums of Darren Scorza, and you've got a band that can play it's collective tail off." ~Paul Abella, Chicago Jazz Magazine

Ari Seder - guitar
Paul Mutzabaugh - Hammond B-3 organ
Darren Scorza - drums

Oncle Archibald • Première

Gypsy Jazz like they played in France, in the 30's. but with a modern twist.
Gypsy Jazz, gypsy swing, swing manouche, parisian swing, hot club music… these are all names referring to an extraordinary musical style that rose to fame during the thirtes, especially in France, when the musical genius of guitarist Django Reinhardt, gave birth to a new sound that blended the sheer stamina of gypsy music, with jazz's finesse. The relentless rhythm section, with guitar and upright bass, the sophisticated melodies, the frequent virtuoso passages are this music's main elements, and it's such as this that it's presented nowadays, with its original appeal still intact.
Oncle archibald were born in Padua in late 2005; after a few line-up changes, the band settled on a tipycally Gypsy "two guitars and an upright bass" set. That set, though, is often enriched by many different guest, ranging from Sergio Marchesini on accordion, to Angelo Adamo on chromatic harp.
Their live exhibitions take place both on the road, as they did in various italian Buskers Festivals, in theaters, and at important national jazz festivals (like Veneto Jazz) and jazz clubs (such as the Hopfen&Co. and the Mama's Club).

Casualties of Jazz • Kind Of Black

The Casualties of Jazz is an instrumental jazz trio based in Los Angeles. On their album Kind of Black. A Salute to Black Sabbath (2004) they cover Black Sabbath standards and transform to jazz tracks with drums, double bass and Hammond B3 organ.

The critically acclaimed funky, rare-groove salute to Black Sabbath. A must-have for Hammond B3 fans.

Frank Wess • Jazz for Playboys

Billy Taylor Quartet • Where've You Been

Hermoso disco, piano y violín en armónico dialogo.    /    Beautiful album, piano and violin in harmonious dialogue.

Billy Taylor - Piano
Joe Kennedy - Violin
Keith Copeland - Drums
Victor Gaskin - Bass

James Taylor Quartet • Wait a Minute

Mystery Pacific • Mystery Pacific

Quino • Sí... cariño

Low Fidelity Jet Set Orchestra • Studio Works

VA • Blue Note - Hot Hammonds & Cool Organs

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

Historia del Arte • Sagrario Aznar Almazán-Alicia Cámara Muñoz / pdf español

Otra Historia del Arte, de edición más moderna y tal vez menos académica que la posteada en La Historia del Arte, pdf español [RE-UP]
pdf / 516 páginas / Idioma: español / texto editable (copiar y pegar)

Linda Dachtyl • Blue Bop

Review by

Linda Dachtyls is an organist with roots in Jimmy Smith, Jimmy McGriff, and Hank Marr; the latter was one of her teachers at Ohio State. The music on Blue Bop straddles the boundaries between hard bop and soul-jazz, she swings constantly and, while reminiscent of past masters, she displays her own approach to the Hammond B-3. Dachtyls excels in the organ-tenor-guitar-drums format, utilizing some of Ohio's better straight-ahead players and romping throughout this easily enjoyable set of blues, ballads, and basic jazz material. Fans of '60s jazz organists will want to pick this one up.

Walter Wanderley • Kee-Ka-Roo

Review by Evan C. GutierrezWith a sound that since his death skyrocketed in popularity almost to a point of becoming cliché, it would be an understatement to say that Walter Wanderley was ahead of the times. His compositions and trademark band sound became one of the most prominent voices in bossa nova. Though often mimicked, few were able to reproduce the combination of sophisticated harmonic progressions and a cool, laid-back groove. Wanderley's slick, idiomatic organ comping style, thanks to recordings like 1967's Kee-Ka-Roo, set trends and standards for generations of jazz musicians to come. Unlike many subsequent recordings, where Wanderley records in a trio setting, this record offers the opportunity to hear a fleshed-out group of musicians, including percussion, vibraphone, guitar, flute, and voice. All the players on the session are smooth, confident players who seem to enjoy drifting lazily alongside one other. Even in livelier compositions like "Sambao," Wanderley and his crew don't seem to break a sweat. The relaxed, collected, martini-sipping aesthetic seems to pervade every solo, every chorus. If the listener can get past the postmortem lounge-ifying of this great Brazilian artist, Kee-Ka-Roo will surely put a swing in their step, and might even lower their blood pressure.

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.

The Jazz Crusaders • Uh Huh

Review by Scott Yanow
One of the best of the Jazz Crusaders LPs, this outing features fairly lengthy investigations of six group originals including "Uh Huh" and "Watts Happening." Tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and guest bassist Buster Williams all sound as if they are pushing each other. Their brand of soulful hard bop (utilizing their distinctive tenor-trombone frontline) is heard throughout at its prime.

James Taylor Quartet • Do Your Own Thing

The Dave Pike Set • Noisy Silence – Gentle Noise

miércoles, 29 de marzo de 2017

Shirley Scott with Latin Jazz Quintet • Mucho, Mucho

An excellent album that mixes Latin grooves with heavy Hammond organ -- one of the most unique albums ever recorded by the great Shirley Scott! The session features Shirley's organ backed up by the Latin Jazz Quintet of Juan Amalbert-- a very hip combo that blends together piano, vibes, and percussion -- all with a highly rhythmic approach that really drives the album! The blend of organ and Latin modes was quite unique for the time -- and still sounds pretty darn great today -- and titles include "Mucho Mucho", "Muy Azul", "Tell Me", "The Lady Is A Tramp", and a nice long Latin version of "Walkin". [Dusty Groove]

VA • Swinging Jazz Violin

Alexandre Huber Trio • Organic Sound

Alexandre Huber - Hammond B-3 organ
Bernard Dossin - guitar
Alain Petitmerment - drums

Ben Waters • Boogie 4 Stu, a Tribute to Ian Stewart

Review by William Ruhlmann
In Life, his 2010 autobiography, Keith Richards makes clear that boogie-woogie pianist Ian Stewart was the organizing principle in the Rolling Stones, calling the first audition/rehearsal that led to the formation of the band, even though, when the group was offered a recording contract, he was shunted aside as an unnecessary sixth member who didn't look the part. (Amazingly, the self-effacing Stewart agreed to continue to play on their records and serve as their road manager.) Ben Waters pays tribute to "Stu" on this album largely given over to boogie-woogie, and he has enlisted a star-filled set of guests including Stones members Richards, Mick Jagger (who sings and plays harmonica on a cover of Bob Dylan's "Watching the River Flow"), Charlie Watts, Bill Wyman, and Ronnie Wood, as well as other notable musicians such as PJ Harvey and Jools Holland. The result is an album Stewart no doubt would have liked better than any of the Rolling Stones albums he played on.

Traducción Automática
 En vida, su autobiografía de 2010, Keith Richards deja claro que el pianista de boogie-woogie Ian Stewart fue el principio organizador de los Rolling Stones, llamando a la primera audición / ensayo que llevó a la formación de la banda, a pesar de que, cuando se ofrece el grupo un contrato de grabación, fue desviada a un lado como un sexto miembro innecesaria que no parecía la pieza. (Sorprendentemente, el modesto Stewart acordó continuar para jugar en sus registros y servir como su road manager.) Ben Aguas rinde homenaje a "Stu" en este álbum en gran parte dedicada al boogie-woogie, y él ha alistado un Star- conjunto lleno de invitados, entre ellos Piedras miembros Richards, Mick Jagger (que canta y toca la armónica en una cubierta de Bob Dylan de "Watching the River Flow"), Charlie Watts, Bill Wyman, y Ronnie Wood, así como otros músicos notables como PJ Harvey y Jools Holland. El resultado es un álbum Stewart sin duda le hubiera gustado mejor que cualquiera de los álbumes de los Rolling Stones.

Acoustic Jazz Quartet • I'm Beginning to See the Light

VA • Vital Organs

VARIOUS ARTISTS Vital Organs (1999 US 10-track CD album, compiled by celebrated DJ/collector Mr Fine Wine, and containing obscure yet barnstorming Hammond grooves and funky beats, including Toussaint McCall, The Organics, Jimmy Willis and many more!).

Oscar Peterson & Stephane Grappelli • Skol

Oscar Peterson – piano
Stéphane Grappelli – violin
Joe Pass – guitar
Niels-Henning Ørsted Pedersen – double bass
Mickey Roker – drums

Skol is a 1979 live album by Oscar Peterson, accompanied by Stéphane Grappelli.

Review by Scott Yanow
Pianist Oscar Peterson and violinist Stephane Grappelli meet up on this Scandinavian concert. The "backup" crew (guitarist Joe Pass, bassist Niels Pedersen and drummer Mickey Roker) is not too bad either. In addition to a closing blues (which is highlighted by tradeoffs from Peterson and Grappelli), the quintet performs five veteran standards with creativity and swing.

James Taylor Quartet • The Money Spyder

Think of The Money Spyder as the soundtrack to the coolest '60s international spy movie never made. Go-go Fender guitars and Hammond organ race from beginning to end. From the title track, with its mysterious piano line, to the urgent, fuzz-infested "Car Chase," we can pretty easily dream up a story line. From Carnaby Street we travel to the arms of an exotic double agent ("The Spiral Staircase"), only to end up somewhere in Spain for the final showdown ("Buzy Bee"). Ah, they don't make flicks like this anymore. --Percy Keegan

David Grisman Quintet • Quintet '80 [Deluxe Edition]

In early 1980 David Grisman recorded the first of four studio albums for Warner Brothers Records. Quintet ‘80 introduced a newly formed quintet featuring multi-instrumentalists Mike Marshall and Mark O’Connor, bassist Rob Wasserman and founding member Darol Anger on violin and cello. The original LP has been out of print for nearly three decades and this Deluxe Edition presents all of the original master takes plus five previously unissued alternate takes, all newly transferred to the highest quality sound format available (24 bit, 96khz) at Acoustic Oasis.

Grisman grew up in a Conservative Jewish household[1] in Hackensack, New Jersey.[2] He started his musical career in 1963 as a member of Even Dozen Jug Band. His nickname "Dawg" was affectionately assigned by his close friend Jerry Garcia in 1973 (the two met in 1964 at a Bill Monroe show at Sunset Park in West Grove, Pennsylvania). "Dawg Music" is what he calls his mixture of bluegrass and Django Reinhardt/Stéphane Grappelli-influenced jazz, as highlighted on his album Hot Dawg (recorded Oct. 1978, released 1979).[3] Stephane Grappelli played on a couple of tracks on Hot Dawg and then the 1981 recording Stephane Grappelli and David Grisman Live. It was Grisman's combination of Reinhardt-era Jazz, bluegrass, folk, Old World Mediterranean string band music, as well as modern Jazz fusion that came to embody "Dawg" music.[4]
Grisman's father had been a professional trombonist at one time and had young David begin piano lessons at the age of seven. In the early 1950s, Grisman heard the beginnings of rock 'n' roll and was influenced by pop music and everything he heard. Following his father's death, when David was 10, he drifted away from the piano. He took it up again when he was about 13 or 14, soon discovering folk music through the Kingston Trio, a group that became popular during the American folk music revival.
David and three friends from his school then met folklorist and musician Ralph Rinzler in Passaic, New Jersey, and became greatly influenced by Rinzler's vast knowledge about traditional music. During this period, Greenwich Village in New York City was already bustling with folk musicians, and David realized what he wanted to do with his life. In 1963, Grisman played in the Even Dozen Jug Band, who recorded an album that year on Elektra Records.
Grisman did a Red Allen and Frank Wakefield session for Folkways Records in 1963 but didn't perform with Red Allen and the Kentuckians until 1966. Also in 1966, Grisman recorded Early Dawg, a live recording from a show in New York that featured the talents of Del McCoury on guitar and vocals, and Jerry McCoury on bass. The album was not released until 1980. Grisman then played mandocello on Tom Paxton's album Morning Again (Elektra, 1967).[5]
In 1967, Grisman was in a psychedelic rock group called Earth Opera with Peter Rowan. In 1973, Grisman joined Rowan, Vassar Clements, Jerry Garcia and John Kahn to form the bluegrass group Old and in the Way. It was while with this group that Garcia gave him his nickname, after a dog he saw behind Grisman while they were driving in Stinson Beach.[6] In 1974, Grisman, Rowan, and Richard Greene joined Bill Keith, and the late, great Clarence White, in the group Muleskinner. In 1974, Grisman was also in The Great American Music Band. Then in 1975 he started his own band, the David Grisman Quintet (DGQ), which released its first album in 1977.
Grisman also played mandocello on Bonnie Raitt's album Sweet Forgiveness (1977).

David Grisman Bluegrass Experience at DelFest, May 30, 2010
In addition to performing with the Quintet, Grisman also performs with his bluegrass group, the DGBX (David Grisman Bluegrass Experience). Other members of the DGBX are Keith Little on banjo, Chad Manning on fiddle, Jim Nunally on guitar and Samson Grisman on upright bass. He has also recorded an album and toured as a duo with John Sebastian.


Jimmy Smith • Keep On Comin'

Review by Scott Yanow
Organist Jimmy Smith's second of two LPs for the Elektra Musician label is unusual in a couple of respects. He had never played organ with tenor saxophonist Johnny Griffin before and on one piece, "Piano Solo Medley," Smith has a very rare feature on piano. Otherwise, Keep on Comin' is in the soulfully swinging vein that one associates with the great organist, with the music comprised of recent originals by Smith, Griffin, and guitarist Kenny Burrell, who with drummer Mike Baker completes the quartet.

Duke Ellington • Duke Ellington's Jazz Violin Session

Review by Thom Jurek
This small group session was recorded in 1963 for Atlantic, and originally issued in 1976, two years after Duke Ellington's death. It showcases a small group that features string players in the front line. Ray Nance, the Duke's own violinist, is here as is the legendary Stephane Grappelli and violist Svend Asmussen. The rest of the players include tenor man Paul Gonsalves, drummer Sam Woodyard, bassist Ernie Shepard, alto saxist Russell Procope, and trombonist Buster Cooper. Ellington plays piano no all but two tunes where Billy Strayhorn replaced him. The program is a collection of Ellington and Strayhorn standards from "Blues in C" and "Take the 'A' Train," to "Don't Get Around Much Anymore," "Cotton Tail," and the wonderful "Limbo Jazz." The soloist and group interplay are gentle, swinging, and utterly and completely graceful and elegant. There is a lighthearted tenderness in this set that borders on sentimentality without ever going there. And the feeling is loose, relaxed, and full of warmth throughout.

Duke Ellington (piano)
Stephane Grappelli (violin)
Ray Nance (violin)
Svend Asmussen (Viola)
Paul Gonsalves(sax tenor)
Ernie Shepard(bass)
Billy Strayhorn(piano)
Sam Woodyard(drums)
Russell Procope(sax)
Buster Cooper(trombone)

VA • The Prestige Blues-Swingers - Stasch

Coleman Hawkins (tenor sax), Jerome Richardson (alto sax, flute), Pepper Adams (baritone sax), Idrees Sulieman (trumpet), Roy Gaines (guitar), Ray Bryant (piano), Wendell Marshall (bass), Walter Bolden (drums) & Jerry Valentine (arrangements).

Rhoda Scott • Summertime

In the rush to exhume every Hammond B-3 jazz player of the 60s when acid jazz and Joey DeFrancesco first hit it big, Rhoda Scott seems to be forgotten. Perhaps it's because she's been living in Paris for the last 25 years. Perhaps it's because the classically-trained Scott attacks her instrument a little differently than the pisno players who learned the Hammond in a hurry to get gigs in a hurry. Scott's approach to the organ is as a band, not a single horn as Jimmy Smith and most other jazz organists. Also, her classical training gives her the sort of understanding of the organ's nuances that most of her contemporaries don't have. It should be noted that the only other musician on this 1991 compilation of ballads recorded in 1973 is drummer Michael Silva--Scott plays her own bass lines on the pedals (barefoot) without doubling on the left hand, which leaves her left hand free to do the sort of things the guitar player does in most organ groups. This set isn't recommended for those who want a hot party set of burners and blues (although she does turn up the heat on several cuts), Scott does err on occasion of being too show-offish in her virtuosity (or coming very close to sounding soap operaish) and Barbara Dennerlein fans will find it all too mainstream-sounding, but if you want some really pretty organ jazz (and yes, it is possible) and just some solid organ playing, you'll find it here from a woman who should be better known in the jazz world. And if you're wondering why the B-3 sounds a little different, that's because Scott uses both a Leslie speaker and the speaker Hammond preferred people used, which gives the B-3 a little bit of churchiness, even when the Leslie is on full speed.

VA • The Very Best Of 'This Is Acid Jazz' - A 10 Year Celebration

Review by Jason Birchmeier

The Very Best of This Is Acid Jazz: A 10 Year Celebration finds Instinct Records digging deep into its archive of This Is Acid Jazz compilations to assemble this double-disc best-of. The first disc focuses on the years 1991-1996 and collects all the classics -- tracks like Exodus Quartet's "What's That" that helped jump-start the acid jazz movement. The second disc compiles songs from the years 1997-2001, featuring well-known tracks like United Future Organization's "Somewhere" and Jimpster's "Topics in Groove." If you've always been curious about this long-running series of albums, this best-of is the perfect place to begin. It sorts through the clutter for you. However, if you already own a number of the This Is Acid Jazz compilations, you might want to hold off on this best-of since it reprises the best songs from those albums rather than presents new music.