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sábado, 4 de marzo de 2017

Claus Ogerman • Soul Searchin'

It's really only a short time since Soul emerged from an "in" kind of music and exploded as the "Third World Force" (musically speaking, of course) from America. Ray Charles wrote and recorded What'd I Say. Then it all happened.
I regard Soul as the "Third Force of Music" W ("Pop" rates Number 1, "Jazz" Number 2) from America because there is hardly a jukebox or radio or dance hall in Paris or London, Tokyo or Timbuktu, that programs without it. Soul is vibrant and fresh, emotional and sophisticated. It is stirring; soul-stirring.
For five years now I have had a close identification with a great many of the Soul artists. I arranged and conducted for Dinah Washington, Ben E. King, The Drifters, Solomon Burke, Jimmy Smith and so many others. My rapport with them sparked the idea to record this album of famous and authentically arranged instrumentals.
Here is Soul Searchin', my musical tribute to Soul. As I hear it, it is a brew of rhythm and blues and jazz-oriented emotion. It blends the exceptional excitement of heat with heart. It swaggers and boils. It sustains moments of meaning. It feels good.
When I listen to Ray Charles I get the message. It is loud and clear in his writing, his singing and his performance on piano and occasionally on alto saxophone. What'd I Say, naturally, is included in this album.
There are other well-known Soul songs dedicated to the artists who made them famous. We include Green Onions which was first recorded by Booker T. and the M.G.'s; Comin Home Baby, which Mel Torme did originally (I arranged and conducted his record); Fever, launched by Little Willie John; House of the Rising Sun from The Animals; Shindig from The Shadows; The Sidewinder, which gained note from the Lee Morgan record; Vinny Bell started The End of the Line; Memphis is a tribute from Chuck Berry and Watermelon Man found its beginning with Mongo Santa-Maria. Soul Searchin' and Tell It As It Is are original compositions.
This, then, is Soul Searchin', an instrumental album dedicated to Soul and the sense of good feeling it has spread around the world. This Soul music reaches the hearts of young dancers. It's stimulating, pulsating, with a rhythm common to "Soul Searchers" everywhere. The young enthusiasts who have made Soul music their own may dance in the spirit of Soul to our instrumental variations of their Soul favorites.
It's really only a short time since Soul has locked the world in a passionate embrace. I share the great enthusiasm for it. Soul Searchin' is my dedication to it.
CLAUS OGERMAN - © 1965, Radio Corporation of America

Review by Tony Wilds
Of Claus Ogerman's four mod albums for Victor, Soul Searchin' is a favorite for many because the theme, and certainly the tunes, are hip. As Ogerman's liner notes explain, he ranks soul third in significance after pop and jazz. In any case, Ogerman does a competent job covering all these songs; the title track (an Ogerman original) can be called funky, even. A large factor is Dick Hyman's Lowrey organ; his facility with both jazz and soul is in full evidence here. "The End of the Line" was a hit for Vinnie Bell, but the greater significance is that it was written by Pat Williams and Phil Ramone. The Ogerman albums on Victor share a great deal with the mod albums on Verve by Williams, Kai Winding, and others. Veering away from pop and toward soul-jazz, Soul Searchin' has a peppy jazz-boogaloo beat that feels neither constrained nor ponderous. The surprise is that it works.

A1 Soul Searchin'
A2 House Of The Rising Sun
A3 Comin' Home Baby
A4 The End Of The Line
A5 Tell It As It Is
B1 Green Onions
B2 The Sidewinder
B3 Fever
B4 Memphis
B5 Watermelon Man
B6 Shindig

 67 MB / mp3-320Kbps

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