lunes, 31 de julio de 2017
By JACK BOWERS
Learning to play guitar once is hard enough. Having to do it twice is truly mind-boggling. Pat Martino, who has done that and more during a career with more twists and turns than an Agatha Christie novel, has vanquished adversity time and again and remains, at age sixty-seven, one of the world's preeminent jazz guitarists. This point of view is Undeniable on Martino's latest album, recorded live in June 2009 with his working group at Blues Alley in Washington, DC.
That Martino is playing at all is close to a miracle, as surgery for a brain aneurysm in the early '80s saved his life but robbed him of his memory. The one-time wunderkind went back to the drawing board, relearned how to play his chosen instrument from scratch, and returned to the recording studio in 1987 to produce his first "post-operative" album, The Return (Muse Records, 1994). Martino has stayed active ever since, returning to his roots with an organ-based group that mirrors his early successes with such legendary lions of the Hammond B-3 as Jack McDuff, Don Patterson and Trudy Pitts (who's featured on Martino's first album as a leader, El Hombre [OJC, 1967]).
The B-3 maestro on this date is Tony Monaco, whose soulful declamations emphatically complement Martino's bluesy peregrinations. They share the bandstand with the always-inventive tenor saxophonist Eric Alexander, who's never met a groove he couldn't master, and the versatile drummer Jeff "Tain" Watts, who sizes up the group's disparate parts and welds them securely together. The program consists of half a dozen Martino originals and Thelonious Monk's venerable "'Round Midnight," on which Martino's guitar has the solo spotlight to itself. The blues predominates, as might be envisioned at a venue named Blues Alley, with everyone down and dirty on "Lean Years," "Goin' to a Meeting," "Double Play," and Midnight Special." There's an easy swing to the other numbers, "Inside Out" (where Martino's guitar and Alexander's tenor open with a charming unison riff) and "Side Effect," an effective finale that features more of Martino's incomparable ad-libbing and yet another incisive statement by Alexander.
For a live recording, sound and balance are exemplary and the audience is responsive but never intrusive. What is most Undeniable, however, is that Martino remains at the top of his game and leads a quartet that can stand its ground with anyone.
Les Paul was coaxed briefly out of his musical retirement in 1967 to put together an album for London's audiophile Phase Four label -- and who better than this audio pioneer? But rather than use the opportunity to redefine himself as a progressive force in a different decade, Les meekly responded with a series of remakes of his earlier Capitol hits -- this time without the help of now-ex-wife Mary Ford. The tracks he originally recorded with Mary are rearranged completely for multiple guitars; only the spectacular "Tennessee Waltz" gains in the translation. The solo tracks for Capitol are remade with all kinds of fascinating stereo effects, but, with the exception of "Caravan," otherwise follow the original blueprints with a few embellishing touches. The only two bits of new material are credited to a writer named Manners: "The System," which went nowhere as a single, is a rare example of Les playing rock & roll, and "Los Angeles" is just a rewrite of Les' hit "Meet Mr. Callaghan." While it was nice to find Les back in action at the time, this record sounds like warmed-over goods. by Richard S. Ginell
domingo, 30 de julio de 2017
1 Reuben Wilson – Bus Ride
2 Jack McDuff – Hunk O' Funk
3 Reuben Wilson – Hot Rod
4 Jimmy McGriff – The Bird Wave
5 Stanley Turrentine – Boogaloo
6 Larry Young – Heaven On Earth
7 Eddie Gale – Black Rhythm Happening
8 John Patton – String Bean
9 Richard "Groove" Holmes – Groovin' For Mr.G
10 Elvin Jones – Round Town
11 Andrew Hill – Soul Special
12 Donald Byrd – Blackjack
13 Candido – Serenade To A Savage
sábado, 29 de julio de 2017
viernes, 28 de julio de 2017
Review by Scott Yanow
During the last few years of his life, guitarist Joe Pass enjoyed having reunions with the same musicians who played with him 25 years earlier for the classic For Django recording: rhythm guitarist John Pisano, bassist Jim Hughart and drummer Colin Bailey. This 1989 recording could almost be called For Django 2, for it is the same vein as the original. Pass takes his remake of "For Django" unaccompanied and performs four of Django's tunes, along with five standards from the 1930s and three originals. Pisano, who was instrumental in organizing the session and the repertoire, sticks to acoustic guitar, while Pass alternates between acoustic and electric. Although Joe Pass' main influence was Charlie Christian and he really does not sound like Reinhardt, he manages to evoke the spirit of Django while swinging in his own fashion. It is particularly nice hearing such tunes as "Belleville," the haunting "Tears" and "For Django" in newer versions.
Originally released on Verve (8552). Includes liner notes by Al Clarke. Digitally remastered using 22-bit technology by Suha Gur (Polygram Studios). With a fat, dynamics-busting horns and woodwinds section utterly transforming the standard sound of Jimmy Smith's trio, ANY NUMBER CAN WIN may bear more of a resemblance to Henry Mancini than to the rootsy grooves one has come to expect from Smith. Which is not to say that the disc doesn't swing; quite the opposite. Smith's Hammond organ sound is oozy enough to liquefy bones, and his powerful, syncopation-addicted right hand intensifies the effect. Guest musicians turn in fine performances, including guitarist Kenny Burrell and the 20 or so members that make up the larger ensemble. The mood of ANY NUMBER CAN WIN alternates from the finger-popping big band interlude of "You Came A Long Way From St. Louis," to slinky boogie-inducers like "The Ape Woman" and the title track (theme song from an MGM movie), ballads like "Georgia On My Mind" and cool electric blues like "The Sermon" and the cover of Ray Charles "What'd I Say?" While perhaps a bit too uber-groovy for jazz purists, those who are looking for instrumental a-go-gos in true swinging 60's style won't be disappointed in this release. One of Verve's most popular discs, recently re-issued on Verve By Request. This is part of Verve's By Request series. Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey in July 1963. Personnel: Jimmy Smith (organ); Vincent Bell, Kenny Burrell, Billy Mure (guitar); Phil Woods (woodwinds, saxophone, alto saxophone); Seldon Powell, Budd Johnson (woodwinds, saxophone, tenor saxophone); Jerome Richardson (woodwinds, alto saxophone, tenor saxophone, baritone saxophone); Marvin Halladay (woodwinds, baritone saxophone); Marvin Holladay (saxophone); Bob Bushnell (trumpet, electric bass); James Sedlar, Joe Newman , Snooky Young, Jimmy Maxwell, Charlie Shavers (trumpet); Jimmy Cleveland, Kai Winding, Melba Liston, Paul Faulise (trombone); Bob Bushness (keyboards); Bob Richardson, Mel Lewis, Ed Shaughnessy, Bobby Donaldson, Herb Lovelle (drums); George Devens, Art Marotti, Doug Allan, Doug Allen (percussion). Liner Note Author: Al Clarke. Recording information: New York, NY (07/10/1963-07/29/1963); Van Gelder Recording Studio, Englewood, CA (07/10/1963-07/29/1963). Photographers: Murray Laden; Lee Friedlander. Arrangers: Claus Ogerman; Billy Byers. Personnel: Jimmy Smith (organ); Claus Ogerman, Billy Byers (arranger, conductor); Jimmy Maxwell, Joe Newman, James Sedlar, Charlie Shavers, Snooky Young (trumpet); Jimmy Cleveland, Paul Faulise, Melba Liston, Kai Winding (trombone); Jerry Dodgion, Marvin Hallady, Budd Johnson, Jerome Richardson, Seldon Powell, Phil Woods (woodwinds); Kenny Burrell, Vince Gambella, Billy Mure (guitar); Art Davis, George Duvivier, Milt Hinton (bass); Bob Bushnell (electric bass); Bobby Donaldson, Mel Lewis, Ed Shaughnessey (drums); Doug Allen, George Devens, Art Marotti (percussion).
Stereophonic Space Sound Unlimited are a Swiss instrumental band on the Dionysus Records label. They have released several albums. Their work has been used in American television shows such as The Chris Isaak Show, and they have created film soundtracks featuring their distinctive sound.
jueves, 27 de julio de 2017
La música exótica (http://en.wikipedia.org/wiki/Exotica) se generó en los '50, refiriendose a aquella música no nativa de los Estados Unidos y por extensión de la música "occidental", comprendiendo sonidos orientales, polinesios, africanos, etc.. Si bien el término música exótica se oficializa alrededor de 1957, antes Korla Pandit ya estaba entre los pioneros. Pero quien es Korla Pandit?
Nota de doctormagenta.blogspot.com.ar
Korla Pandit fue pionero del género exótica de principios de los años 50. La fascinación de toda una generación de entre guerras con los ritmos y armonías de un Shangri-La pre-sicodélico e imaginario que tiene de africano, polinesio, inca y mesoamericano. La onda Tiki: El sincretismo musical (que precede a la globalización) habría de llegar a la moda, el diseño interior y gráfico y el cine. Si bien Korla introdujo el sonido del Hammond B-3 y el Theremin, luego vendrían los experimentos electroacústicos de Les Baxter, Martin Denny y el mexicano Esquivel. Acicalado con turbante blanco y gema en el bonete, Korla (de mirada hipnótica) era dueño de un estilo entre noir y ciencia-ficción que enloquecería a las amas de casa de aquella época macartista (las que no imaginaban que el extravagante Pandit no era de origen hindú, sino un mulato de Mississippi).
Para fines de los 50 la estrella de Korla se apagaba con lo que David Hickey ha llamado “la novedad asexual del fenómeno Liberace”. Durante los 60 se podía oír el show de Pandit en los pequeños tugurios de la ciudad de Los Ángeles. Luego desapareció por completo hasta que Tim Burton le dio su último rol estelar en el filme Ed Wood. (Se rumora que fiel a sus raíces, Korla murió en su casa en Santa Rosa, California, vistiendo su atuendo blanco de siempre).
Exotic music (http://en.wikipedia.org/wiki/Exotica) was generated in the 50's, referring to that music not native to the United States and by extension of "western" music, comprising Eastern, Polynesian sounds , African, etc. Although the term exotic music was officialized around 1957, before Korla Pandit was already among the pioneers. But who is Korla Pandit?
Note from doctormagenta.blogspot.com.ar
Korla Pandit pioneered the exotic genre of the early 1950s. The fascination of a whole generation between wars with the rhythms and harmonies of a pre-symbiotic and imaginary Shangri-La that has African, Polynesian, Inca and Mesoamerican. The Tiki wave: Musical syncretism (which precedes globalization) would come to fashion, interior and graphic design and film. While Korla introduced the sound of Hammond B-3 and Theremin, then came the electroacoustic experiments of Les Baxter, Martin Denny and Mexican Esquivel. Dressed in a white turban and a gem on the bonnet, Korla (hypnotic gaze) owned a style between noir and science fiction that would drive the housewives of that McCarthy age (those who did not imagine that the extravagant Pandit was not Indian origin, but a Mississippi mulatto).
By the late 1950s Korla's star was dying out with what David Hickey called "the asexual novelty of the Liberace phenomenon." During the 60's you could hear the Pandit show in the small slums of the city of Los Angeles. Then it disappeared completely until Tim Burton gave him his last star role in the movie Ed Wood. (Rumored to be true to his roots, Korla died at his home in Santa Rosa, California, wearing his usual white outfit).
Especially inspired by guitarist Bill Jennings and organist Wild Bill Davis, Flory swings relentlessly, often serving up a generous blues helping. On this recording he opts for the organ trio format, relying on the talents of B-3 pilot Mike LeDonne and drummer Mark Taylor.
The tunes themselves, generally not associated with the organ trio, constitute one of the more obvious aspects that set this album apart. "Comes Love" gets a Latin make over and finds Flory swinging hard over clave rhythm rim shots and a lush organ cushion. He particularly burns on Basie's "Taps Miller," a brisk rhythm changes workout that also features LeDonne's fancy footwork on the B-3's pedals and Taylor's tight, succinct fills. But Flory can also play it soft and sensitive, as he demonstrates on "I'm A Fool To Love You," where he renders the melody with lyrical single notes and octaves before taking the tempo up a notch for the solos. A grooving, refreshing blend of tradition, subtle creativity, and fiery fretwork.
The Ventures es una banda de surf rock y rock instrumental estadounidense formada en 1958, en Washington por Don Wilson y Bob Bogle, conocida por sus clásicos como "Walk Don't Run" o ‘’Wipe Out”, el tema de 007, James Bond, incluyendo las series de Hawaii 5-0 y Swat. Ingresaron al Salón de la Fama del Rock en 2008 y han vendido cerca de 100 millones de discos a nivel mundial
The Ventures are an American instrumental rock band formed in 1958 in Tacoma, Washington. Founded by Don Wilson and Bob Bogle, the group in its various incarnations has had an enduring impact on the development of music worldwide. With over 100 million records sold, the group is the best-selling instrumental band of all time. In 2008, the Ventures were inducted into the Rock and Roll Hall of Fame.
At only eighteen years old, Hammond B3 specialist Kevin Coelho has already released two albums. His first Funkengruven in 2012 and his brand new disc Turn It Up.
On Turn It Up Coelho is helped out by Derek DiCenzo (guitar) and Reggie Jackson (drums). The trio add their jazzy soul inflected touches to famous standards like "When Johnny Comes Marching Home" and "Georgia On My Mind" and even tackle some pop rock classics like the Beatles' "Come Together". Although it may not have the same energy as the original, maybe it's the lack of vocals, there is some excellent B3 work here and they really give this one a jazz rave up. The opening track "Root Down" is another good one featuring bubbling Hammond fills and a funky rhythmic groove. Prince's "Soft And Wet" is given that extra soul with some scintillating Hammond and lead guitar while the Coelho penned "Zig Zag" is an upbeat R&B rocker featuring Jackson's excellent work on the skins. Not sure how necessary the bonus tracks are but this is still a fine jazz/R&B album.
Kevin Coelho plays the Hammond well beyond his years. He is already an excellent improviser and arranger and will only get better over time. There is no telling how bright his star will shine.
The Three Sounds were one of the most popular artists on Blue Note Records during the late '50s and '60s, thanks to their nimble, swinging, blues-inflected mainstream jazz. Since their records sounded interchangeable and their warm, friendly jazz was instantly accessible, many critics dismissed the group at the time as lounge-jazz, but in the '90s, critical consensus agreed that the group's leader, pianist Gene Harris, was an accomplished, unique stylist whose very ease of playing disguised his technical skill. Similarly, his colleagues, bassist Andrew Simpkins and drummer Bill Dowdy, were a deft, capable rhythm section that kept the group in an appealing, bluesy groove. That groove was so appealing that The Three Sounds maintained a large fan following into the late '60s. During the group's prime period -- from their 1958 debut for Blue Note to the departure of Dowdy in 1967 -- The Three Sounds cut an enormous number of records. Many records hit the shelves, while others stayed in the vaults, to be issued at a later date. Through it all, the trio's sound remained essentially the same, with no real dip in quality until the group began to splinter in the late '60s.
Review by Matt Collar
Impressions collects tracks from four of guitarist Pat Martino's best Muse albums from the '70s, including 1974's Consciousness, 1975's Footprints, 1976's We'll Be Together Again, and 1977's Exit. From Martino's most well-known and perhaps most creative period, these albums found the technically deft musician tackling everything from American popular song to jazz standards and his own superb original compositions. Completists will most likely want to seek out the original albums, but as an introduction to Martino's work, Impressions is as good a place to start as any.
Martin Gold (December 26, 1915 – January 14, 2011) was a composer, pianist, and bandleader born in New York City, New York. He was the pianist and arranger for the Korn Kobblers, a popular 1940s novelty group billed as "America's most nonsensical dance band", but was probably best known as the composer of the song "Tell Me Why", which was a hit for The Four Aces in 1951.
Mr. Gold also arranged, conducted, and recorded for RCA Victor light orchestral "mood music" pieces utilising fully the possibilities of the newly developed Stereophonic sound, with whole sections of violins drifting between right and left speakers. He produced Peter Nero's first two albums for RCA and also conducted the accompanying orchestra.
Gold died on January 14, 2011, in Agoura Hills, California, at the age of 95.
Medieval Art: A Resource for Educators
This resource presents medieval art in the Museum's collection from Western Europe and Byzantium and provides strategies for teaching art of the Middle Ages. Among the contents are an overview of medieval times and art; a discussion of aspects of medieval life, including knighthood and monasticism; information on materials and techniques; lesson plans; a map; a glossary; and a bibliography.
The Metropolitan Museum of Art's teacher-training programs and accompanying materials are made possible through a generous grant from Mr. and Mrs. Frederick P. Rose.
pdf / ingles / 194 págs.
miércoles, 26 de julio de 2017
by Richard S. Ginell
The MJQ made their annual Christmas gig at New York's Town Hall one year, and who should show up after intermission but Paul Desmond, who would hardly bring himself to play with anyone in those days, save a Creed Taylor record date or two. The cool classical modernists and the dry-martini altoist are not unexpectedly a close fit -- after all, Percy Heath and especially Connie Kay had been fixtures on Desmond's solo sessions -- and they do some relaxed swinging turns on some congenial standards, adaptations of P.D. tunes ("La Paloma," "Greensleeves", one current hit ("Jesus Christ Superstar" in a cute John Lewis arrangement), and the inevitable "Bags' Groove" (here entitled "Bags' New Groove". Again, Desmond softly intones perhaps his favorite standard in the repertoire (he recorded it countless times), "You Go to My Head," tumbling contrapuntally around Milt Jackson in the tune, while "East of the Sun" has a fine chase sequence between the two down the stretch. Though they had been friends since the 1950s, this was apparently the only time the MJQ and Desmond ever performed in public, making this one-off album (issued well after Desmond's death through Lewis's efforts) a thing to savor for fans of all five musicians.
martes, 25 de julio de 2017
The Hungarian-born jazz guitar legend was at the peak of his career in 1974, when he first visited his abandoned homeland after 18 years of absence. He was invited by the Hungarian Television to record a few tracks with session musicians of his choice. The project came to life in September 1974, when six artists gathered in a studio of the Hungarian Radio and gave an hour-long, live concert. The program was compiled mostly of material from Szabo’s albums published in the West, as well, as arrangements of Hungarian and international pop hits. The sessions’ television broadcast was quite a success that in fact officially introduced this great artist to his homeland’s audience.
Melvin Davis has understood the power of his hands to transport the sound of instruments from his imagination to a concert hall or nightclub dating back to his childhood. He played his first piano recital at 9, and at 15, when cats his age were learning how to charm young ladies, Davis was sneaking into local night clubs, hoping to charm the Hammond B3.
But 29 years ago, Davis lost the ability to play with his hands. A freak accident ripped a finger from his left hand, which was also split diagonally. He needed eight painful years and seven grueling operations to rehabilitate that hand and those fingers before he could play again. Even his brain underwent reconstruction. It had to adjust to Davis now playing bass with his left, chords and melodies with his right; the opposite way he learned and opposite the way most musicians play. 'Revealed' is his third release as a leader
Melvin Davis ha entendido el poder de sus manos para transportar el sonido de los instrumentos de su imaginación a una sala de conciertos o un club nocturno que se remonta a su infancia. Tocó su primer recital de piano a los 9, ya los 15, cuando los gatos de su edad estaban aprendiendo cómo encanto señoritas, Davis fue furtivamente en clubes nocturnos locales, con la esperanza de encanto el Hammond B3. Pero hace 29 años, Davis perdió la posibilidad de tocar con las manos. Un extraño accidente arrancó un dedo de su mano izquierda, que también fue dividida en diagonal. Necesitaba ocho años dolorosos y siete operaciones agotadoras para rehabilitar esa mano y esos dedos antes de que pudiera volver a tocar. Incluso su cerebro se sometió a la reconstrucción. Se tuvo que adaptarse a Davis ahora tocando el bajo con la izquierda, acordes y melodías con su derecho; en sentido contrario se enteró y frente a la manera tocar la mayoría de los músicos. "Revelado" es su tercer lanzamiento como líder
Jackie Davis (December 13, 1920 – November 2, 1999) was an American soul jazz singer, organist and bandleader. He is notable for his contributions in bringing the Hammond organ to the forefront of jazz and pop, preceding the better-known Jimmy Smith by several years.
Davis was born and grew up in Jacksonville, Florida, and started playing piano at the age of ten, before studying music at Florida A&M. He experimented with jazz on the pipe organ, before switching to the Hammond. He was influenced by Wild Bill Davis and Bill Doggett, and after a spell backing Louis Jordan, he started fronting his own jazz groups.
His solo career began in earnest after a residency at the Club Harlem in Philadelphia in 1951, and from there he began touring across the US, with the Hammond now being his trademark. He notably preceded Jimmy Smith in using the instrument in small jazz combos. Regular touring led to a recording contract with Capitol, with whom he recorded several albums. His initial sessions were on a Model B, but by the time he recorded Hi-Fi Hammond Vol.2, he had upgraded to the classic B-3.
In the 1960s, he signed to Warner Bros. Records, releasing Easy Does It as The Jackie Davis Quartet, following it up with Jackie Davis Plus Voices, which also featured the Sid Bass Chorus on backing vocals. For this album, Davis put more of an emphasis on his vocal skills, using the Hammond sparingly.
He made a brief comeback in 1980, recording a self-titled album for EMI, and making a cameo appearance in the film Caddyshack as the country club valet Porterhouse. He kept Jacksonville as his homebase and died on November 2, 1999 following a stroke.
While Davis is remembered mostly as a jazz organist, he was capable of a wide variety of styles, though he himself preferred to focus on jazz. In 1963, in an interview for the Hammond Times, he thought "the term 'jazz' is vastly overworked and misused ... Basically, jazz is a style of making music." He felt that the Hammond gave him the versatility he needed to emulate the sound of a big band in a small group. Author and Hammond enthusiast Scott Faragher feels that Davis' recorded output has been overlooked because it sounds dated, but stresses his importance in giving the Hammond recognition in the jazz and pop world should not be underestimated.
Shirley Scott stated her playing was influenced by Davis, claiming he knew "everything about the Hammond organ" and was impressed with his ability to manipulate the instrument.