martes, 31 de octubre de 2017
lunes, 30 de octubre de 2017
It is a shame that Stuff Smith did not live to see the revival of interest in swing violin due to his premature death in 1967, almost three decades prior to the passing of fellow violinist Stephane Grappelli. Almost all of Smith's recordings languished out of print until a two-CD set finally appeared on Verve, soon followed by this more complete four-CD Mosaic collection of Smith's recordings for the label, which adds three completely unissued sessions and five additional previously unreleased tracks.
The first two studio dates were scheduled for release but never put out by Verve, yet the music is simply astonishing. Smith is in top form throughout all ten sessions. The supporting cast is tremendous: pianists include Jimmy Jones, Carl Perkins, Oscar Peterson, Wynton Kelly, Shirley Horn (who was overlooked and credit was originally given to John Eaton, who likely appears on two tracks), and Paul Smith. Bassists include Red Callendar, Curtis Counce, Ray Brown, Red Mitchell, and Milt Hinton; other important musicians are Dizzy Gillespie, Barney Kessel, Alvin Stoller, J. C. Heard, Kenny Burrell, and fellow violinist Ray Nance. Smith plays quite a few enjoyable originals (including his blazing "Hillcrest," the very catchy "Calypso," and the exotic "Desert Sands"), but he also covers an extensive collection of Gershwin songs and other standards from some of the best composers of the Great American Songbook, and classic songs from the playbooks of Duke Ellington and Fletcher Henderson. While some tracks are clearly stronger performances than others, there is not one song that won't be devoured eagerly by fans of Smith's swinging jazz violin.
Ernest Aaron "Ernie" Freeman (August 16, 1922 – May 16, 1981) was an American pianist, organist, bandleader and arranger. He was responsible for arranging many successful rhythm and blues and pop records from the 1950s to the 1970s.
Fly Flying Ska was Prince Buster's second studio album. The album features many ska legends, including The Skatalites, Toots and the Maytals, Roland Alphonso, and Don Drummond among others.
domingo, 29 de octubre de 2017
Ballads captures Grant Green in a mellow mood, offering something like a portrait of an artist as a young guitarist. All seven selections are from 1960 and 1961, mostly, as the liner notes state, because Green performed ballads less often as time went on (especially as a leader). It's instructive and gratifying, then, to have pieces like "My One and Only Love" and "Nancy (With the Laughing Face)" in one place. The personnel varies quite a bit since each cut originates from a different album, though pianist Sonny Clark plays on four cuts, including the lovely "Little Girl Blue." Flutist Yusef Lateef, organist Jack McDuff, and drummer Al Harewood join in for a delicate, impressionistic rendering of "My Funny Valentine," while bassist Ben Tucker and drummer Dave Bailey add minimalist support to a moody version of "'Round Midnight." On each tune, four of which exceed seven minutes, Green takes his time developing his ideas. He can dazzle, but he'd rather hold a note or allow a phrase to linger in the air for a moment. He'd rather wring a few more blue notes out of "God Bless the Child" than impress the listener with his speed and agility. For those unfamiliar with Green's softer side, Ballads offers a fine introduction. For those in the know, Ballads conveniently collects these pieces in the same place, creating an exquisite late-night disc.
"Spiritual Movement No.3", (Bebab 250976), the third in the "Spiritual Movement" series, was released in 2012. This CD is a fascinating duo performance: a live recording of pipe organ and guitar, with surprising, yet tastefully subtle synthesizer accompaniment. Once again, most of the pieces are Barbara's own compositions, but with a nod to jazz tradition, listeners are treated to the old Dizzy Gillespie favourite "Tin Tin Deo". With this remarkable CD, Barbara works her magic, creating sublime sounds and delicate grooves, evoking a marvelous mélange of spirituality and down to earth "cool". http://www.barbaradennerlein.com/en/biography/index.php
"Movimiento Espiritual No. 3", (Bebab 250976), el tercer de la serie "Movimiento Espiritual", fue lanzado en 2012. Este CD es una actuación de dúo fascinante: una grabación en vivo de órgano de tubo y guitarra, con sorprendente, pero con buen gusto sutil acompañamiento sintetizador. Una vez más, la mayoría de las piezas son composiciones de Barbara, pero con un guiño a la tradición de jazz, los oyentes son tratados con el viejo Dizzy Gillespie favorito "Tin Tin Deo". Con este notable CD, Bárbara trabaja su magia, creando sonidos sublimes y surcos delicados, evocando una maravillosa mezcla de espiritualidad y abajo a la tierra "cool".
Review by Stephen Thomas Erlewine
Given the never-ending flood of Brian Setzer albums, it comes as a mild shock that 2011’s Setzer Goes Instru-MENTAL! is his first-ever instrumental record. And a good one it is, too. Concentrating on the pre-Beatles classics that are his lifeblood, he tears it up on “Blue Moon of Kentucky” and “Be-Bop-A-Lula,” crosses the ocean for “Cherokee,” then throws a slight curve ball by dipping his toe into bluegrass with “Earl’s Breakdown” and “Hillbilly Jazz Meltdown.” It’s enough to distinguish the album from the innumerable collections of swinging rockabilly and rocking jazz that Setzer has released since his ‘90s big-band makeover, but the best thing about the album is how it focuses squarely on Setzer’s quick picking, confirming how he is a consummate roots guitarist.
Setzer Goes Instru-Mental! is a music album by Brian Setzer, released in April 2011. The album earned Setzer a Grammy Award nomination for Best Pop Instrumental Album in 2012.
Review by Richard S. Ginell
Latin jazz collectors note: the title emphatically is Jazz at the Blackhawk, and even the most determined listener will not find an iota of Cal Tjader's explorations of Latin rhythms here. In its place, we get a sturdy set of bop-flavored workouts by Tjader's expert quartet, recorded live in San Francisco's famous long-defunct nightspot. Tjader himself often sounds like Milt Jackson as he handles the mallets fluidly through a set of standards, a pair of originals by himself and his wife, and -- appropriately enough -- a witty Baroque-like tune by his pianist Vince Guaraldi called "Thinking of You, MJQ." Eugene "The Senator" Wright (bass) and Al Torre (piano) make up the bop rhythm section, and as long as you know what you're getting, a good time can be had.
Alvin Wayne "Al" Casey (October 26, 1936 – September 17, 2006) was an American guitarist. He was mainly noted for his work as a session musician, but also released his own records and scored three Billboard Hot 100 hits in the United States. His contribution to the rockabilly genre has been recognized by the Rockabilly Hall of Fame.
miércoles, 25 de octubre de 2017
Pianist, Organist, and Bandleader Doc Watkins is based in San Antonio, Texas. Currently performing over 200 shows per year, he has quickly risen to become one of Texas’ most active and versatile artists, leading multiple groups ranging from a Hammond Organ Trio to an 18-piece big band. His latest album, The Outlaw features Watkins with his hard-swinging trio in an exciting collection of tunes ranging from Jazz to Country to original compositions.
Originally from the state of Oregon, Watkins relocated to Austin, Texas in 2003 to pursue a Master's and Doctorate in music from the University of Texas at Austin. In 2006 he relocated to San Antonio and quickly found work performing along San Antonio's legendary Riverwalk. Within less than a year, he was leading his own groups and performing full-time throughout the South Texas region. In January 2014, Watkins and his trio performed at New York City’s Carnegie Hall to a full and enthusiastic house.
Watkins currently resides in San Antonio with his wife, Jessica and their 4 children. When not on the road or in the studio, he can be found performing around town in some of San Antonio’s finest music venues, including the Majestic and Empire Theatres, Bohanan’s, and the Esquire Tavern. He is a self-declared enthusiast of Texas BBQ.
Featuring Watkins on piano and Hammond B3, Brandon Rivas on bass, and Brandon Guerra on drums, The Outlaw features fresh takes on a variety of Jazz, Country, and Blues tunes, including 3 original compositions.
domingo, 22 de octubre de 2017
Martin Denny (n. en Nueva York el 10 de abril de 1911 – f. en Honolulu el 2 de marzo de 2005) fue un músico estadounidense, intérprete de piano y compositor, mejor conocido como el "padre de la música exótica". Su trayectoria artística se prolongó hasta la década de 1980, viajó por casi todo el mundo, popularizando su estilo musical el cual estaba enriquecido por percusiones especiales (exóticas, al menos para el escucha norteamericano) y arreglos imaginativos para canciones populares de su época. Dichos temas fueron el inicio de la llamada Cultura Tiki. De las filas de su agrupación surgieron dos geniales instrumentalistas con una acentuada influencia de Denny: Julius Wechter de Baja Marimba Band y el notable percusionista y músico Arthur Lyman.
Bio completa ... https://es.wikipedia.org/wiki/Martin_Denny
Complete bio ... https://en.wikipedia.org/wiki/Martin_Denny
Martin Taylor (acoustic guitar); Alec Dankworth (guitar, double bass, percussion); John Goldie (acoustic guitar); Jack Emblow (accordion); Dave O'Higgins (saxophone); James Taylor (drums).
Buddy Rich – It’s Crazy (World Pacific)
Wynder K Frog – Jumping Jack Flash (UA)
Bobby Christian – Boogaloo (Ovation)
Roy Meriwether Trio – Jesus Christ Superstar (Notes of Gold)
Moe Koffman – James Brown’s Bag (Jubilee)
Odell Brown & the Organizers – No More Water In the Well (Cadet)
Johnny Lytle – The Snapper (Tuba)
Freddy Robinson – The Coming Atlantis (World Pacific Jazz)
Wilbert Longmire – Scarborough Fair/Canticle (World Pacific Jazz)
Ernie Wilkins Big Band – Funky Broadway (Mainstream)
Little Richie Varola – Who’s Afraid of Virginia Woolf (Verve)
Freddie McCoy – Beans and Rice (Prestige)
Brother Jack McDuff – I Can’t Be Satisfied (Atlantic)
Jimmy Smith – Sugar Sugar (MGM)
Herbie Mann – Bitch (Atlantic)
Selection by / Compilado por:
sábado, 21 de octubre de 2017
Charlie Feathers: Aunque en su momento no fue reconocido, como padre del rockabilly, hay que decir que fue compositor de gran parte de canciones que dieron fama a otros cantantes, entre ellos por ejemplo Elvis Presley.
Mac Curtis: Born in Fort Worth, Texas, Curtis began playing guitar at the age of 12, entering local talent competitions. He moved to Weatherford in 1954, and while there he formed a band with two classmates, Jim and Ken Galbraith. They played at school events, but during one of the events, their show was shut down due to sexually suggestive on-stage movements. Instead, the group played locally, and in 1955 they were offered a deal with King Records, who released their debut single, "If I Had Me a Woman". Soon after Alan Freed heard the group and invited them to play on his Christmas radio special in 1956. He returned to Weatherford to finish school in 1957, and then became a disc jockey in Seoul, Korea after joining the military. Upon his return in 1960, he continued work as a DJ in the South, and released a few albums; his 1968 release, The Sunshine Man, hit #35 on the U.S. Country albums chart. As rockabilly grew in popularity in the 1970s, he began recording with Ray Campi and signed to European label Rollin Rock; his career took off there in the 1980s and 1990s. He was later elected to the Rockabilly Hall of Fame.
This is the one Ultra Lounge CD that sees the most play in my CD rotation. It sets the tone for any activity, be it just staring into the trees through my living room window or driving to work on a day when I don't feel well. I always find it hard to critique Ultra Lounge CDs song by song, since I tend to analyze a lounge CD more by its overall feel than by how one particular song makes me react. But this one is really a great place to start the Ultra Lounge collection, partly because it's the first one in the series and partly because it includes some artists that you should get to know independent of the Ultra Lounge compilations: Martin Denny and Les Baxter. These guys really stand out among lounge artists, and their styles are very unique. Overall the collection, for those not familiar with the "exotica" genre, documents lounge's attempt to "go global". This mostly involved lifting themes and ideas from tropical or island music, and the result was a sub-genre that I find delightful! It is more evocative than a lot of other lounge music and is an essential if you own a pool or give a lot of cocktail parties.
jueves, 19 de octubre de 2017
A very versatile virtuoso, Dick Hyman once recorded an album on which he played "A Child Is Born" in the styles of 11 different pianists, from Scott Joplin to Cecil Taylor. Hyman can clearly play anything he wants to, and since the '70s, he has mostly concentrated on pre-bop swing and stride styles. Hyman worked with Red Norvo (1949-1950) and Benny Goodman (1950), and then spent much of the 1950s and '60s as a studio musician. He appears on the one known sound film of Charlie Parker (Hot House from 1952); recorded honky tonk under pseudonyms; played organ and early synthesizers in addition to piano; was Arthur Godfrey's music director (1959-1962); collaborated with Leonard Feather on some History of Jazz concerts (doubling on clarinet), and even performed rock and free jazz; but all of this was a prelude to his later work. In the 1970s, Hyman played with the New York Jazz Repertory Company, formed the Perfect Jazz Repertory Quintet (1976), and started writing soundtracks for Woody Allen films. He has recorded frequently during the past several decades (sometimes in duets with Ruby Braff) for Concord, Music Masters, and Reference, among other labels, and ranks at the top of the classic jazz field. In 2013, Hyman teamed up with vocalist Heather Masse for a set of standards on the Red House label called Lock My Heart. ~by Scott Yanow
Review by Thom Jurek
In England in the 1960s, Harriott was something of a vanguard wonder on the order of Ornette Coleman. And while the comparisons flew fast and furious and Harriott was denigrated as a result, the two men couldn't have been more different. For one thing, Harriott was never afraid to swing. This work, written and directed by Mayer, offered the closest ever collaboration and uniting of musics East and West. Based almost entirely in the five-note raga -- or tonic scale that Indian classical music emanates from -- and Western modalism, the four ragas that make up the suite are a wonder of tonal invention and modal complexity, and a rapprochement to Western harmony. The band Harriott assembled here included his own group -- pianist Pat Smythe, bassist Coleridge Goode, and drummer Allan Ganley -- as well as trumpeter Kenny Wheeler, flutist Chris Taylor, Diwan Mothar on sitar, Chandrahas Paiganka on tamboura, and Keshan Sathe on tabla, with Mayer playing violin and Harriott on his alto. Of the four pieces, the "Overture" and "Contrasts" are rooted in blues and swing, though they move from one set of ascending and descending notes to the other, always ending on the tonic, and involve more than the five, six, or seven notes of Indian classical music, while the latter two -- "Raga Megha" and "Raga Gaud-Saranga" -- are out to lunch in the Western musical sensibility and throw all notions of Western harmony out the window. The droning place of the tamboura and the improvising sitar and alto shift the scalar notions around until they reflect one another in interval and mode, creating a rich, mysterious tapestry of sonic inquiry that all but folds the two musics into one another for good. Amazing.
Review by Michael G. Nastos
Recorded in the great year of music and especially jazz -- 1957 -- Herbie Mann at the time was gaining momentum as a premier flute player, but was a very competent tenor saxophonist. Teamed here with the great alto saxophonist Phil Woods and criminally underrated vibraphonist Eddie Costa, Mann has found partners whose immense abilities and urbane mannerisms heighten his flights of fancy by leaps and bounds. Add to the mix the quite literate and intuitive guitarist Joe Puma, and you have the makings of an emotive, thoroughly professional ensemble. The legendary bass player Wilbur Ware, who in 1957 was shaking things up with the piano-less trio of Sonny Rollins and the group of Thelonious Monk, further enhances this grouping of virtuosos on the first two selections. Ware spins thick, sinuous cables of galvanized steel during the Mann penned swinger "Green Stamp Monsta!" with the front liners trading alert phrases, and into his down-home Chicago persona, strokes sly, sneaky blues outlines surrounding Mann's tenor and the alto of Woods in a lengthy jam "World Wide Boots." Bassist Wendell Marshall and drummer Bobby Donaldson step in for the other six selections, with three originals by Puma set aside from the rest. "One for Tubby" (for Brit Tubby Hayes) has Mann's flute in a gentle tone as Woods and Costa chirp away while keeping the melody going. The midtempo bopper "Who Knew?" (P.S.; the phrase was coined long ago before its contemporary hipness) is shaded by Costa and deepened by the colorful saxes, and the excellent "Opicana," is a complex and dicey chart, showing the most inventive side of this group and Puma's fertile imagination. You also get the quintessential bop vehicle "Yardbird Suite" with the classic flute and vibes lead spurred on by the alto talkback of Woods. An early version of the enduring, neat and clean bop original "Squire's Parlor" from the book of Woods in inserted. Costa's "Here's That Mann," brims with swing and soul from the perfectly paired, harmonically balanced saxes, demonstrably delightful as the horns, especially the celebrated altoist, step up and out.
Review by Richard S. Ginell
First released on LP in 1980, this compilation concentrates upon bite-sized samples from Vince Guaraldi's Fantasy catalog. Naturally, Fantasy includes famous tunes like "Cast Your Fate to the Wind" and "Linus and Lucy," but there are also some superb sleepers ("Star Song," Jobim's "Outra Vez") that display Guaraldi's wonderful melodic gift, and the sessions with Bola Sete are touched upon. As a chronicle of Guaraldi's Fantasy days, the set is somewhat incomplete, for it leaves out all material recorded prior to "Cast Your Fate" and Guaraldi isn't given much of a chance to stretch out. But this is definitely the place to start for someone who has not heard this whimsically inventive pianist.