egroj world: noviembre 2017

miércoles, 29 de noviembre de 2017

Sidney Bechet • Joue Noel

Sidney Bechet recorded these four Christmas songs on December 10 and 12, 1958, accompanied by Jean-Claude Pelletier, organ, Claude Gousset, trombone, Alix Bret, bass and Kansas Fields on drums. Less than six month later, Sidney Bechet died in Paris from lung cancer on May 14, 1959, on his 62nd birthday.

While these Holiday tunes might not be considered cream of the crop by some jazz fans, Sidney Bechet did not record a bad song in his lifetime. He even pulled off a spirited version of White Christmas….

Earl Bostic • Dance Music From The Bostic Workshop

VA • The Specialty Story #5

martes, 28 de noviembre de 2017

Wes Montgomery • Full House

Full House is the seventh album and first live jazz album by American jazz guitarist Wes Montgomery, released in 1962.
The performance was recorded live at Tsubo in Berkeley, California on June 25, 1962. The session featured a quintet that included Wynton Kelly on piano, Johnny Griffin on tenor saxophone, Paul Chambers on bass, and Jimmy Cobb on drums.

Bill Doggett • Gon' Doggett

With his instrumental hit "Honky Tonk" in February 1956, Bill Doggett (born William Ballard Doggett) created one of rock's greatest instrumental tracks. Although it generated scores of offers to perform in rock & roll clubs throughout the United States, Doggett remained tied to the jazz and organ-based R&B that he had performed since the 1930s. Continuing to record for the Cincinnati-based King label until 1960, he went on to record for Warner Brothers, Columbia, ABC-Paramount and Sue. His last session came as a member and producer of an all-star jazz/R&B group, Bluesiana Hurricane in 1995.

Slim Harpo • Buzzin' The Blues - The Complete Slim Harpo #3

lunes, 27 de noviembre de 2017

Jimmy Smith Trio • Paris Jazz Concert (Salle Pleyel 1965)

Ray Brown ‎• Jazz Cello

On the last day of August and the first day of September 1960, bassist Ray Brown recorded his third album for the Verve label, focusing most of his attention upon the cello while Joe Mondragon handled the bass. The 11-piece band on this date was conducted by arranger Russ Garcia and included reed players Paul Horn and Bob Cooper as well as pianist Jimmy Rowles. The results were typical of late-'50s West Coast mainstream jazz: familiar ballads and friendly, uplifting standards, tidily performed. Some of the tunes reach back to the 1920s, with "Rock-A-Bye Your Baby with a Dixie Melody" serving as a surprisingly hip link with vaudeville as Brown's pizzicato maneuverings are punctuated with punchy blasts from reeds and brass. If one takes the time to place this recording within an historical context, an impressive evolution reveals itself. The first bassist to cross over to cello on records in modern times is believed to have been Oscar Pettiford, while Fred Katz popularized the warm-toned instrument through his work with drummer Chico Hamilton. The progression of jazz cellists since then is impressive, from Ray Brown, Sam Jones, Percy Heath and Ron Carter to Abdul Wadud, David Holland, David Darling, David Eyges and Diedre Murray. By the first decade of the 21st century, an unprecedented number of improvising cellists had appeared, making Ray Brown's 1960 Jazz Cello album seem like a sunny little episode in the foundation of a fascinating modern tradition spanning several generations.

Joe Mooney & his Quartet • Swinging Accordeon

Jazz improvisations from the accordion of virtuoso Joe Mooney backed by a wonderful quartet. The fans of jazz will be pleasantly surprised by the possibilities of the accordion as a central jazz instrument.

Peter Nero • In Person

Pearl Django • Time Flies

Pearl Django is a jazz group established in 1994 in Tacoma, Washington by guitarists Neil Andersson and Dudley Hill, and bassist David "Pope" Firman. The group's stated focus is to incorporate the music of Django Reinhardt and Stephane Grappelli with American swing music. Initially a trio, they have changed and added members over the years and are now a quintet. Based in Seattle, they have played around the United States, as well as in France and Iceland.
They played at the prestigious Festival Django Reinhardt in Samois-sur-Seine and at Juan de Fuca Festival. The have played with Martin Taylor, Bucky Pizzarelli and Gail Pettis, the two-time recipient of the Earshot Jazz ‘Jazz Vocalist Of The Year’ award. The british virtuoso Taylor turns up on three tracks of their 2011 album Eleven. Violinist Michael Gray, accordionist David Lange, bassist Rick Leppanen and guitarists Troy Chapman and Ryan Hoffman appeared 2012 live at Yoshi's San Francisco. On their 12th album, Time Flies, released 2015, all but one of the tracks are their own compositions, except one that is a classic bossa nova.

The Diplomats Of Solid Sound • Let's Cool One

Review by Mark Deming
In a world where the average person's knowledge of funk doesn't seem to go far beyond what Dr. Dre borrowed from George Clinton, it's a pleasure to have the Diplomats of Solid Sound around, who with cool and concision conjure up the shades of the Meters and Booker T. & the MG's on their 2003 album Let's Cool One. While it would be a mistake to say that Hammond handler Nate "Count" Basinger and his partners in crime are quite up to the level of their role models, they hit the target with a lot more accuracy than one might expect, and while these guys know how to brew up a percolating groove (try "Ribsticker" or "Swamp Chomp" and you'll see), they also have an admirably laid-back approach to old-school soul, knowing not to force it if it doesn't fit. Featuring 11 swank originals and a quality cover of Sly Stone's "You Can Make It if You Try," Let's Cool One doesn't stray terribly far from its influences, but these guys are just good enough to capture not just the sound but the ineffable feel of vintage instrumental soul, and they do it with taste, flair, and just the right amount of grit. And any band who not only knows enough to call a song "Pistol Allen" but makes the name-check stick must be doing something right. Cool stuff.

Martin Denny ‎• Latin Village

viernes, 24 de noviembre de 2017

Joe Pass & Tommy Gumina Trio • Sound Project

VA • Cocktail Jazz

Portadas Bizarras de Navidad / Bizarre Christmas Covers

muchas más ...    /     many more ...

Fuente / Souce:

T-Bone Walker • Feelin' The Blues

Cannonball Adderley & The Bossa Rio Sextet • Cannonball's Bossa Nova

VA • The Specialty Story #4

Vibraphonic • Acid Jazzizms

Butch Baldassari, John Carlini & Byron House • Reflections

Welcome to the world of Butch Baldassari and John Carlini, a place where acoustic string virtuosity and wide-ranging musical influences merge and diverge to create haunting aural images at once familiar and brilliantly explorational. Imagine Bill Monroe's hardscrabble roadhouse mandolin exploring both the uptown vistas of George Gershwin's elegant and romantic melodic sophistication, and the downtown modal improvisations of John Coltrane for a sense of the possibilities explored here. Reflections is filled with that kind of juxtaposition, where musical worlds collide to create their own unique planetary systems operating on rules of harmonic physics that should be contradictory, but in fact emerge as logical and elegant equations that reveal our musical common denominators.
The soloists here both have made indelible marks on today's propulsive and energetic acoustic music scene. John Carlini has been the man behind the curtain of the New Acoustic pyrotechnics, involved in everything from helping flatpicking legend Tony Rice absorb the jazz theory needed to energize his evocative playing to another level, to helping arrange and coordinate the ensemble playing of groups ranging from the David Grisman Quintet to the Nashville Mandolin Ensemble.
The latter association brought him into contact with Butch Baldassari, who in addition to being one of the true keepers of the Monroe-style bluegrass mandolin flame, has branched out to explore everything from turn-of-the-century mandolin orchestra performance pieces, Appalachian fiddle music, and his own brand of brilliant original acoustic string music.

The Original Surfaris • Bombora!

Slim Harpo • Buzzin' The Blues - The Complete Slim Harpo #2

Ken Peplowski Gypsy Jazz Band • Gypsy Lamento

This is a gypsy combo of the Django Reinhardt persuasion, rather than being fully-crazed wedding party cacophony. In fact, reedman Ken Peplowski makes matters even more specialized by concentrating on a preponderance of slow plodders rather than the frenetic hurtling that many gypsy jazz guitar outfits now prefer. The album's cover is slightly strange. Two pseudo-brides in billowing white silk cavort with a pair of goats. Is this what gypsy life entails?

Half of the compositions are written by the old Belgian guitar master Reinhardt, with Peplowski flanked by guitarists Bucky Pizzarelli and Howard Alden, which is certainly an impressive way to be surrounded. This is a world where reeds are not always invited, but Peplowski smoothly slides in his clarinet and tenor saxophone, delivering some of the most sensitive solos of his career. Pizzarelli and Alden opt for steely picking, bright with a percussive attack, but it sounds like it's the former who's taking most of the solos.

The playing, arrangements and production qualities make this a disc to savor, even though it would benefit from a few more briskly trotting numbers. Peplowski's oozing clarinet closeness on "Anouman" sinks the listener into a less familiar Reinhardt tune. Next up, his tenor tone on "Crepuscule" is magnificent; sounding like the mic is buried deep inside its velvet-lined bowels.

 Violinist Aaron Weinstein isn't around much, but when he's soloing, the impact is noticeable. He's half slick sluice, half hot friction. The guitars engage in a dialogue during "I'm Confessin,'" the leader layers up both of his horns on "Please," conversing with himself, while it's just Peplowski and Pizzarelli together for the closing "Time On My Hands." This album is an oldster's reflection, but this is no bad thing. Peplowski burns up frequently during other sessions, so a reclined set makes for a pleasurable change.

Ken Peplowski: tenor saxophone, clarinet;
Bucky Pizzarelli,
Howard Alden: guitars;
Aaron Weinstein: violin;
Frank Tate: bass;
Chuck Redd: drums.

jueves, 23 de noviembre de 2017

Ivan 'Boogaloo' Joe Jones • Sweetback

Biography by Richie Unterberger, All Music Guide
Not to be confused with Philly Joe Jones, guitarist Ivan Joseph "Boogaloo Joe" Jones recorded several albums in a soul-jazz vein for Prestige in the late '60s and early '70s. In addition to leading his own group for recording purposes, Jones also played with Wild Bill Davis, Houston Person, and Willis Jackson. His own dates are solid, if unexceptional groove jazz, leaving plenty of space for the saxes and organ, as well as his own bop/R&B hybrid style. Rusty Bryant, Charles Earland, and ace soul and jazz session drummer Bernard Purdie are among the sidemen also featured on Boogaloo's albums.

Review by Stewart Mason, All Music Guide
By 1975, soul-jazz was well into its decline, supplanted by both fusion and disco as the instrumental groove musics of the moment, and a lot of '60s soul-jazz players had made the stylistic switch. Joe "Boogaloo" Jones, on the other hand, hadn't, and this obscure 1975 release (reissued in 1996 by Luv 'n' Haight, the rare grooves subsidiary of Ubiquity Records) largely sounds as if it could have come out in 1966. The one concession to the times was in Jones' choice in covers on side two, with extended takes on Stevie Wonder's "You've Got It Bad, Girl" (really rather good, with some terse, George Benson-like solos) and Olivia Newton-John's "Have You Never Been Mellow" (which isn't a good song no matter who does it), separated by a bizarre, almost disco-tinged version of the Harry Belafonte standard "Jamaica Farewell." The three originals on side one are a much better use of Jones' undeniable talents, with the funky strut of the title track a particular highlight, but overall, Sweetback sounds like Jones is running out of ideas; unsurprisingly, it was his last album.

Black Cat Bone Blues • Jammin'

A couple of months ago I was searching the South African iTunes Store for the latest, or any album, by local blues rock act Black Cat Bones, given that it is one of the many bands whose CDs, if they ever release albums, are not available at Musica or even The African Music Store, but did not find anything by the South African outfit. Instead I came across music by a short lived British band of the same name whose main claim to fame seems to be that Paul Kossoff and Andy Kirke, later of Free, and Rod Price, later of Foghat, were briefly in the band.

I also found reference to various albums with songs called "Black Cat Bone." Finally I came across the Jammin' album of The Black Cat Bone. The tracks start with "Mannish Boy" and run through a veritable greatest hits of blues. The album cover photograph shows the band members posing in what can only be a parody of a Fifties rock and roll album cover. I had to have it, and bought it.

I could not find any other info on The Black Cat Bone, the time period within which the band was active or even the release date of Jammin'. The singer's accent sounds European and I would not be surprised if the band were of Dutch origin, or perhaps Belgian. There has been, and still is, a significant blues scene in the Lowlands and the Dutch in particular has had a number of excellent blues bands particularly from the Sixties blues boom era.

The production values are quite high and the song selection is excellent. The band comes across as dedicated to honouring the tradition and to do justice to the standards they perform. It is your basic Chicago Southside electric blues combo with the blues harp player being for the most part the most prominent soloist. The artists covered include Muddy Waters ("Mannish Boy", "Hoochie Coochie Man", and "Catfish Blues."), Magic Sam ("All Your Loving"), Buddy Guy and Junior Wells ("Messing With The Kid"), Little Walter ("My Babe"), Jimmy Reed ("Got Me Running"), Robert Johnson ("Me and the Devil") and, as finale, a cool, jazzy interpretation of B B King's "The Thrill Is Gone." There is one nod to rock 'n roll with Dale Hawkins' "Suzie Q" and instrumental "Guitar Rag."

I would imagine that The Black Cat Bone could have held their own against any White blues combo of their time. They are as authentic as one could expect from a band that does not give note perfect, awestruck renditions of the tunes they cover nor go out of their way to do something progressive with their blues. The Fabulous Thunderbirds or George Thorogood, for example, were exposed to the real thing, the old time blues guys who were still alive and performing in the formative years of the respective younger musicians who eventually carried on the tradition and also stamped their own brand on it, not only by writing their own blues classics but in the angle at which they approached the tradition and its tropes. The Black Cat Bone are the kind of bar band that play blues with a gritty enthusiasm and the earthy twelve bar joy yet are not out to challenge the tradition or reconstruct it. I would guess that groups like John Mayall, the Paul Butterfield Blues Band and Fleetwood Mac would have been contemporaries or near contemporaries of The Black Cat Bone and the other bands were absolutely not only regurgitation bluesy their idols and mentors but also bringing something new to the table. Most of the blues influenced musicians from the mid Sixties eventually found their way to hard blues rock or progressive blues in any event that took the genre to somewhere different than the Southside or the Delta mostly because of some artistic drive that forced the musicians to move beyond imitation to creativity and because progression was the name of the game back then, all kinds of fusion with blues followed. On the evidence of this one record I could not imagine The Black Cat Bone moving on from cover versions. A superior bar band will not necessarily make a good progressive band. On the other hand, it is not impossible or improbable to think that The Black Cat Bone would not have become another version of Living Blues or even Golden Earring. Fleetwood Mac mutated in to an AOR band within the space of 10 years after starting from a pretty much purist blues base.

There are plenty of albums by White blues acts who do their earnest best to do homage to their blues heroes, with greater or lesser degrees of success. Jammin' would not count amongst the top ten of those but it is on the whole pleasant and entertaining to listen to. If there is not much innovation there is no wholesale desecration of the material either. And, best of all, though the material is perhaps over familiar there is never a sense of the tedium that can destroy the soul through having to listen to yet another version of "Hoochie Coochie Man." ~Neels Van Rooyen

VA • Hammond Funk #2

Selection by / Compilado por:

Sonny Phillips,  Lonnie Smith,  Leon Spencer,  Charles Earland,  Houston Person,  Shirley Scott,   Brother Jack McDuff,  Jimmy McGriff ...

The Ventures • The Ventures Greatest Hits

Herb Hall • Old Tyme Modern

Artist Biography by Scott Yanow
Overshadowed throughout his life by his older brother, Edmond Hall, Herb Hall had a softer and smoother tone on the clarinet and was talented in his own right. The son of a clarinetist (Edward Hall) and one of five musical brothers, Herb started out playing banjo with the Niles Jazz Band during 1923-25 before switching to clarinet and alto. He played with Kid Augustin Victor's band in Baton Rouge in 1926 and in 1927 moved to New Orleans. After performing with Sidney Desvigne, Hall had a longterm association with Don Albert (1929-37 and 1938-40) including a relocation to San Antonio that lasted until 1945. Hall freelanced in Philadelphia (with Herman Autrey) and New York, was with Doc Cheatham in 1955 and toured Europe with Sammy Price (1955-56). The clarinetist frequently played at Jimmy Ryan's and Eddie Condon's club in New York during the next decade. He toured with Wild Bill Davison's Jazz Giants (1968-69), worked often with Don Ewell and in the 1970's was frequently part of Bob Greene's World of Jelly Roll Morton show. Always a reliable player, Herb Hall led an album apiece for Sackville (1969), Storyville (1970) and GHB (an 1980 set shared with Louis Cottrell).

From Wikipedia, the free encyclopedia
Herbert "Herb" Hall (March 28, 1907 – March 5, 1996) was an American jazz clarinetist and alto saxophonist.
Herb was the brother of Edmond Hall and the son of clarinetist Edward Hall. He began on banjo with the Niles Jazz Band (1923–25), then settled on reeds. In 1926 he played with Kid Augustin Victor in Baton Rouge, and moved to New Orleans the following year. He played briefly with Sidney Desvigne, then played for many years with Don Albert (1929–40), moving to San Antonio with him and remaining there until 1945.
After this he moved to Philadelphia, where he played with Herman Autrey; a few years later he was in New York, working with Doc Cheatham (1955) and did a European tour with Sammy Price (1955–56). He played often in the New York clubs of Jimmy Ryan and Eddie Condon in the late 1950s and 1960s. In 1968-69 he toured with Wild Bill Davison's Jazz Giants, and then a stint with an offshoot band of The Jazz Giants, called "Buzzy's Jazz Family" which included Herman Autrey, Benny Morton, Sonny Drootin, Eddie Gibbs and leader Buzzy Drootin on drums. He did work with Don Ewell in the 1970s. He also appeared in Bob Greene's Jelly Roll Morton revue show that decade.

miércoles, 15 de noviembre de 2017

Joe Venuti • Sliding By

Violinist Joe Venuti, 73 at the time of this recording and only a little more than a year away from his death, was in typically swinging form for this quintet set with Dick Hyman (who doubles on piano and organ), guitarist Bucky Pizzarelli, bassist Major Holley and drummer Cliff Leeman. In addition to the six standards, there are four lesser-known Venuti compositions performed by this fine group. The music alternates between romantic ballads and stomps such as "Sweet Georgia Brown" and "Clarinet Marmalade."- by Scott Yanow, AMG
It's difficult to think of superlatives to use in describing Joe Venuti's s playing. All of the words have been used so many times that they've lost their surprise. To put it simply, Joe was the first jazz violinist, and after sixty years of playing and nearly as many years of recording he is still the best. No musician in jazz has so completely dominated the style of his instrument. - by Sam Charters.

Ananda Shankar • Arpan Om Sai Ram

Bio & +

Slim Harpo • Buzzin' The Blues - The Complete Slim Harpo

Slim Harpo made his impressive entrance into the world of blues recordings in 1957. Here was a man with an unforgettable name, a strong song – I’m A King Bee – and a finely-crafted minimalist style, at once familiar and novel. In 1961 Slim Harpo made a crossover entry into the American Rhythm ‘n’ Blues and Popular Music charts when Rainin’ In My Heart became one of those barely-categorisable hits that just couldn’t be ignored. Then came Baby, Scratch My Back, a soulful rhythmic number that led to tours with the rock elite. The story of Slim Harpo and his music is among the most fascinating in all blues and Rhythm ‘n’ Blues. Harpo’s music had timeless and mellow qualities that made his sound both authentic and accessible. By many benchmarks he was a success, and for periods in his life he was in the spotlight, yet little, really, is known of him beyond his fading circle of musicians, friends, and family in Baton Rouge, Louisiana.

Born in 1924, he was among the last of the original down-home bluesmen, but also one of the first to register hits in the popular music charts. Harpo lived, worked, and performed most of his life in Louisiana, but he was feted in the rock music circles of New York and Los Angeles when he did appear there in his last few years. Apparently an unassuming and calm man, he nevertheless developed a very polished and slick stage appearance. He died at the age of forty-five, leaving behind one of the most consistently good and coherent bodies of blues recordings. Harpo made music that was ‘pure’ blues in a number of forms but also borrowed from and wandered into soul and country styles without losing face.

It’s easy to listen to, easy to love, but real. It has an underlying intensity that continues to make it appealing to generations of performers who have recorded Harpo’s songs down the years. Slim Harpo’s songs were recorded in Crowley, Louisiana by pioneering record man J. D. Miller, among others, and issued on Nashville’s Excello label. Down the years his songs have been covered by artists as diverse as the Rolling Stones, Otis Redding, the Grateful Dead and Hank Williams Jr. His sound and style is at the forefront of the music that became known as ‘swamp blues’ or ‘swamp pop.’

Stephane Grappelli • Les Valseuses

Prado Blues Band • Blues & Swing

Igor Prado (guitar, vocals)
Yuri Prado (drums)
Ivan Márcio (harmonica & vocals)
Marcos Klis (bass)
Special guests:
Flávio Naves, Adriano Grineberg, Nuno Mindelis, Steve Guyger
Jamie Wood, Johnny Rover, J.J Jackson, Enrico Crivellaro

The New Dimensions • The Best Of

Richard ''Groove'' Holmes • Groove

Organ – Richard "Groove" Holmes
Drums – Ron Jefferson
Guitar – George Freeman
Piano – Les McCann
Saxophone [Tenor] – Ben Webster
Trombone – Lawrence "Tricky" Lofton

Earl Bostic • Alto Magic In Hi-Fi A Dance Party With Bostic

Ray Barretto ‎• Señor 007

Review by Jason Ankeny
The kind of wrongheaded gimmick record that works brilliantly almost in spite of itself, Ray Barretto's Señor 007 cashes in on the craze for all things James Bond by recasting composer John Barry's intrigue-laden themes as hard-driving Latin jazz groovers. Barretto's bold, widescreen arrangements and punishing rhythms ratchet the music's intensity to new levels while also expanding the potent sensuality implicit in Barry's compositions. Familiar melodies like "Goldfinger," "Thunderball," and the ubiquitous "James Bond Theme" seem fresh and new all over again -- and the cover, complete with Barretto in a classic espionage tableau, is alone worth the price of admission.

VA • The Specialty Story #2

martes, 14 de noviembre de 2017

Cal Tjader • Primo

Tom Rigney and Flambeau • Back Streets

Artist Biography by Linda Seida
Fiddler Tom Rigney has contributed more than a quarter-of-a-century to roots music in San Francisco. After graduating from Harvard with a Masters in fine arts, he went on to play the fiddle for a band named Back in the Saddle. That stint brought him a Bammie (Bay Area Music Award) in the early '80s, thanks to his performance on the group's first album. The band independently issued one of Rigney's compositions, "Time & Again," which became a regional hit. When Back in the Saddle folded, Rigney moved on to Queen Ida & the Bon Temps Zydeco Band. While touring with the group, he came to fully appreciate the music of Louisiana, specifically zydeco, Cajun, and some sounds of New Orleans. He took his new appreciation for Louisiana's music to his next venture, a band called the Sundogs that teamed Rigney with T.J. Politzer and Joe Paquin. Rigney and the Sundogs put out more than half-a-dozen albums and spent more than a dozen years together. They took their mixture of blues, Cajun, and roots music to stages and festivals throughout the U.S., as well as in Europe and Canada. Upon leaving the Sundogs, Rigney pulled together a new outfit, Flambeau. The band consists of guitarist Danny Caron, accordionist and pianist Caroline Dahl, drummer Jimmy Sanchez, and bassist Steve Parks. Rigney composes most of the band's music, but Flambeau also plays several of the old zydeco and Cajun favorites. In addition to recording with his bands, Rigney also has a solo effort to his credit. Chasing the Devil was released in 1998 by Parhelion. Rigney, son of the late San Francisco Giants infielder and manager Bill Rigney, was raised in the Bay Area.