egroj world: marzo 2018

sábado, 31 de marzo de 2018

Sonny Stitt & Bunky Green • Soul in the Night

Soul in the Night is an album by saxophonists Sonny Stitt & Bunky Green recorded in Chicago in 1966 and released on the Cadet label.

Willis Jackson • Bossa Nova Plus

Quartette Très Bien • Kilimanjaro

This is the first set of recordings but second release by St. Louis group QTB (see discog info below). Often compared to the Ramsey Lewis/Young-Holt Trio, Billy Larkin and the Delegates, Odell Brown & the Organ-izers, The Three Sounds, etc.
One of the earliest albums from the legendary Quartette Trés Bien -- the hip piano combo from the St Louis scene -- one who were almost to that city's jazz world what Ramsey Lewis was to Chicago! Unlike other piano groups of the time, which were trios, the Quartette featured an additional percussionist in their lineup of piano, bass, and drums -- and that added percussion really gives records like this a super-cool kick -- a romping sort of rhythm that's totally great! Pianist Jeter Thompson's also one heck of a great writer -- as you'll hear on the album's original "Kilimanjaro" -- and percussionist Percy James really makes other tunes groove, including versions of "You Came A Long Way From St Louis", "I Left My Heart In San Francisco", "Secretly", "My Favorite Things", and "My One And Only Love".

Antonio Carlos Jobim • Inédito

Shirley Scott • Blue Seven

Blue Seven album by Shirley Scott was released Nov 27, 2001 on the Original Jazz Classics label. One of Shirley Scott's stronger dates, this quintet outing matches her organ with tenor saxophonist Oliver Nelson, trumpeter Joe Newman, bassist George Tucker, and drummer Roy Brooks. The material is varied and includes such interesting tunes as "Blue Seven," "Wagon Wheels," and a swinging "Give Me the Simple Life." Boasting three strong soloists, there are a generous number of fireworks on this blowing session, which should greatly appeal to organ, Shirley Scott, and hard bop collectors. Blue Seven music CDs ~ Scott Yanow
A standout early session from organist Shirley Scott – noteworthy in that it's a quintet recording, different than Shirley's mostly-trio output from the time! Here, she's working in a group that includes Oliver Nelson on tenor sax and Joe Newman on trumpet – and Nelson's edgey tone adds a lot to the record, as it did on other Prestige sides from the same time – a deeper soul vibe than you might normally get from Shirley alone on the Hammond. The tracks are simple swinging soul jazz numbers – handled in tight format by the group – and other players include George Tucker on bass and Roy Brooks on drums. Tunes include "Blue Seven", "Wagon Wheels", "Nancy", "Don't Worry Bout It Baby Here I Am", and "Give Me The Simple Life". CD features the bonus track "How Sweet".

Soul Bossa Trio • Dancing in the Street

viernes, 30 de marzo de 2018

Ray Crawford • It's About Time

When tuberculosis forced Ray Crawford to give up his gig playing tenor sax and clarinet in Fletcher Henderson’s band of the early 1940’s, he decided to switch to guitar. Ray became an important cog in pianist Ahmad Jamal’s early groups and his unique, percussive style was soon appropriated by other guitarists including the great Herb Ellis. Ray went on to record with Gil Evans towards the end of the 1950’s, and after settling in Los Angeles he started to work for the legendary organist Jimmy Smith – an association that would last well into the 1980’s. Ray also was a sought after session man and appeared on other artist’s records including Tom Wait’s 1978 “Blue Valentine” album. In the 1970’s Ray began billing himself as H. Ray Crawford, and in 1977 he recorded a full length solo album for the tiny Dobro label, which is now considered a lost gem among fans of jazz, funk and rare groove. The appropriately titled “It’s About Time” included a pair of Ray’s original tunes (“It’s About Time” and “Pick Me Up” parts 1 and 2) and features a brilliant arrangement of the old spiritual, “Sometime I Feel Like A Motherless Child.” Finally available in the digital domain, the album is presented here in its entirety, newly remastered.

Source :

Ronnie Foster • The Two Headed Freap

Review by Stephen Thomas Erlewine
Ronnie Foster's debut album, The Two Headed Freap is a set of contemporary funky soul jazz from the early '70s, which means it sounds closer to the soundtrack of a lost blaxploitation flick than Back at the Chicken Shack, Pt. 2. Foster certainly does display a debt to Jimmy Smith, but his playing is busier than Smith's and a bit wilder. Ironic, then, that his playing is in service to the groove and blends into the mix of wah-wah guitars, funk rhythms, electric bass, harps, and percolating percussion. Everything on The Two Headed Freap is about glitzy groove -- it sounds cinematic, colorful, and funky. It's true that there is little real improvisation here and the songs all have a similar groove, but it's worked well, and the music is ultimately appealing to fans of this genre. Jazz purists -- even soul jazz purists -- will likely find this music a little monotonous and commercial, but fans of early-'70s funk from Sly Stone to Herbie Hancock will find something of interest here.

Stanley Turrentine • Always Something There

Always Something There is an album by jazz saxophonist Stanley Turrentine
recorded for the Blue Note label in 1968 and performed by Turrentine with
orchestra and strings arranged by Thad Jones

Wes Montgomery • Guitar On The Go

Willis Jackson • Soul Grabber

Jethro Tull • Heavy Horses

Grant Green • Feelin' The Spirit

Stan Hunter & Sonny Fortune • Trip On The Strip

A fantastic lost album on Prestige! This record features a very young Sonny Fortune, blowing hard, soulfully, and spiritually in the amazing organ combo of Stan Hunter. Hunter's a little-known player, but he's got an amazing talent on the organ -- sometimes hitting a freeness that recalls Larry Young, other times keeping things nice and soulful, ala Don Patterson. This record's a great one, and it's the kind of obscure title that keeps you collecting jazz vinyl. Tracks include "Trip On The Strip", "HFR", "Sonny's Mood", and a great modal version of "Invitation".  © 1996-2009, Dusty Groove America, Inc.

jueves, 29 de marzo de 2018

Sonny Criss • Rockin' In Rythm

Jimmy Smith • Jimmy Smith Trio with Lou Donaldson

Jimmy Smith Trio + LD is an album by jazz organist Jimmy Smith and saxophonist Lou Donaldson recorded for the Blue Note label in 1957 and released only in Japan.

Sonny Stitt & Zoot Sims • Inter-Action

John Lee Hooker • Jazz & Blues Collection Vol. 2

Cal Tjader • Last Bolero In Berkeley

Rusty Bryant • Night Train Now

Eddie Palmieri & Cal Tjader • Bamboleate

miércoles, 28 de marzo de 2018

Willis Jackson • Loose

Antonio Carlos Jobim & Miucha - Antonio Carlos Jobim & Miucha

Terry Gibbs • Findin' The Groove

Recording prolifically in the first years of the 21st century, the octogenarian Terry Gibbs still delivers the fastest vibes in the West on this aptly named 2006 release Findin' the Groove. No tributes or concepts based on the past this time -- just straight-ahead, likeable, hard swinging workouts from a sextet that features the great flutist Hubert Laws on its front line. Gibbs and Laws had only played together once before -- when Laws sat in on piccolo unexpectedly on a Gibbs gig at Steamers in Fullerton, CA not long before this session. Yet they make a very graceful pair, their sound dancing with feather-light agility over the rhythm section, giving this ad hoc yet tight little band a special sound all its own. Laws isn't as visible on the recording scene these days as he once was -- and from hearing his sterling, swinging style and huge, golden tone on this date, you can't figure out why this should be so. Another big factor in this session's lightly shaded color scheme is Terry's drummer, son Gerry Gibbs, who propels the selections with the relentless yet never overbearing energy of his father. Terry wrote about half of the material, all of it appealing, including some journeys into samba "Samba Wazoo" and wistful bossa nova ("The House That Might Have Been, " with vocals by Joan Carroll). Amidst all of the up-tempo swingers, "Teach Me Tonight" is a relaxed breather in context, though these thoroughbreds seem reined in, just dying to gallop again. Alas, Jimmy Giuffre's irresistible "Four Brothers" doesn't really hit its stride until the solos kick in; the famous theme sounds uncharacteristically labored (yes, it's difficult). Mostly, though, a splendid session. ~ Richard S. Ginell
 Published: October 2, 2006 Terry Gibbs: Findin' the Groove Terry Gibbs, who has been Findin' the Groove for more than sixty years and continues to home in on it at the post-retirement age of 81 (82 on October 13), shares the front line with master flutist Hubert Laws on his latest album, which, in typical Gibbs fashion, swings relentlessly in a bop-centered groove from first note to last.
The vibes/flute tandem proves remarkably successful, especially when supported by a savvy rhythm section anchored by Terry's son, Gerry, at the drum kit and including guitarist Dan Faehnle, pianist Tom Ranier and bassist Hamilton Price from Gerry's Thrasher Big Band. Faehnle and Ranier are resourceful improvisers who keep Terry and Hubert on their toes and wailing, while Gerry takes a star turn on Terry's "Dance with the Brushes, patterned after Neal Hefti's "Cute. Terry wrote half a dozen other tunes to complement the standards "But Not for Me and "Teach Me Tonight, Bernie Miller's "Bernie's Tune, Benny Golson's "Killer Joe, Jimmy Giuffre's "Four Brothers and Denzil Best's "Wee. Terry arranged everything, and there's not a turkey in the barnyard.

Joan Carroll, definitely someone to keep an eye on, sings marvelously on the Gershwins' "But Not for Me and Terry's bossa "The House That Might Have Been (lyric by Arthur Hamilton), even though "But Not for Me, written as a lament to love that can never be, is cast as an up-tempo romp whose inherent sadness has been supplanted by pure elation. Even so, Carroll manages to make the change of pace seem convincing.

Laws, who has strayed in recent years from the straight-ahead path, sounds as though he'd never been away, matching Terry stride for stride in a series of electrifying ad-libs that reaches its zenith on the mercurial "Wee. To be honest, these old pros are untroubled at any tempo, as one recognizes throughout this relaxed yet cohesive studio date. Above all, they are having fun together, a vibe (pardon the pun) that the listener can instantly sense and appreciate.

Terry Gibbs and his mates have clearly found a groove, one that should please almost anyone who enjoys swinging, straight-from-the-hip jazz. Excellent sound and generous playing time help make the session even more enticing. Warmly recommended. ~ Jack Bowers, All About Jazz

Marty Paich • The Broadway Bit

"Recorded in 1959, the mixture of show tunes with jazz standards is logical; this is a very unified set. Paich's arrangements always swing, altoist Art Pepper is well showcased, and among the other key players are Jimmy Giuffre (clarinet and baritone), vibraphonist Victor Feldman, trumpeter Stu Williamson, and Marty Paich on piano. This is fun if slightly conservative music that fits the modern mainstream of the era."
Scott Yanow -All Music Guide

Sandor Lakatos • Master of the Gypsy Violin

Sándor Lakatos es uno de los músicos gitanos de Hungría más destacados y reconocidos inclusive a nivel internacional. El y su Banda Gitana han interpretado diversas piezas musicales del folklore húngaro así como del repertorio propiamente gitano, con una maestría y un virtuosismo sorprendentes.


Automatic translation:
Sándor Lakatos is one of the most outstanding and recognized gypsy musicians in Hungary, including internationally. He and his Gypsy Band have played different pieces of Hungarian folklore as well as the gypsy repertoire itself, with surprising mastery and virtuosity.

Paul Desmond & Jim Hall • Bossa Antigua

Charles Earland • Black Talk

One of the all-time classic soul-jazz records gets its turn at remastering by Rudy van Gelder, the original engineer of the 1969 session.
Charles Earland had a strong affinity for the organ, though he didn't start on the instrument. He began his career as a saxophonist, playing in groups with organists like Jimmy McGriff and Gene Ludwig before making his unconventional instrumental switch, eventually joining Lou Donaldson's group. His playing exploits the organ's capacity for sustain and timbral effects (though on "More Today Than Yesterday" his fleet playing often sounds like a transposed piano solo).
The soul-jazz format tends toward popularity, even populism. Indeed, Black Talk! was a hit record in its day; DJs played the title cut and "More Today Than Yesterday," in spite of their length, even before Prestige had released radio-friendly edited singles. Earland's group nevertheless avoids the narrow clichés of the genre. While they may not have pushed the format as far as their contemporaries in Tony Williams' Lifetime, the ensemble sound is nevertheless subtly an advance on the early-sixties style in which Earland received his apprenticeship.
This is mostly due to the leader's playing, and to that of guitarist Melvin Sparks and drummer Idris Muhammad. Sparks reminds us of the organic link between the blues and the avant- garde (like James Blood Ulmer or Pete Cosey), his scratchy playing and always- approximate timing adding delightful texture to a format that could otherwise be conservative and monochromatic. Muhammad, meanwhile, can provide a driving rock 'n' roll beat, or a pleasing shuffle; but his drumming on "Aquarius" could almost be mistaken for Art Blakey's.
The contributions of tenor saxophonist Houston Person and trumpeter Virgil Jones, though competent, are often merely ornamental rather than substantive. Sympathetic conga accompaniment on a couple of tracks is furnished by Newark convenience store owner Buddy Caldwell ("the musicians dug him," according to Bob Porter's liner notes).
The set list is quirky but successful. "Aquarius," from Hair, cannot help but sound a little kitschy, but the modal groove in the middle of the cut over which the solos are played, is among the record's finest moments, and Person sounds more imaginative here than elsewhere. One-hit wonder Spiral Starecase's "More Today Than Yesterday" is not Black Talk!'s most adventurous moment, but it is certainly the most winsome.

Joe Venuti and Bobby Maxwell • A Thousand and One Strings

In this series titled "One Thousand and One Strings" we present Venuti at his outstanding best. These wide-range and high fidelity recordings flawlessly present a collection of Venuti's favorite musical selections. Bobby Maxwell trained particularly in harmony, composition, counterpoint and - fortunately for music-lovers - the harp. Because Bobby Maxwell is unquestionably the greatest swing harpist in the world. ~ from liner notes

Degas The Artist's Mind • Theodore Reff

Quartette Tres Bien • Our Thing

The Quartette Trés Bien was an American jazz combo based in St. Louis led by pianist Jeter Thompson. The group started to play around 1960 and began recording in the mid '60s. Jeter Thompson played with Jimmy Forrest, Oliver Nelson and Emmett Carter in his early years. The bassist of the group is Richard Simmons, the drummer Albert St. James who accompanied also Charlie Parker, Tab Smith and Jimmy Forrest. Percussionist Percy James added a Latin flavor to the quartette who played more than ten years, before splitting. Jeter Thompson is still active leading for a few years the Trio Tres Bien with brothers Harold Thompson (bass) and Howard Thompson (drums).

Jethro Tull • A

Stanley Turrentine & Shirley Scott • Blue Flames

martes, 27 de marzo de 2018

Mongo Santamaria • Watermelon Man

Rusty Bryant • Soul Liberation

Quartette Tres Bien • Four of a Kind

The Quartette Trés Bien was an American jazz combo based in St. Louis led by pianist Jeter Thompson. The group started to play around 1960 and began recording in the mid '60s. Jeter Thompson played with Jimmy Forrest, Oliver Nelson and Emmett Carter in his early years. The bassist of the group is Richard Simmons, the drummer Albert St. James who accompanied also Charlie Parker, Tab Smith and Jimmy Forrest. Percussionist Percy James added a latin flavor to the quartette who played more than ten years, before splitting. Jeter Thompson is still active leading for a few years the Trio Tres Bien with brothers Harold Thompson (bass) and Howard Thompson (drums). Discography: Boss tres bien' Decca Kilimanjaro' Decca Spring into spring' (1964) Decca Sky high' (1965) Decca Stepping out !' Decca Bully !' (1965) Atlantic In motion' (1966) Decca Where it's at' (1966) Decca Here it is !' (1966) Decca Four of a kind' (1967) Decca Our thing' (1967) Decca Coming together' (2004) as The Trio Tres Bien

Jimmy Mcgriff & Groove Holmes • Giants Of The Organ In Concers - Live At Paul's Mall

Howard Alden • Take Your Pick

Review by Scott Yanow
Although best-known for his work in mainstream swing settings, guitarist Howard Alden has long been interested in later periods of jazz. On this superior outing, he doubles on seven-string acoustic and electric guitars (which allow him to add basslines). Lew Tabackin is on four of the ten numbers (three on tenor, one on flute) and pianist Renee Rosnes appears on six songs (including a duet with Alden on "Warm Valley"), while bassist Michael Moore and drummer Bill Goodwin are on seven. Alden takes "My Funny Valentine" and "After All" as unaccompanied solos but it is his meetings with Tabackin, particularly on exciting versions of two complex Herbie Nichols songs ("House Party Starting" and "The Gig") that are most notable. Recommended.

lunes, 26 de marzo de 2018

Freddie McCoy • Funk Drops

Jimmy McGriff • Movin Upside The Blues

Review by Scott Yanow
For his second Jazz America LP, organist Jimmy McGriff is heard on one selection (Kenny Burrell's "All Day Long") left over from the first session (which features a septet including Harold Vick on tenor and trumpeter Danny Moore), plus four numbers from 1981 with altoist Arnold Sterling, guitarist Jimmy Ponder, trumpeter Bill Hardman, and Vick. As usual, most of the music is blues-based, although the inclusion of "Moonlight Serenade" in this soul-jazz setting is a pleasant surprise.

Jimmy Ponder • Something To Ponder

This is one of those something-for-everybody CDs (e.g., a blues, some ballads and standards) that succeeds on every count. Guitarist Ponder's playing is a real treat for the head and heart and his rhythm section digs in with just the right amount of passion. Pianist Mark Soskins gently sways the Buddy Johnson hit, "Since I Fell for You" (which seems to be getting a lot of well-deserved attention lately) and swings "Satin Doll". Bassist Peter Washington and drummer Roger Humphrey provide solid and unobtrusive support throughout this seven-track disc. Among the selections are a gorgeously relaxed "Moonlight in Vermont" (shades of Johnny Smith) and a super uptempo "Softly, As In A Morning Sunrise". ~ Miles Jordan, JazzTimes.

Johnny 'Hammond' Smith • Soul Flowers

Review by Richie Unterberger
When a soul-jazz artist decides to devote the bulk of his album to pop standards and themes from the movies, stage, and TV, he better make damn sure that he interprets them in an inventive fashion. Fortunately, that's what Smith manages to do on this 1967 session, heading a sextet with guitar, tenor saxes, conga, bass, and drums. The opening "Theme from N.Y.P.D." sets the table for his irreverence, as the band pounds out a cool, jazzy spy theme with police whistles and sirens whirring constantly in the background, adding the right gimmicky touch as surely as the foghorn does in Frankie Ford's "Sea Cruise." What really makes the album a success (the bulk of its material) is the sense of humor Smith and the other musicians bring to the arrangements, doodling busily on the melody lines and totally reworking the tempos so that something like "Ode to Billie Joe" will sound appropriate, rather than forced, as a funky acid jazz tune. It takes a lot to make "You'll Never Walk Alone" work in this genre, and Smith pulls this off too, throwing in strutting, rapid-fire key changes and a false ending. Also grooving is the bossa nova beat on "Here's That Rainy Day," which allows guitarist Wally Richardson some good solo space. The one original on the record, "Dirty Apple," has a more serious, straightforward blues-funk grind that isn't too different from Booker T. & the MG's.

Antonio Carlos Jobim • Jazz Master #13

domingo, 25 de marzo de 2018

Rhoda Scott • Paris-New York

En 1967, suivant les traces de Tadd Dameron et Quincy Jones, Rhoda Scott arrive en France pour suivre les cours de Nadia Boulanger. À peine un an plus tard, elle enregistre son premier album pour le label Barclay, Take a Ladder en duo avec l'un des tous meilleurs batteurs du moment, Daniel Humair. Suivront une longue série d'albums, parmi lesquels deux se distinguent particulièrement par la présence d'accompagnateurs de premier rang : Mach II (1971) auquel participe son complice de toujours, le saxophoniste/flûtiste américain Joe Thomas et surtout Rhoda Scott in New York (1976), fruit de la collaboration entre l'organiste virtuose et le grand orchestre de Thad Jones/Mel Lewis.


Automatic Translation:
In 1967, following in the footsteps of Tadd Dameron and Quincy Jones, Rhoda Scott arrives in France to take classes with Nadia Boulanger. Barely one year later, she recorded her debut album Barclay, Take a Ladder duet with one of the best drummers of the moment, Daniel Humair. A long series of albums will follow, two of which are particularly distinguished by the presence of first-rate accompanists: Mach II (1971) in which his long-time accomplice, the American saxophonist / flutist Joe Thomas and especially Rhoda Scott in New York, participate. (1976), the result of the collaboration between the virtuoso organist and the great orchestra of Thad Jones / Mel Lewis.


Traducción Automática:
En 1967, siguiendo los pasos de Tadd Dameron y Quincy Jones, Rhoda Scott llega a Francia para tomar clases con Nadia Boulanger. Apenas un año después, grabó su álbum debut Barclay, Take a Ladder duet con uno de los mejores bateristas del momento, Daniel Humair. Seguirá una larga serie de álbumes, dos de los cuales se distinguen particularmente por la presencia de acompañantes de primer nivel: Mach II (1971) en la que participa su cómplice de larga data, el saxofonista / flautista estadounidense Joe Thomas y especialmente Rhoda Scott en Nueva York. (1976), el resultado de la colaboración entre el virtuoso organista y la gran orquesta de Thad Jones / Mel Lewis.

sábado, 24 de marzo de 2018

Eddie ''Lockjaw'' Davis • Leapin' On Lenox

Bernard Estardy • Pianos Et Orgues

Bernard Edgar Joseph Estardy:
French musician and arranger, born on 19.11.1939 in Charenton-le-Pont, Île-de-France, France.
Died on 16.09.2006 in Paris, Île-de-France, France

Quarteto Jobim-Morlenbaum • Quarteto Jobim-Morlenbaum

Melvin Rhyne • Kojo