egroj world: abril 2018

lunes, 30 de abril de 2018

Charlie Earland Trio feat. George Coleman • Soul Crib

This album has never seen the light of day on CD. Some tracks were later released on a few of Charles' Muse albums; namely Smokin' and Mama Roots, but careful checking of track timings reveals slightly different versions. In this regard they may have not been from the same session. George Coleman's addition to Charles Earland’s Trio truly makes this LP magnificent. He plays beautifully right throughout the whole session. In addition the listener cannot disregard the intuitive playing of Jimmy Ponder whereby he at times gets some marvelous opportunities to really stretch out. Of course as always Charles Earland beyond any doubt greatly entertains with his vivacious mastery of the B-3. Similarly without Walter Perkins’ driving the beat on drums and the inclusion of some very innovative percussive effects the tunes wouldn't be as dynamic. "Soul Crib" leans more toward the jazz side of things, featuring no fewer than five standards, one swinging original ‘The Dozens’ and a psychedelic free improvisation piece called ‘Mus’ Be LSD’ that seems completely out of place. Taken together the album truly entertains and clearly showcases George Coleman’s tenor blending seamlessly with Charles' big organ sounds. A masterful gem for its time and is highly recommended.

John Lee Hooker • The Healer

Herbie Mann • Do the Bossa Nova with Herbie Mann

Chicago Skinny • Keg O' Dynamite

Editorial Reviews
Keg O' Dynamite, the debut release by Chicago Skinny, demonstrates the up-and-coming band's taste, energy and distinctive sound. The all-original disc contains a dozen hard-drivin' blues tunes, played with gusto. Here's what Real Blues Magazine had to say about the effort:
Its hard to believe that this is a debut disc. The level of professionalism, talent and the song-writing especially is top-notch. they mustve played a heck of a lot of gigs to get this polished. loads of talent and a fresh sound.

About the Artist
Chicago Skinny is a four-piece blues band that takes traditional rhythms and gritty expressiveness and blends it with a diverse combination of instruments and voices.
So much for our dictionary definition.
Chicago Skinny is about original Big Fat Blues: two guitars (that don't fight each other), two voices (that harmonize), all flavors of harmonica (big 'n' crunchy, clean & pretty, honkin' like a train whistle), a rhythm section that chugs like a '59 Coupe de Ville, and occasionally some squeezebox to indulge your taste for Cajun spice.
With this kind of firepower, Chicago Skinny is able to produce a variety of blues sounds: grinding Chicago-style shuffles, West Coast swing and jump tunes, urban funk blues, Texas twang, and New Orleans second-line and zydeco. Chicago Skinny does smokin' versions of classic blues tunes, and the band has created its own "vintemporary" sound with original songs. The band uses fine vintage equipment and tones to drive songs with more contemporary subjects and grooves. BAND_MEMBERS: Steve Chapek: Guitar, Vocals Leo LaDell: Vocals, Harmonica, Guitar, Accordion Scott Johnson: Bass Paul Hildebrandt: Drums, Percussion

domingo, 29 de abril de 2018

Stanley Clarke • School Days


Stephane Grappelli • Improvisations - Piano a Gogo

In the winter of 1950/51 Stephane Grappelli was playing piano in Nice at the Hotel d'Angleterre, and in 1953 he joined Henri Crolla's ensemble as both pianist and violinist. If his talents as a pianist have rarely been mentioned, it's because his piano recordings are exceedingly rare. This was partly Art Tatum's fault Stephane discovered the genius one afternoon in 1935, on the beach at Le Touquet, where the local council had installed some loudspeakers. That incredible music, and Tatum's unimaginable virtuosity, left a lasting mark on him (Grappelli was so impressed that for a moment he thought he was hearing two pianists!), a mark that made him lose his enthusiasm for the piano, and concentrate on the violin instead. Actually, Grappelli thought that this "Piano à gogo" record was a mistake ("Someone asked me to do it" he said). But we're entitled to a different opinion; this album allows us to understand how he could so easily take on the piano roles he'd been known for. At times, this record even sounds very 'musique d'ambiance', in the best sense of the term: it brings an atmosphere that has an imprint of softness, yet never once becomes overly sentimental (as on Wendy, for example, where you can imagine the pianist in a club, picking out each note in the small hours of the morning after all the customers have left.) There's the influence of Art Tatum, too, in Crazy Blues, which shows how much Grappelli admired him, but the recording also shows his taste for the music of Ravel and Debussy, which transpire in the lyricism and romance of his playing revitalised by swing. Grappelli might not be the virtuoso he so obviously is with a violin, but the fluidity is still there in his piano; everything flows naturally, "Like the spontaneity and freedom of water finding its natural path" (Geoffrey Smith). With the piano he preserves the same swing, the same harmonic qualities, and his talent for bringing out a melody. This love of the piano also transpires in his violin-playing; guitarist Ike Isaacs, who accompanied him in the mid-Seventies, nicknamed him "the violin's pianist, because "he thinks vertically and horizontally at the same time."

VA • A History Of Blues Harmonica - 1926-2002

Memphis Minnie, Sonny Boy Williamson, Sonny Terry, Muddy Waters, Howling Wolf, Little Walter, Junior Wells, Snooky Pryor, Charlie Musselwhite, Carey Bell ...

sábado, 28 de abril de 2018

Dougie MacLean • Fiddle

Folk musician, composer and vocalist, born in Perthshire, Scotland in 1954, playing fiddle and mandolin and touring all over the world (either solo or as part of various bands) since the seventies.

Frank Wess • Once Is Not Enough

The Link Quartet • 4

Herbie Mann • Caminho de Casa

Louisiana Red & Lefty Dizz • Walked All Night Long

Jimmy McGriff • Countdown

The New Mastersounds • Ten Years On

Hazel Scott • Swings the Classics

Hazel Dorothy Scott (June 11, 1920 – October 2, 1981) was a Trinidadian-born jazz and classical pianist and singer; she also performed as herself in several films.
Born in Port of Spain, Hazel was taken at the age of four by her mother to New York City. Recognized early as a musical prodigy, Scott was given scholarships from the age of eight to study at the Juilliard School. She began performing in a jazz band in her teens and was performing on radio at age 16.
She was prominent as a jazz singer throughout the 1930s and 1940s. In 1950, she became the first black person to have a TV show, The Hazel Scott Show,[1] featuring a variety of entertainment. Her career in America faltered after she testified before the House Un-American Activities Committee during the McCarthy era. Scott subsequently moved to Paris in the late 1950s and performed in France, not returning to the United States until 1967. more ...

Little Walter • The Best of

If there's a blues harmonica player alive today who doesn't have a copy of this landmark album in their collection, they're either lying or had their copy of it stolen by another harmonica player. This 12-song collection is the one that every harmonica player across the board cut their teeth on. All the hits are here: "My Babe," "Blues with a Feeling," "You Better Watch Yourself," "Off the Wall," "Mean Old World" and the instrumental that catapulted him from the sideman chair in Muddy Waters' band to the top of the R&B charts in 1952, "Juke." Walter's influence to this very day is so pervasive over the landscape of the instrument that this collection of singles is truly: 1) one of the all-time greatest blues harmonica albums, 2) one of the all-time greatest Chicago blues albums, and 3) one of the first ten albums you should purchase if you're building your blues collection from the ground floor up. ~ Cub Koda, All Music Guide

Traducción Automática:
Si hay un jugador de armónica de blues vivo hoy que no tiene una copia de este álbum emblemático en su colección, están mintiendo o han robado su copia de otro jugador de armónica. Esta colección de 12 canciones es la que todos los intérpretes de armónica de todo el mundo aprenden. Todos los éxitos están aquí: "My Babe", "Blues with a Feeling", "You Better Yourself Yourself", "Off the Wall", "Mean Old World" y el instrumental que lo catapultó desde la silla sideman en Muddy Waters ' banda a la cima de las listas de R & B en 1952, "Juke". La influencia de Walter hasta el día de hoy es tan omnipresente en el panorama del instrumento que esta colección de singles es verdaderamente: 1) uno de los mejores álbumes de blues de armónica de todos los tiempos, 2) uno de los mejores álbumes de blues de Chicago, y 3) uno de los primeros diez álbumes que deberías comprar si estás construyendo tu colección de blues desde la planta baja. ~ Cub Koda, guía de toda la música

Johnny Gregory And His Orchestra • The Avengers And Other TV Themes

viernes, 27 de abril de 2018

Tiny Grimes • Frankie & Johnny Boogie

Jackie Davis • Hi-Fi Hammond

Wes Montgomery • Portrait of Wes

Silas Hogan 'The Godfather' & Arthur 'Guitar' Kelly • Louisiana Swamp Blues Vol.6 -

Freddie McCoy • Soul Yogi

jueves, 26 de abril de 2018

Mike Hurst Orchestra • Drivetime

Review by Dave Thompson:
Originally recorded in 1969 but unreleased for 34 years, Drivetime was a grandiose concept that attempted to translate American radio's penchant for "drive-time" music to the British airwaves. A massively orchestrated blend of movie themes, pop gems and rock & roll classics, all were selected with one thing in mind: It was music to drive to. The fact that Britain could scarcely boast anything even remotely approaching the American culture of motorvating does not appear to have crossed Mike Hurst's mind. Armed with a 49-strong backing band drawn from both classical and jazz circles, he not only rearranged, but utterly reinvigorated the likes of "Route 66" and "Sounds of Silence". He tackled "Good Vibrations" with an aplomb that might have given Brian Wilson pause for thought, and he sent themes from The Wild Ones and West Side Story soaring. Although it could readily be filed alongside the similarly orchestral albums being issued by other top producers of the age (Larry Page, Tony Hatch, George Martin, and Andrew Loog Oldham all tried their hands at such things), the result towers above almost all of them.

Editorial Reviews:
MIKE HURST became a record producer more by luck than judgement. When the SPRINGFIELDS broke up in 1963 he started his own band with JIMMY PAGE, ALBERT LEE and TONY ASHTON but found little success! So in 1965 he became a record producer initially working for ANDREW LOOG OLDHAM and MICKIE MOST before finding in 1965 a very joung CAT STEVENS. He then became 'hot' and over the next 5 years produced SPENCER DAVIS GROUP, MARC BOLAN, MANFRED MANN, PP ARNOLD, to name a few. During 1969 The Mike Hurst Orchestra recordings originated from an idea by Len Levy of Metromedia, and ex Pres of Epic Records to make an orchestral album in Phase 4 stereo. Phase 4 was originally a Decca concept. Simply put, it was a stereo mix wth with very litle in the centre, thus creating, through echo, a wall of sound across the spectrum as a whole. Metromedia collapsed in 1969 so the album was never released. Mike sat on the tapes, and now, they can be listened to having just been remastered in another century.

Ella Fitzgerald • Lady Time

Review by Scott Yanow
This LP places Ella Fitzgerald (then 60) in an unusual setting. Joined only by organist Jackie Davis and drummer Louie Bellson, she tackles a wide variety of material that ranges from "I'm Walkin'" and "I Cried for You" to "Mack the Knife" (which did not need to be remade) and "And the Angels Sing." Not one of her more essential releases, Lady Time does show that even at this fairly late stage in her career, Fitzgerald could outswing just about anyone.

In my opinion, Scott Yanow has not perceived the beauty of this recording, Ella and Jackie in perfect conjunction, accompanied by the omnipresent and delicate battery of Louie Bellson, without the grandiloquence of an orchestral support, Ella gives her voice to all its splendor.

Traducción Automática:
Este LP coloca a Ella Fitzgerald (entonces 60) en un entorno inusual. Ensamblado solo por la organista Jackie Davis y la baterista Louie Bellson, aborda una amplia variedad de material que va desde "I'm Walkin '" y "I Cried for You" hasta "Mack the Knife" (que no necesitó ser rehecho) y "Y los ángeles cantan". No es uno de sus lanzamientos más esenciales, Lady Time demuestra que incluso en esta etapa bastante avanzada de su carrera, Fitzgerald podría superar a cualquiera.

En mi opinion, Scott Yanow no ha percibido la belleza de esta grabación, Ella y Jackie en perfecta conjunción, acompañados de la omnipresente y delicada batería de Louie Bellson, sin la grandilocuencia de un soporte orquestal, Ella brinda su voz en todo su esplendor.

miércoles, 25 de abril de 2018

Hot Potatoes • Hot Potatoes

Claude Williamson Trio • Song For My Father

Claude Berkeley Williamson (November 18, 1926 – July 16, 2016) was an American jazz pianist.
Williamson studied at the New England Conservatory of Music before moving to jazz, influenced mainly by Teddy Wilson, then by Al Haig and Bud Powell. In 1947 he moved to California, working first with Teddy Edwards, then with Red Norvo in San Francisco, with Charlie Barnet in 1949, and with June Christy for two years. Later he worked with Max Roach, Art Pepper and others. Williamson was a longtime member of the Lighthouse All-Stars (substituting for pianist Russ Freeman), performing with Bud Shank, Stan Levey, Bob Cooper, Conte Candoli and Howard Rumsey. In 1956 he became the piano player in the Bud Shank quartet. In 1968 he started working as a pianist for NBC, first on The Andy Williams Show, then for Sonny and Cher. In 1978 Williamson went back to the jazz world and released many albums, mainly for Japanese labels, often accompanied by Sam Jones and Roy Haynes. In 1995 he made a trio recording for Fresh Sound Records at the Jazz Bakery in Los Angeles.
His younger brother was trumpeter Stu Williamson (1933-1991).
He died on July 16, 2016 at the age of 89.  ~ wiki ~

3G Hammond Trio ‎• Minor Sometimes

The Jeff Steinberg Jazz Ensemble • T.V. Lounge

Editorial Reviews:
Jazzy renditions of classic TV themes of the 50's and 60's. After more than thirty-five years as a composer, arranger/orchestrator, pianist, producer and music educator, Jeff Steinberg's work continues to span the professional spectrum, which includes spectacular Jazz, Big Band, and Orchestral recordings as well as original scores for advertising, television, and film.

Jack McDuff • Color Me Blue

martes, 24 de abril de 2018

Elaine Delmar • A Swingin' Chick [EP]

She was born as Elaine Hutchinson in Harpenden, Hertfordshire. Her father was the jazz trumpeter Leslie "Jiver" Hutchinson.
She was educated at Rhodes Avenue and Trinity Grammar schools in Wood Green. She studied piano between the ages of six and eleven, reaching Grade VII of the Associated Board examinations.
She made her first broadcast playing the piano on Children's Hour, aged 13, and she later sang with her father's band at American bases. In 1952/1953, she appeared in Finian's Rainbow in Liverpool. She sang with Coleridge Goode's group 'The Dominoes' for a month in Germany in the mid-1950s, before going solo. She performed in clubs and on overseas tours. She appeared in the Ken Russell film Mahler (1974).
During 2010 she featured in concert with Wynton Marsalis's Lincoln Center Jazz Orchestra.
During 2012 Delmar appeared on P & O Cruise liners where her performances featured songs by Cole Porter and others. - wiki -

Herbie Mann • Evolution Of Mann

This 2-LP set by flautist Herbie Mann was released in 1972 on Atlantic Records and contains material he recorded during the 60ies for this label with various sidemen, some in the studio, some live. This is a great overview of his work of that time.

Don Byas • Featuring Mary Lou Williams Trio & Beryl Booker Trio

Johnny Dyer With Mark Hummel • Rolling Fork Revisited

Joe Diorio • Bonita

Gary Moore • Still Got The Blues

lunes, 23 de abril de 2018

Charles Kynard • Your Mama Don't Dance

Dusty Groove Review
Funky organ and plenty of vamping -- a really tight little set from the mighty Charles Kynard -- who's working here with a really wide-ranging command of the keyboard! As with some of the other Mainstream Records sessions of the time, the backings here are somewhat full -- arranged and conducted by Richard Fritz with a style that's almost soundtrack funk at points, but which still has a more jazzy feel overall -- thanks to the space given to Kynard's organ solos, and to backings from players who include George Bohannon on trombone, Arthur Adams on guitar, and Paul Humphrey on drums. The set features a surprising cover of Joe Quarterman's classic "I Got So Much Trouble On My Mind" -- one that's almost as funky as the vocal original -- plus "The World Is A Ghetto", "Superstition", "Zambezi", "Summer Breeze", "Momma Jive", and "You've Got It Bad Girl".

Claude Papesch • Hammond Spectacular

One of the key figures in the early NZ Rock & Roll scene. Claude Papesch was a blind keyboardist from New Plymouth who was equally at home in jazz, rock & roll and pop. He also produced records.
He moved to Australia in the 1960s where he recorded two albums and appeared on countless sessions.
In later years he was a local politician of some note in New South Wales.
Claude Papesch died in 1987 aged just 45.

Gene Ammons ‎• Soulful Saxophone

Warren Barker • 77 Sunset Strip

domingo, 22 de abril de 2018

Jack Mc Duff featuring Kenny Burrell • Crash!

Review by Scott Yanow
Organist Jack McDuff has long had a powerful style and the two former LPs that are combined on this single CD offer some strong examples of his accessible playing. In both cases McDuff is joined by guitarist Kenny Burrell (in fact one of the two sets was originally under Burrell's name), drummer Joe Dukes and occasionally Ray Barretto on congas. In addition Harold Vick is on tenor for most selections and Eric Dixon guests on tenor and flute during three songs. Highlights include a driving "How High the Moon," "Love Walked In" and a pair of original blues: "Smut" and "Our Miss Brooks." McDuff and Burrell work together quite well. This 76-minute CD is easily recommended to fans of the jazz organ.

jueves, 19 de abril de 2018

Frank Frost • Jelly Roll King

VA • Italian Bossa, Vol. 2

Gene Ammons ‎• Funky

Review by Scott Yanow
The Gene Ammons all-star jam session recordings of the 1950's are all quite enjoyable and this one is no exception. The great tenor is matched with trumpeter Art Farmer, altoist Jackie McLean, guitarist Kenny Burrell, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor for lengthy versions of "Stella By Starlight," the Burrell blues "Funky" and a pair of numbers by arranger Jimmy Mundy. All of the horns plus Burrell and Waldron get ample solo space and Ammons seems to really inspire his sidemen on these soulful bop jams.


Traducción Automática:
Revisión por Scott Yanow
Las grabaciones de todas las estrellas de Gene Ammons de la década de 1950 son muy agradables y esta no es una excepción. El gran tenor se combina con el trompetista Art Farmer, el altoista Jackie McLean, el guitarrista Kenny Burrell, el pianista Mal Waldron, el bajista Doug Watkins y el baterista Art Taylor por versiones largas de "Stella By Starlight", el blues de Burrell "Funky" y un par de números por el arreglista Jimmy Mundy. Todos los cuernos más Burrell y Waldron tienen un amplio espacio en solitario y Ammons parece inspirar realmente a sus acompañantes en estas conmovedoras canciones de bop.