jueves, 31 de mayo de 2018
The Leo Wright Combo was a Quintet that was built by Leo Wright for a Concert-Tour in the former German Democratic Republic in 1965.
In addition to Wright's excellent work on flute and alto sax, this album is another opportunity to hear the virtuosity and melodic invention of Andre Condouant, probably one of jazz most underrated guitar players.
miércoles, 30 de mayo de 2018
Dutch band led by Cees "Crazy Casey" Schrama who used to be guest organ player with bands such as The Haigs, Shocking Blue, Sandy Coast and Earth & Fire. With The Golden Earrings he released his solo album "The Beast And I". Schrama can also be heard on The Earrings' "In My House" single! Here he is doin' ONE OF THE BEST (if not THEE BEST!) instrumental versions of the old jazz- and mod standard "Comin' Home Baby".
Denys Justin Wright (6 May 1924 – 8 February 1992), better known as Denny Wright, was a jazz and skiffle guitarist who performed with Stephane Grappelli, Lonnie Donegan, Johnny Duncan (bluegrass musician), Digby Fairweather, Ella Fitzgerald, Billy Eckstine, Fapy Lafertin and many other musicians, including young rising stars such as Bireli Lagrene and Nigel Kennedy (Wikipedia).
Denny Wright's free-flowing improvisational style came to the forefront through his work with Lonnie Donegan in the 1950s. Wright was a pioneer in establishing a fresh lead guitar style in the context of the folk and blues roots from which Donegan drew his song repertoire. Drawing upon and transcending the jazz blues elements in his own background, and the vital influence of Django Reinhardt, Wright produced constantly innovative lead breaks and solos for Donegan's live work and recordings on both acoustic archtop and electric guitar.
Review by Scott Yanow
In 1960, flutist Herbie Mann put together a very interesting band that was in its brief existence (before Mann's interests shifted elsewhere) one of the top in Afro-Cuban jazz. Utilizing four trumpets (including Doc Cheatham), up to three percussionists and a flute-vibes-bass-drums quartet, Mann performs four standards (including "Dearly Beloved," "I'll Remember April" and "Autumn Leaves") and two originals in a style that was beyond bop and much more African- and Cuban-oriented. This LP (long deserving of being reissued on CD) is quite underrated and is one of the finest of Mann's long career.
Revisión por Scott Yanow
En 1960, el flautista Herbie Mann armó una banda muy interesante que en su breve existencia (antes de que los intereses de Mann cambiaran a otra parte) se convirtió en uno de los mejores del jazz afrocubano. Utilizando cuatro trompetas (incluido Doc Cheatham), hasta tres percusionistas y un cuarteto de flautas-bombo-batería, Mann presenta cuatro estándares (incluyendo "Dearly Beloved", "I'll Remember April" y "Autumn Leaves") y dos originales en un estilo que estaba más allá del bop y mucho más orientado hacia los africanos y cubanos. Este LP (que merece ser reeditado en CD) está bastante subestimado y es uno de los mejores de la larga carrera de Mann.
martes, 29 de mayo de 2018
The Hammond organ trio called Hart, Scone & Albin open up Leading the British Invasion by biting into "Rehab," from the songbook of the late British vocalist, Amy Winehouse. The tune—already dripping soul in its original edition—drips some, with the trio's muscular and propulsive approach.
The British Invasion the trio addresses throughout the set isn't the one that began in the early 60s, with The Beatles and The Rolling Stones, and Gerry and the Pacemakers and The Dave Clark Five; it's the ladies of today who get a showcase here: Amy Winehouse, Sade, Joss Stone, Adele, Lorde, and Dusty Springfield (who actually arrived during the initial Invasion, charting hits alongside the guys).
Guitarist John Hart and drummer and drummer Rudy Albin earned their organ trio stripes in the band of the legendary organist Jack McDuff. They take from their mentor a big, full sound, infectious R & B rhythms, danceable grooves, all washed down with the arctic wind of Adam Scone's full-throated Hammond B3 organ.
Amy Winehouse is represented well here. Besides the opener, "Rehab," the group goes after "Back to Black," the title tune from her debut album, and the durable standard, "Body and Soul," taking off from her collaboration with Tony Bennett. Adele gets a couple of soulful nods, with "Turning Tables" and "Rolling in the Deep." And Dusty Springfield's perhaps un-soulful—but beautiful—take on the Burt Bacharach/Hal David classic, "The Look of Love," levitates in the hands of Hart, Scone & Albin. And "Royals," from Lorde's songbook, shows up sounding like psychedelia.
Organ jazz, in the right hands, never gets old. It's in the right hands with Hart, Scone & Albin.
Nacido en Hawai en 1921, este artista fue uno de los directores más reconocidos de Columbia Records. Realizó sus estudios de arte en Los Angeles aunque la II Guerra Mundial hizo que los abandonara. Sin embargo, más tarde los retomó y consiguió acabarlos con éxito. Su estilo vanguardista llama la atención en Columbia Records y en 1954 comienza a formar parte de su departamento de diseño.
Realmente a Columbia Records lo que más le interesaba era hacerle la competencia a Blue Note respecto al departamento de arte. En aquellos años los artworks más famosos provenían de Blue Note que contaban con un magnífico equipo artístico compuesto por fotógrafos como Francis Wolff, del que me gustaría hablar más adelante, como fotógrafo importante dentro de la música.
Durante su estancia en Columbia, Fujita diseñó las portadas de álbumes de Jazz emblemáticos como la de Round About Midnight de Miles Davis, Time Out de Dave Brubeck o Ah Um de Charles Mingus. Aunque su trabajo más reconocido abarca el jazz también trabajó en portadas de Música Clásica. Definía el jazz como una “abstracción” y un tipo de “estilización” a través de una pintura “moderna” compuesta por formas geométricas con colores brillantes. Además este artista demuestra que sabe combinar perfectamente la fotografía y el diseño a través de portadas como el fotomontaje para The Jazz Messengers.
Fujita fue el primero en utilizar el trabajo de pintores, fotógrafos e ilustradores para portadas de discos convirtiendo así las portadas sen auténticas obras de arte contemporáneas. Después de dos años en Columbia, dejó la discográfica para trabajar por su cuenta.
Su obra más conocida puede ser la famosa tipografía de El Padrino además de su logo. También diseñó la portada de la obra literaria A sangre fría. En la última etapa de su vida se dedicó a la enseñanza en Estados Unidos. En el 2010 falleció a los ochenta y nueve años.
Automatic translation:Born in Hawaii in 1921, this artist was one of the most recognized directors of Columbia Records. He studied art in Los Angeles although World War II caused him to leave. However, he later took them back and managed to finish them successfully. His avant-garde style draws attention at Columbia Records and in 1954 begins to form part of his design department.Really to Columbia Records what interested him most was to compete with Blue Note regarding the art department. In those years the most famous artworks came from Blue Note that had a magnificent artistic team composed of photographers like Francis Wolff, which I would like to talk about later, as an important photographer in music.During his stay at Columbia, Fujita designed the covers of emblematic Jazz albums such as Miles Davis 'Round About Midnight, Dave Brubeck's Time Out or Charles Mingus' Ah Um. Although his most recognized work covers jazz he also worked on Classical Music covers. He defined jazz as an "abstraction" and a type of "stylization" through a "modern" painting composed of geometric shapes with bright colors. In addition, this artist shows that he knows how to perfectly combine photography and design through covers such as photomontage for The Jazz Messengers.Fujita was the first to use the work of painters, photographers and illustrators for album covers turning the covers into authentic works of contemporary art. After two years at Columbia, he left the label to work on his own.His best known work can be the famous typography of The Godfather as well as his logo. He also designed the cover of the literary work A sangre fría. In the last stage of his life he devoted himself to teaching in the United States. In 2010, he died at the age of eighty-nine.
Review by Jonathan Widran
Keyboardist Jeff Lorber's bluesy, retro-funk production techniques have pushed numerous genre stars -- from Eric Marienthal to the late Art Porter -- to great creative heights, and he adds a similarly soulful energy to the solid debut of vibist Dirk Richter. Named Vibes Alive, a title which captures the lighthearted, loose ensemble nature of the tunes, the album makes a great case for the mallet instrument as a viable smooth jazz vehicle. While Dave Samuels' solos with Spyro Gyra may be the only exposure genre audiences have had to the warm, tropical tones of the vibes, they have always been in counterpoint to the saxophone. Here, Richter takes charge, carrying cool melodies atop those trademark Lorber rhythms and harmonies on '70s throwbacks like the Hammond B-3 and the Wurlitzer electric piano. Richter gets the tropical thing going at times, but more impressively, he's equally proficient as a jazz soloist and in the funky urban mode. Other studio heavyweights like Luis Conte, Jimmy Johnson, and Jimmy Haslip participate, but aside from Lorber, it's co-producer and guitarist Randall Crissman whose soloing makes the most striking impression.
lunes, 28 de mayo de 2018
Review by Scott Yanow
Bassist Doug Watkins only led two recording sessions before his death in 1962, and this set (which was cut for New Jazz and reissued on CD in the OJC series) has sometimes appeared under Yusef Lateef's name. Watkins doubles on cello (an instrument he had reportedly only begun playing three days earlier) during the set with Lateef (who triples on tenor, flute, and oboe), pianist Hugh Lawson, bassist Herman Wright, and drummer Lex Humphries. The quintet performs three standards, Watkins' "Andre's Bag," and a couple of Lateef tunes. The use of oboe and cello on some numbers makes the date stand out a bit from the usual hard bop sessions of the period and straight-ahead jazz fans will want to get this CD.
Revisión por Scott Yanow
El bajista Doug Watkins solo dirigió dos sesiones de grabación antes de su muerte en 1962, y este conjunto (que fue cortado para New Jazz y reeditado en CD en la serie OJC) a veces ha aparecido bajo el nombre de Yusef Lateef. Watkins se dobla en violonchelo (un instrumento que supuestamente había comenzado a tocar tres días antes) durante el concierto con Lateef (que se triplica en tenor, flauta y oboe), el pianista Hugh Lawson, el bajista Herman Wright y el baterista Lex Humphries. El quinteto cumple tres estándares, el "bolso de Andre" de Watkins y un par de melodías de Lateef. El uso de oboe y violonchelo en algunos números hace que la fecha se destaque un poco de las sesiones habituales de hard bop de la época y los fanáticos del jazz que quieran seguir adelante querrán obtener este CD.
Mundell Lowe, Eddie Costa, George Duvivier, Clark Terry, Joe Newman, Urbie Green, Al Cohn, Phil Woods, Oliver Nelson ...
domingo, 27 de mayo de 2018
Lou McGarity (July 22, 1917– August 28, 1971) was an American jazz trombonist, violinist and vocalist born in Athens, GA, perhaps most noteworthy for his works with Benny Goodman throughout the 1940s. During this period and throughout his career McGarity also collaborated often with Eddie Condon. In the 1950s McGarity worked with artists such as Neal Hefti, Cootie Williams and Muggsy Spanier. McGarity also was a studio musician for Arthur Godfrey on Arthur Godfrey's Talent Scouts television show. https://en.wikipedia.org/wiki/Lou_McGarity
He was beloved worldwide as the king of the endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves were at once both ultra-primitive and timeless. But John Lee Hooker recorded in a great many more styles than that over a career that stretched across more than half a century.
The Hook was a Mississippi native who became the top gent on the Detroit blues circuit in the years following World War II. The seeds for his eerily mournful guitar sound were planted by his stepfather, Will Moore, while Hooker was in his teens. Hooker had been singing spirituals before that, but the blues took hold and simply wouldn't let go. Overnight visitors left their mark on the youth, too legends like Blind Lemon Jefferson, Charley Patton, and Blind Blake, who all knew Moore.
Hooker heard Memphis calling while he was still in his teens, but he couldn't gain much of a foothold there. So he relocated to Cincinnati for a seven-year stretch before making the big move to the Motor City in 1943. Jobs were plentiful, but Hooker drifted away from day gigs in favor of playing his unique free-form brand of blues. A burgeoning club scene along Hastings Street didn't hurt his chances any.
In 1948, the aspiring bluesman hooked up with entrepreneur Bernie Besman, who helped him hammer out his solo debut sides, Sally Mae and its seminal flip, Boogie Chillen. This was blues as primitive as anything then on the market; Hooker's dark, ruminative vocals were backed only by his own ringing, heavily amplified guitar and insistently pounding foot. Their efforts were quickly rewarded. Los Angeles-based Modern Records issued the sides and Boogie Chillen -- a colorful, unique travelogue of Detroit's blues scene -- made an improbable jaunt to the very peak of the R&B charts. --- by Bill Dahl, AMG
Review by Scott Yanow
This excellent set features a logical combination. Violinist Stephane Grappelli originally came to fame through his recordings with guitarist Django Reinhardt. Barney Kessel, although more influenced by Charlie Christian than by Django, was one of the top jazz guitarists of the 1950s and '60s and his style was quite complementary to Grappelli's. The two teamed up for several albums' worth of material in 1969. This CD reissues the former LP I Remember Django, adding four additional selections and serving as a perfect introduction to the brilliant playing of Stephane Grappelli.