sábado, 30 de junio de 2018
Review by Stephen Cook
Keeping up with his "Iceman" moniker, Albert Collins delivers with his fourth Alligator release Don't Lose Your Cool. The title cut was one of his first instrumental hits back in the late '50s and here it's given a gritty, organ-driven workout à la one of his heroes and onetime collaborators, Jimmy McGriff. Forging on in this impressively diverse set, Collins revels in the humorous, spoken commentary of Oscar Brown, Jr.'s "But I Was Cool" (reminiscent of Collins' spoken interludes on the John Zorn piece "Spillane"), updates the jump-blues antics of Big Walter Price's "Get to Gettin'," and closes the set out with a faithful take on Guitar Slim's "Quicksand." He also adds a few of his own impressive cuts here, including the funky, syncopated New Orleans groove "Melt Down" and the Stax 'n' blues cut "Ego Trip." Throughout, of course, Collins comes up with plenty of his grating, barbed wire guitar licks and rough-hewn vocals. Riding atop his crack, seven-piece Ice Breakers band (including a fine horn section), Collins certainly keeps things burnin' on this set, while still living up to all the icy allusions with some of the most cool and urbane modern blues on record.
En esta ocasión el genio del violín, no sólo nos deleita con sus interpretaciones, sino que además, según se ve en la foto de la portada, demuestra una excelsa interpretacion del maestro tocando el violin con la mano izquierda.
This time the genius of the violin not only delights us with his interpretations, but also, as seen in the photo on the cover, demonstrates an excellent interpretation of the maestro playing the violin with his left hand.
German-born Hammond B-3 organist Jermaine Landsberger has assembled a strong ensemble for this recording of covers and original material, including pieces borrowed from some of his heroes or all-star bandmates. Pat Martino appears on three tracks with the rising star guitarist Andreas Öberg on the rest, drummer Harvey Mason gets back to his jazz groove roots, while Gary Meek plays saxes and flutes. The surprise participant is acoustic or electric bassist James Genus, added to the group where normally an organist plays all of the bottom-end rhythmic tones with his feet. The result is a deeply grooving, soulful, diverse, and substantive music that goes beyond what one might expect from this type of group, and it all sounds marvelous. A composition written by pianist Phil Markowitz, a title track from one of his own CDs as well as covered by Bill Evans and Toots Thielemans on their album Affinity, "Sno' Peas" is a sweet waltz played with pure authenticity, featuring the still able Martino, and Meek on tenor sax. Marcos Silva's "Brazilian People" is more modern jazz than samba or bossa nova, perfectly exhibiting the deepened low-octave sound provided when Genus and Landsberger play basslines together or in counterpoint, with Martino's playful guitar and Meek's flute soaring on top. Playing Martino's bopper "Three Base Hit," the band with Öberg sans the composer is quite comfortable speeding along and paying no mind to stop signs or commercialized affectations. Adopting a rock beat merging to bop, Mason is particularly effective driving the group during Django Reinhardt's tribute to his son, "Babik," not at all a Gypsy swing, while Horace Silver's famous "Filthy McNasty" is the perfect soul-swing vehicle meant to evoke good feelings and the essential element of fun. Where Stevie Wonder's "Another Star" is adapted into a road song à la Wes Montgomery, Richard Galliano's "Romance" is conversely the slowest of slow ballads, true to its title and composer's initial intent, with Martino beautifully leading the way. There's a cohesion in this group speaking to its members' collective experience in the studio, which clearly urges and inspires Landsberger to play very well, and above all, concisely. He's not a pyrotechnical maniac nor a purist soul sender, but is quite able to express a unique point of view throughout. His composition "Valse Manouche," with lead lines by Öberg, stands out in a 6/8 framework, not so much because it is an original but that it is played by the organist expertly and with great passion. Meek is also impressive on all of his horns, and keeps developing as a deft and lithe player who never overstates the obvious. If you are a fan of the B-3, this delightful, easily recommended effort will please you and, because of its wide-ranging repertoire, will bear repeat listenings sure to reveal more with every spin. ~ Michael G. Nastos
viernes, 29 de junio de 2018
Frank Virtue was one of the founders behind the postwar pop music boom in Philadelphia. A prodigiously talented guitarist and bassist, as well as a gifted arranger, he was working professionally while still in college and became a bandleader during a year spent in the United States Navy. In 1947 he founded the Virtuoso Trio, which 12 years later became the Virtues, the instrumental band responsible for the 1959 single "Guitar Boogie Shuffle." Virtue left the group, disbanding it, in 1962 and went into production, founding his own studio where he occasionally recorded a descendant group of sorts, the Virtuoso Orchestra, as well as such singles as Eddie Holman's "Hey There Lonely Girl," among numerous other artists. Kenny Gamble and Leon Huff were later major producers based at Virtue's studio.
Frank Virtue fue uno de los fundadores del boom de la música pop de posguerra en Filadelfia. Un guitarrista y bajista prodigiosamente talentoso, además de un talentoso arreglista, trabajaba profesionalmente mientras aún estaba en la universidad y se convirtió en director de orquesta durante un año en la Marina de los Estados Unidos. En 1947 fundó el Virtuoso Trio, que 12 años más tarde se convirtió en Virtudes, la banda instrumental responsable del single de 1959 "Guitar Boogie Shuffle". Virtue abandonó el grupo, disolviéndolo, en 1962 y comenzó a producir, fundó su propio estudio donde ocasionalmente grabó un grupo de descendientes, la Orquesta Virtuoso, así como singles como "Hey There Lonely Girl" de Eddie Holman, entre numerosos otros artistas Kenny Gamble y Leon Huff fueron más tarde grandes productores basados en el estudio de Virtue.
jueves, 28 de junio de 2018
Review Summary: For fans of metal, prog, rock, surf, and most of all cool music.
Daikaiju deserves more recognition than it gets - a lot more recognition. Much of the problem lies with the band but not because of the music quality. Daikaiju is based in the south but play surf music. Their band name and song names are obscure. They have an odd obsession with kabuki. They are entirely instrumental. They wear masks and use pseudonyms. They're primary sound (surf) went out of style 35 years ago, and is punctuated with metal sensibilities. Whatever the reason for these choices, it's a sure indicator that the band is doing it there way and not to court the mainstream. This is music for the love of making music.
Like most great bands, Daikaiju sports a rock-solid rhythm section. The drums are busy and propulsive. The bass likewise drives the beat while maintaining a sense of melody. Much like JP and Dan Maines of Clutch, neither are flashy individually, but combine to form a fantastic backing for the melody.
The rhythm guitars are tasteful and alternate between laying down foundation for the leads, while often intertwining with the lead for harmonization. The playing ranges from roaring to slow and slinky. Solos standout in spades. I'm most reminded of Opeth in this department not for the style but because they're so damn tasteful. It's not about speed, or range, or tone, but all three with a clear pronouncement on picking the right note at the right time and most importantly in the right context.
I can truly say I've never heard a sound like Daikaiju's. They do something that is a trademark of great bands; they sample influences of many different genres and make it into an distinct and cohesive sound all their own. Revolving around surf, Daikaiju incorporates most notably the bratty showmanship of progressive music and guitar centrism of progressive metal. Like their self-titled album, Phase 2 includes a smooth dub jam. The aforementioned Farewell to Monster Island was a highlight if not the best song from their first album. Here, Jellyfish Sunrise continues in the same vein, though not reaching quite the same epic highs. Other recommended tracks are Flight of the Garuda for a glimpse of the band's quintessential sound. The best track is probably Forcefield Lifts Over Neon City. It displays the creativity and fun that mark the band. It builds slowly but progressively with a catchy beat and melodic lead, reaching apex with a solo that will induce a refractory period.
For those enjoying the album or having difficulty finding this one, the 2005 self-titled release is on par with this one. As a final bonus, this band destroys live. Top notch energy. Guitarists play on the bar, in spectators' laps, in the parking lot, etc.
miércoles, 27 de junio de 2018
"Le Train Gitan", c’est l’autre disque du fameux duo formé de Maurice Ferret et Joseph Pouville, les piliers du célèbre Clairon des Chasseurs de Montmartre (il n’existe hélas que deux albums...)
Contrairement à leur très swingant Hommage à Django, on ne trouvera pas ici de reprises du célèbre manouche. Pas de swing et pas de jazz non plus.... Par contre, on aura droit à différentes petites douceurs, du style des Jeux Interdits, de La Bamba, ou du Marchand de cacahouètes, à queques rumbas à la mode de l’époque : Entre dos aguas, Gipsy rumba, El royo, ou encore des valsouzes archi-rabachées comme La Foule ou La Partida... Bref, tout un répertoire de gars du métier destiné à accrocher le touriste en mal de cocasseries parisiennes, d’airs connus à chantonner, d’ambiance populaire et sympathique... (et destiné à remplir un peu le chapeau aussi...!)
En mélangeant une face de l’Hommage à Django avec une face du Train Gitan, on aura, je pense, une idée assez représentative du style et du répertoire, désormais historiques, joué un temps considérable par nos deux compères au légendaire Clairon des Chasseurs...
Et l’on en deviendrait presque nostalgique...!
Whenever a jazz artist embraces more commercial music, he/she is bound to be lambasted by purists in the jazz press. Herbie Mann was no exception -- when he tried to sell more records by embracing commercial funk, soul and disco in the mid- to late 1970s, the flutist was denounced as a sellout by many jazz critics and received one scathing review after another from them. One of the albums that was attacked the most was Herbie Mann and Fire Island, an overtly commercial, club-minded disco/soul LP. Because this release has nothing to do with jazz, it's silly to judge it by jazz standards -- although many jazz critics of the late 1970s did exactly that. Instead, one must judge Herbie Mann and Fire Island by disco/soul standards, and when those standards are applied, it's clear that the album is generally likable, if unspectacular and uneven. Although Mann produced the LP, most of the writing was done by the vocal trio Fire Island (which consists of Carmine Calabro, Jr. Googie Coppola, and Arnold McCuller). The best track is the dreamy yet funky "Welcome Sunrise," which brings to mind the R&B that Roy Ayers was providing at the time. Lush disco numbers like "Summer Strut" and "Rhythmatism" are fairly catchy, although not breathtaking. Herbie Mann and Fire Island isn't the atrocity that many jazz critics described it as being -- however, it isn't one of Mann's more memorable commercial projects either.
Etiquetas: Retro Swing
Review by Thomas Erlewine
On his final album for Blue Note, Freddie Roach decided to step outside -- way outside -- the tasteful soul-jazz that had become his trademark. Roach decided to make a concept album, one that captured the sound and vibe of what he calls "Soultown," or what critics like to call "black culture." Those terms would suggest that All That's Good is a gritty, funky collection of blues vamps and soul, but that's not the case at all. Supported by a trio of lesser lights -- guitarist Calvin Newborn, drummer Clarence Johnston, and tenor saxophonist Conrad Lester -- Roach never hits upon a groove, choosing to create a series of bizarre, hazy textures. That atmosphere is catapulted into the realms of the surreal by vocalists Phyllis Smith, Willie Tate, and Marvin Robinson, whose wordless, floating singing sounds spectral; the intent may have been to mimic a gospel choir, but the effect is that of a pack of banshees wailing in the background. The structures of the songs may follow traditional paths, but the eerie voices make the music surprisingly unsettling, which certainly wasn't Roach's intent. He may have been trying to make an epic portrait of contemporary black culture, but he's undone by his off-kilter arrangements (Harlan Howard's familiar "Busted" is nearly unrecognizable) and pedestrian, unmemorable songwriting. It's likely that, if the songs were delivered as straight-ahead soul-jazz, they wouldn't have made much impact so, in a weird way, it's almost fortunate that Roach attempted something grand, because All That's Good sounds like no other Blue Note record of the early '60s.
martes, 26 de junio de 2018
"...It's a fun jam - cool and hip....the session smolders with B-3 fuel..."
Down Beat (2/97, p.49) - 3 Stars (out of 5)
The Essence All Stars' Organic Grooves finds the group turning out good, if unexceptional, hard bop performances of songs by Larry Young ("Luny Tune"), Tina Brooks ("True Blue"), Lenny White ("Old Wine New Bottles") and Hank Mobley ("Smokin'").
- Stephen Thomas Erlewine, All Music Guide
lunes, 25 de junio de 2018
Review by Steve Huey
Swing This, Baby!, Vol. 2 concentrates on the sort of ironic swing-with-a-smirk that made up a not inconsiderable portion of that particular mid- to late-'90s retro craze. It does have "Jump, Jive An' Wail," but not the original by Louis Prima or the hit cover by the Brian Setzer Orchestra but rather a version by the Crescent City Maulers; it's good, but not quite up to the level of the former two. Other groups present include Hipster Daddy-O and the Handgrenades, the Atomic Fireballs, the Ray Gelato Giants, the Dino Martinis, and Blue Plate Special, among many others.
domingo, 24 de junio de 2018
sábado, 23 de junio de 2018
Bijaya Vaidya is a legendary Sitar Virtuoso of Nepal. He has performed in thousands of concerts in major cities around the globe - most of his performance completely dedicated to charity and fund raising for social works. This acclaim comes out from his long years of efforts in promoting Nepali music and opening new doors for the Nepali music industry. He has been promoting all genre of music from eastern classical, rock and roll to the Celtic forms of music. Because of his broad experiences he is very well versed in the cultural and social life of Nepal and his people. Bijaya also advocates for peace and harmony on planet Earth.
He was placed first in Nepal and third on the Bachelors of Music examination of Prayag Sangit Samitee and also finishes his Master’s Degree in Music from Prayag Sangit Samitee Music Academy in Allahabad, India and Bachelor of Arts from Tribhuvan University, Kathmandu, Nepal.
Bijaya started his musical carrier when he was 16 under the teaching of Mamta Pradhan and Tara Bir Tuladhar.
These days Bijaya performs as Rock Sitar with the mixer sound of Mountain, Hills and Flat land of Nepal with Western and Eastern Instrument.
Bijaya perform his compositions with a most experience artists. Rock Sitar is new concept of music through plugged-on Sitar. Mostly he works with flute and percussion, also sometimes he use orchestral tradition combination with western music. He had also performed joint concert title so close so far with Celtic music group Arz Nevez from France. He has done several concerts of rock music with Louis Bertignac Guitar hero of France.
Bijaya Vaidya is also a founder of Sur Sudha-a celebrated musical instrumental performing group in Nepal’s musical history, actually pioneered all the way to fame, back in the 90s. Bijaya vaidya has toured extensively cross the globe and boasts performances in celebrity arenas such as Olympia in France. This time around, Bijaya Vaidya has reinvented his artistic effort in the form of a Rock Sitar. After creating his own costume design standing electric Sitar with different type of pickups and tap microphone for better quality electric sound of standing electric Sitar. He create concept of Rock Sitar. This Rock Sitar spectacle is indeed a novelty because he in fact plays it standing, quite a contrast from the traditional style of playing Sitar whilst sitting. Perhaps what is most noteworthy of the Rock Sitar, from the other conventional Sitars, is undoubtedly with different flavor of new innovation sound mixed with rock feeling with world and traditional music. New way of Sitar composition and also a finding another dimension for Sitar music.
The Rock Sitar group of instrumentalists delivers a meditational vibration of music showcasing only their instruments without much if at all any vocal exhibition, therefore allowing the listener to truly become absorbed in real soulful meditation. This Nepalese ensemble of musicianship is a culture all in itself. Art has always been the basis of rich culture, since time immemorial. Rock Sitar conveys this principle of art, through musical content with titles like, 'Mother Nature' or ’Eternal Bond', songs which in essence imbibe a real mood of humanity. Bijaya Vaidya as Rock Sitar aims at conveying the higher values of life, to the secular society of our world today Peace, Love, friendship and liberty. In Nepal Rock Sitar’s works are greatly anticipated and the performing group has commanded a commendable response from the public, at their live shows in diverse audiences even in Nepal. Rock Sitar may very well be rightfully deemed ambassadors of Nepal on account that music is humanity's Linga Franca, the unifying dialect which we all speak, such that Bijaya Vaidya, as musical royalty of Nepal, easily figures representative.
Review by Stewart Mason
The long-delayed third album by St. Louis' Civil Tones continues in the style of its two predecessors, adding few new twists to their signature sound. On the other hand, the phrase "If it ain't broke" comes to mind. One of those rare contemporary instrumental combos that's not primarily a surf group, the overall feel of Vodka and Peroxide is that of a mid-'60s organ jazz combo (think of Jimmy Smith's Lalo Schifrin period) leapfrogged into the post-Medeski, Martin & Wood era and then given a crash course in Mancini-style easy listening and Booker T. & the MG's' vintage Southern soul. The '70s-style fusion funk of "Wasabi" notwithstanding, the overall feel here is slightly arch without devolving into ironic kitsch, and playful without disrespecting its influences. And they're not afraid of the water, either, as shown by a witty, surf-inflected rendition of the theme to the Buffy the Vampire Slayer TV series that sounds more like a modern-day Ventures than the current cruise-ship lounge incarnation of that classic group. At nearly an hour, Vodka and Peroxide is a little long (the choogling rock of "Super Love Bomb" probably could have been omitted), but it maintains the listener's interest through the Civil Tones' gift for inventive and varied arrangements.
Review by David M. Childers
By the time the neo-swing craze hits its peak, this compilation will be looked upon as a sensational collection of the swing pioneers. With the likes of Big Bad Voodoo Daddy, the Cherry Poppin' Daddies, and the Royal Crown Revue, Swing This, Baby! is 48 minutes of the kind of upbeat and frenzied dance music that propelled the big-band sound back into mainstream society.
The charm of the album, though, is not solely due to the more established names it boasts. While other collections might have loaded the palette with those well-known names, Swing This, Baby limits each of 15 bands to one song apiece. The diversity of the bands leads to a more balanced and complete sampling of the many swing bands out there, and the different variations of the same sound. Among the better of the lesser-known artists is the Johnny Favourite Orchestra, whose contribution "We Still Talk the Way Lovers Do" is one of the many highlights. The album is a must-have for those who are getting acquainted with the swing phenomenon, as well as the devoted fans of the movement.
viernes, 22 de junio de 2018
Mathis James "Jimmy" Reed (septiembre 6, 1925 – agosto 29, 1976)1 fue un músico de blues nacido en Estados Unidos. Reed significo un referente del Blues eléctrico,2 y una gran influencia en varios músicos de rock and roll como Elvis Presley, Eric Clapton, Billy Gibbons, Hank Williams, Jr, Stevie Ray Vaughan, Jerry Garcia y The Rolling Stones.
Bio completa ...
Mathis James Reed (September 6, 1925 – August 29, 1976) was an American blues musician and songwriter. His particular style of electric blues was popular with blues as well as non-blues audiences – Reed's songs such as "Honest I Do" (1957), "Baby What You Want Me to Do" (1960), "Big Boss Man" (1961), and "Bright Lights, Big City" (1961) appeared on both Billboard magazine's rhythm and blues and Hot 100 singles charts.
Reed influenced other musicians, such as Elvis Presley, Hank Williams Jr., and the Rolling Stones, who recorded his songs. Music critic Cub Koda describes him as "perhaps the most influential bluesman of all" due to his easily accessible style.