egroj world: julio 2018

martes, 31 de julio de 2018

VA • Take It Off!- Striptease Classics

The Organ Masters • Charmaine And Other Beautiful Organ Songs

The Organ Masters
Real Name: Dick Hyman

Victor Feldman • Soviet Jazz Themes

Soviet Jazz Themes (full title: The Victor Feldman All Stars Play the 'World's First Album of Soviet Jazz Themes) is an album by vibraphonist and pianist Victor Feldman featuring tunes by three composers he discovered while on Benny Goodman's 1962 tour of Russia which he recorded on returning to the U.S. and released on the Äva label.

Spo-Dee-O-Dee • Go Ahead On!

22 boppin' tracks including 20 Spo-De-O-Dee originals and 2 red hot covers, culled from various (now out of print & rare) vinyl releases.

lunes, 30 de julio de 2018

Stephane Grappelli • Plays Cole Porter

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The Brand New Heavies • The Acid Jazz Years

Memphis Slim ‎• Born With The Blues

Review by Nathan Bush
By the time this album was issued on the Paula/Flyright imprint, pianist Memphis Slim had been residing in Paris for nearly a decade, having left the U.S. in the early '60s. From his new home base, Slim continued to record and tour, releasing a number of studio and live sets. On Born With the Blues, the pianist is joined by a pair of musical legends: multi-instrumentalist Carey Bell (lending bass and harp to the date) and guitarist Lowell Fulson. Completing the lineup is drummer S.P. Leary, whose resumé includes sessions with Howlin' Wolf, Muddy Waters, and John Lee Hooker. Small combo engagements like this one seem perfectly suited to Slim's many skills. He's particularly dazzling in the upper regions of his instrument, stating his case with driving, staccato chords and effortless, lyrical flourishes. Fulson proves a particularly appropriate choice for the role of Slim's primary musical sparring partner, being equally engaging in both rhythm and lead roles. Unfortunately, Bell's harp is given little airing (a sweltering solo on the instrumental "Get Ready" being a notable exception). The veteran bluesman is reduced to the bass role, in which he sketches the musical framework with his crisp lines. While the group never digs too deeply into the date's collection of relaxed, strolling blues and mid-tempo 12-bar workouts, the soloists remain engaged throughout, making this an enjoyable early-'70s set.


Traducción Automática:
Reseña por Nathan Bush
Para cuando este álbum fue publicado en la imprenta de Paula / Flyright, el pianista Memphis Slim había estado residiendo en París por casi una década, después de haber salido de los Estados Unidos a principios de los '60. Desde su nuevo hogar, Slim continuó grabando y girando, lanzando varios sets de estudio y en vivo. En Born With the Blues, el pianista se une a un par de leyendas musicales: el multiinstrumentista Carey Bell (que presta el bajo y el arpa a la fecha) y el guitarrista Lowell Fulson. Completando la alineación está el baterista S.P. Leary, cuyo currículum incluye sesiones con Howlin 'Wolf, Muddy Waters y John Lee Hooker. Los combates pequeños como este parecen perfectamente adecuados para las muchas habilidades de Slim. Es particularmente deslumbrante en las regiones superiores de su instrumento, indicando su caso con conducción, acordes staccato y floreos líricos sin esfuerzo. Fulson demuestra ser una elección particularmente apropiada para el papel del compañero de entrenamiento musical principal de Slim, siendo igualmente participativo tanto en el ritmo como en los papeles principales. Desafortunadamente, el arpa de Bell tiene poco aire (un sofocante solo en el instrumental "Get Ready" es una notable excepción). El veterano bluesman se reduce al papel de bajo, en el que dibuja el marco musical con sus líneas nítidas. Mientras que el grupo nunca profundiza demasiado en la colección de relajantes blues, blues y mid-tempo de 12 bandas, los solistas siguen participando, haciendo de este un divertido set de principios de los '70.

domingo, 29 de julio de 2018

Sonny Stitt - Bud Powell - J.J. Johnson • Sonny Stitt - Bud Powell - J.J. Johnson

Adam Levy, Larry Goldings & Kenny Wollesen • Buttermilk Channel

Guitarist Adam Levy is joined by organist Larry Goldings and drummer Kenny Wolleson on this understated and rather engaging album. Levy's tone is far more trebly and bright than is common in jazz, and this suits his compositional aesthetic, which boldly departs from jazz in many instances. There's more than a hint of blues and rock in the slow shuffle of "I Guess," the relaxed, twangy vibe of "Dear John" (a tribute to Scofield, perhaps), and the semi-reggae vehicle "Orange You Glad," which begins with strummed open-string voicings that briefly conjure an Eastern feel. Despite his rock leanings, Levy is not one for distortion and high decibels; even the rocking vamp at the end of "That's All She Wrote" ebbs and flows with dynamic subtlety. Levy's jazz leanings become more evident on "Out of Harm's Way" and the closing track, "Sphere of Influence." This is intelligent, genre-defying music played with a quiet passion.
David R. Adler, All Music Guide

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Ehon Mushi Erami - Album des insectes choisis, par Utamaro [2 pdf]

Nelson Riddle • Love Is A Game of Poker

sábado, 28 de julio de 2018

Julie London • Julie is her Name, Vols 1 & 2

Although she's now in her senior citizen years, listen to Julie London's stunning 1955 debut, and you'll still think she's one of the hottest creatures on two legs. "The girl with the come hither voice" is how the original liner notes described it, and London's sultry vocals simply oozed it. With the first track--which became her first single--London's legend was etched in stone. "Cry Me a River" became one of the greatest torch songs of all-time, and while it's been reinterpreted over the last 40 years by everyone from Streisand to Joe Cocker, the song forever belongs to London. The other standards here--from the likes of Irving Berlin, Kern & Hammerstein, and the Gershwins--are nothing to slouch at, and one listen to her version of "I'm in the Mood for Love," and you just may be, too. She's semi-famous for being the ex-Mrs. Jack (Dragnet) Webb and, later, Mrs. Bobby ("Route 66") Troup--but genuinely forever famous for this LP. Female lounge singers have been trying to sound just like her ever since. -- Bill Holdship

Herbie Mann & Tamiko Jones • A Mann and a Woman

viernes, 27 de julio de 2018

Lightnin' Slim • Rooster Blues

Al Caiola ‎• Midnight In Moscow

Beverly Laine - Eddie Truman • Organ Favorites

Sin información sobre los organistas.
Without information about the organists.

Robert McCoy • Barrel House Blues And Jook Piano

Robert McCoy is an Alabama bluesman singer/barrelhouse pianist born in the small town of Aliceville, AL, in March 31th, 1910 but moved to Birmingham when he was only a baby and ended up spending the rest of his life there. McCoy's first recordings as a leader came in the '30s, a decade that found him working with Jaybird Coleman and Guitar Slim as well as James Sherell, aka Peanut The Kidnapper. He continued to sing and play the piano on the side in the '40s and '50s. It wasn't until the early '60s that the Birmingham resident returned to professional recording. In 1961, McCoy came to the attention of Patrick Cather, an aspiring blues producer who also lived in Birmingham and he wanted to start a label and produce blues records. In 1962, Cather produced McCoy's first full-length LP Barrel House Blues And Jook Piano, which was released on Cather's own Vulcan Records. The following year, Cather produced McCoy's sophomore album, Blues and Boogie Classics, also released on Vulcan. After Blues and Boogie Classics, McCoy didn't record any more albums, he died in Birmingham 12 February of 1978.

Duke Ellington and Johnny Hodges • Plays the Blues Back to Back

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jueves, 26 de julio de 2018

Sixto Rodriguez • Searching for Sugar Man [OST]

Detroit, años 70. Unos cazatalentos te descubren en un “cuchitril” y te proponen de grabar un álbum, pero no triunfa… mejor dicho, es un fracaso.
Al cabo de un tiempo llega una copia de tu disco en un rincón de mundo cómo podría ser Sudáfrica. Sin saber cómo, éste disco es un éxito en ventas y, por alguna razón, se convierte en himno de un movimiento social, en éste caso la resistencia contra el apartheid.
Tres décadas después, un tal Malik Bendjelloul, recoje tu historia, la convierte en un precioso documental y se hace con nada menos que un Óscar… Y después de esto evidentemente viene el boom mediático, y ya no sorprende tanto que el nombre de Rodríguez aparezca en el cartel del Coachella como uno de los grandes atractivos…

Sugar man, won’t you hurry
‘Cos I’m tired of these scenes
For a blue coin won’t you bring back
All those colors to my dreams

La verdad es que no se entiende el porqué el disco no triunfó des de un inicio. Ni tampoco porqué acaba triunfando al cabo de 30 años. Quizás esto demuestra la fuerza del azar… De todas formas, la moraleja es que “las cosas caen por su propio peso” tanto para bien como para mal. Y en éste caso la historia le ha acabado haciendo justicia.


Automatic translation:Detroit, 70s. Some scouts discover you in a "hovel" and propose you to record an album, but it does not succeed ... rather, it is a failure.After a while, a copy of your album arrives in a corner of the world, how could South Africa be? Without knowing how, this album is a success in sales and, for some reason, it becomes the anthem of a social movement, in this case the resistance against apartheid.Three decades later, a certain Malik Bendjelloul, pick up your story, makes it a beautiful documentary and is made with nothing less than an Oscar ... And after this evidently comes the media boom, and it is no longer so surprising that the name of Rodriguez appears in the Coachella poster as one of the great attractions ...

Sugar man, won’t you hurry
‘Cos I’m tired of these scenes
For a blue coin won’t you bring back
All those colors to my dreams

The truth is that you can not understand why the album did not triumph from the beginning. Nor why it ends up triumphing after 30 years. Perhaps this shows the strength of chance ... In any case, the moral is that "things fall under their own weight" for good as well as for bad. And in this case, history has ended up doing justice.


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Roy Lanham • The Most Exciting Guitar

Artist Biography by Greg Adams
Although known primarily as guitarist for the Sons of the Pioneers from 1961 through 1986, Roy Lanham also led the Whippoorwills for many years and performed as a solo artist, recording albums of country-jazz guitar instrumentals under his own name in the late '50s and early '60s. Despite his relative obscurity, Lanham is often esteemed on the level of such well-known guitar greats as Chet Atkins and Merle Travis. Lanham was born in Corbin, KY, on January 16, 1923, and picked up the guitar at an early age. Beginning as a teenager he found radio work as a rhythm guitarist in a number of instrumental combos, one of which was eventually hired by pop vocalist Gene Austin and renamed the Whippoorwills. In this group Lanham functioned as lead guitarist, performing in a jazzy style influenced by Charlie Christian and Django Reinhardt but distinguished by his development of a four-part harmony chord technique he would alternate with single-string figures. In 1943 Lanham joined Cincinnati's WLW, a 50,000-watt station that allowed him the opportunity to work with King Records, for which he soon performed regularly as a session guitarist, appearing on recordings by Hank Penny and the Delmore Brothers, among others. After participating in one Chet Atkins session in 1946 for the Bullet label, Lanham moved to Dayton and re-formed the Whippoorwills. For the next few years the combo toured, recorded transcriptions for Smiley Burnette's radio show in Hollywood and collaborated with Merle Travis on six sides for Capitol in the early '50s. It was during his tenure with Smiley Burnette's show that Lanham first met the Sons of the Pioneers, who invited the Whippoorwills to fill in for them on their radio show while the Sons were on tour. Lanham found additional session work recording separately with Johnny and Dorsey Burnette as well as Johnny Horton, Jim Reeves, Bonnie Guitar, the Browns, and the Fleetwoods, in addition to recording singles under his own name and with the Whippoorwills. The success of the Fleetwoods singles on which he appeared led to his recording of a solo LP in 1959 and the sole Whippoorwills album, Sizzling Strings, later that year.

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Junior Kimbrough • Most Things Haven't Worked Out

 Artist Biography by Bill Dahl
Cited as a prime early influence by rockabilly pioneer Charlie Feathers, Mississippi Delta bluesman Junior Kimbrough's modal, hypnotic blues vision remained a regional sensation for most of his career. He finally transcended the confines of his region in the early '90s, when he appeared in the 1991 movie Deep Blues and on its Anxious/Atlantic soundtrack, leading to his own debut for Fat Possum Records, All Night Long.
Junior Kimbrough was born and raised in Hudsonville, Mississippi, where he learned how to play guitar by listening to records by Delta bluesmen. In 1968, he cut his first single, "Tramp," for the local Philwood label. For the next two decades, Kimbrough didn't have the opportunity to record frequently -- he recorded a single, "Keep Your Hands Off Her," for High Water and his "All Night Long" was available on the various artists compilation National Downhome Festival, Vol. 2 released on Southland Records.
During the '70s and '80s, Kimbrough played juke joints throughout Mississippi, which is where music journalist Robert Palmer discovered him in the late '80s. Palmer featured Kimbrough in his documentary film Deep Blues. The exposure in the movie led to a national record contract for Kimbrough -- he signed with Fat Possum and released his first full-length album, All Night Long, in 1992. The record was critically acclaimed by both blues and mainstream publications, as was Deep Blues and its accompanying soundtrack. All of the media attention led to performances outside of the Delta, including a few shows in England. After the flurry of activity in 1992, Junior Kimbrough returned to playing juke joints in the Delta, recording occasionally -- he released his second album, Sad Days, Lonely Nights, in 1993. Most Things Haven't Worked Out followed in 1997, and a year later Kimbrough returned with God Knows I Tried. He died of a heart attack on January 17, 1998.


Traducción Automática:
Biografía del artista por Bill Dahl
Citada como una de las primeras influencias tempranas del pionero del rockabilly Charlie Feathers, la visión modal e hipnótica del bluesman del Delta del Mississippi Junior Kimbrough se mantuvo como una sensación regional durante la mayor parte de su carrera. Finalmente trascendió los confines de su región a principios de los 90, cuando apareció en la película de 1991 Deep Blues y en su banda sonora Anxious / Atlantic, lo que lo llevó a debutar con Fat Possum Records, All Night Long.
Junior Kimbrough nació y creció en Hudsonville, Mississippi, donde aprendió a tocar la guitarra escuchando discos de Delta bluesmen. En 1968, cortó su primer sencillo, "Tramp", para el sello local Philwood. Durante las siguientes dos décadas, Kimbrough no tuvo la oportunidad de grabar con frecuencia: grabó un sencillo, "Keep Your Hands Off Her" para High Water y su canción "All Night Long" estuvo disponible en la compilación de varios artistas National Downhome. Festival, vol. 2 lanzado en Southland Records.
Durante los años 70 y 80, Kimbrough tocó juntas juke a lo largo de Mississippi, que es donde el periodista musical Robert Palmer lo descubrió a finales de los años 80. Palmer presentó a Kimbrough en su documental Deep Blues. La exposición en la película condujo a un contrato discográfico nacional para Kimbrough: firmó con Fat Possum y lanzó su primer álbum de larga duración, All Night Long, en 1992. El disco fue aclamado por la crítica tanto por el blues como por las principales publicaciones. Deep Blues y su banda sonora de acompañamiento. Toda la atención de los medios llevó a actuaciones fuera del Delta, incluidos algunos espectáculos en Inglaterra. Después de la oleada de actividad en 1992, Junior Kimbrough volvió a tocar juke joints en el Delta, grabando de vez en cuando, lanzó su segundo álbum, Sad Days, Lonely Nights, en 1993. La mayoría de las cosas no han funcionado en 1997, y un año después Kimbrough regresó con God Knows I Tried. Murió de un ataque al corazón el 17 de enero de 1998.

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Billy Taylor • Evergreens

Review by Scott Yanow
Billy Taylor has recorded so many albums since the early '50s that it is difficult to call any particular one definitive or essential. This long out of print effort is a pleasing affair, matching Taylor with bassist Earl May and drummer Percy Brice. As usual, Taylor's technique is flawless, his interpretations swinging, and his performances full of enthusiasm and joy. He sticks to veteran standards, alternating ballads with medium-tempo romps. Highlights include "Cheek to Cheek," "All the Things You Are," "You Don't Know What Love Is," and "Between the Devil and the Deep Blue Sea." This worthwhile effort, however, will be a difficult LP to locate.


Traducción Automática:
Revisión por Scott Yanow
Billy Taylor ha grabado tantos álbumes desde principios de los años 50 que es difícil llamar a uno en particular definitivo o esencial. Este largo esfuerzo descatalogado es un asunto agradable, que une a Taylor con el bajista Earl May y el baterista Percy Brice. Como de costumbre, la técnica de Taylor es impecable, sus interpretaciones se balancean y sus actuaciones están llenas de entusiasmo y alegría. Se apega a los estándares de los veteranos, alternando baladas con retoques de tempo medio. Los puntos destacados incluyen "Mejilla a mejilla", "Todas las cosas que eres", "No sabes lo que es el amor" y "Entre el diablo y el mar azul profundo". Este esfuerzo que vale la pena, sin embargo, será un LP difícil de localizar.

New Jersey Kings • Party To The Bus Stop

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Frank Frost • Hey Boss Man!

Jim Day • Organ Favorites

Little information is available about Hammond organ player Jim Day other than he was called “Big” Jim Day (the name on the label as opposed to the cover) and is most associated with the tune You’re A Grand Old Flag. Great rousing ball park/silent movie music here. Lots of medleys.

martes, 24 de julio de 2018

Lazy Bill Lucas & His Friends • Lazy Bill Lucas & His Friends

Lazy Bill Lucas (May 29, 1918 – December 11, 1982) was an American blues musician, who was part of the birth of the Chicago blues scene during the 1940s, 1950s and early 1960s, before taking his talents to Minneapolis, Minnesota, and becoming an important part of that city's blues history until his death.
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The Mastersounds • Jazz Showcase Introducing

Brad Swanson • Greatest Hits

Organista con decenas de grabaciones y del que no he hallado biografía alguna.


Organist with dozens of recordings and of which I have not found any biography.

Al Hirt ‎• The Greatest Horn In The World

Native Paths American Indian Art from the Collection of Charles & Valerie Diker, pdf

Booker T. & The MG's • Time Is Tight [3CDs]

Review by Richie Unterberger
A three-CD, 65-song box set that includes all their hits from 1962 through 1971, in addition to numerous LP tracks and failed singles; the third disc is devoted entirely to previously unreleased live material (most from 1992-1994) and rarities. Greatest-hits compilations will serve the needs of all but intense Booker T. and Stax fans. However, if you really dig their instrumental sound, this is a fine package. It might skip an odd, worthy track from their catalog, but basically has just about everything deserving of attention, concentrating more on their original compositions than their covers. Some of the more obscure selections, like their jazzy 1967 LP cut "Pigmy" and their inventive 1969 cover of "Lady Madonna," are overlooked standouts. A number of sides here, like "Burnt Biscuits," "Fannie Mae," "Sunday Sermon," "MG Party," and the moody, dignified "Meditation," were never on album before. Other oddities fans will want to know about is a live medley of James Brown material from 1968, Albert King doing "Born Under a Bad Sign" with them live (also from 1968), a hit 1965 single ("Hole in the Wall") released under the name "the Packers," and "Booker's Theme," which was only available on the 1969 Stax various-artists sampler Soul Explosion. The 1992-1994 live cuts (all previously unreleased), with various drummers in place of the late Al Jackson, show the band in decent though not amazing form, including a ten-minute jam on "Time Is Tight" and a version of "(Sittin' On) The Dock of the Bay" with Neil Young on vocals.

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Dave Myers • You Can't Do That

Review by Cub Koda 
Dave Myers helped make Chicago blues history as the leader of the Aces-Jukes, Little Walter's backup group during the harmonica genius's heyday in the 1950s. While he's played both guitar and bass on a pile of classic blues recordings as a sideman over the intervening decades, this marks his first album as a featured artist. The wait was evidently worth it, as Myers is flanked by a top-notch band featuring Rusty Zinn on guitar and Kim Wilson on harmonica and simply turns in the best traditional blues record to be released in a long, long time. Myers' guitar style is thoroughly down-home and swinging (especially fine on the instrumental "Legs Up") and has taken on absolutely no modern accoutrements over the years; the band turns in well-formed and integrated performances that recall the Chess studio sessions of the 1950s. Myers' singing voice isn't the strongest, but instead imparts a warm, good-natured blues feeling to it, heard to good effect on "Ting-A-Ling," the Little Walter tribute "Oh Baby," John Lee "Sonny Boy" Williamson's "Elevate Me, Mama" and "You Can't Love Me That Way." Dave also brings six originals to this 14-track outing, with the title track sounding like a lost Chicago classic from the '50s. This one absolutely defies the odds; if you really can't go home again, then this one comes awful darn close.

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Gene Ammons • Jammin With Gene

lunes, 23 de julio de 2018

Elmore James • Golden Hits

Yuji Ohno & Kahimi Karie • Lupin Trois

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Billy May • Bill's Bag

James Cotton • Deep in Blues

Review by Thom Owens
Deep in the Blues is a fascinating jam session between James Cotton, guitarist Joe Louis Walker, and jazz bassist Charlie Haden. The trio runs through a number of classic blues songs written by Muddy Waters, Percy Mayfield, and Sonny Boy Williamson and a few originals by Walker and Cotton. The sound is intimate and raw, which is a welcome change from Cotton's usual overproduced records.

Dr. Lonnie Smith & David 'Fathead' Newman • Boogaloo to Beck

Review by Scott Yanow
On this unusual set, organist Dr. Lonnie Smith, with guitarist Doug Munro, and (on five of the 11 selections) tenor-saxophonist David "Fathead" Newman do the improbable. On Boogaloo to Beck: A Tribute, Smith takes a full set of songs by rock performer Beck and turns them into funky soul-jazz. In fact, the results often sound like a late-1960s Blue Note album. The individual selections are not all that memorable or inspiring (it is doubtful that any of these Beck tunes will catch on in jazz), but Smith and his bandmates play quite well and deserve credit for trying to come up with fresh material for their grooves.

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domingo, 22 de julio de 2018

Gary Moore • Back To The Blues

Review by Hal Horowitz:
Six years after his successful tribute to Peter Green, Gary Moore follows with another solid electric blues-rock effort that falls squarely in line with his similarly themed albums Still Got the Blues, After Hours, and Blues Alive. Although he adds brass on a rollicking version of B.B. King's "You Upset Me Baby," Moore predominantly sticks to the basics here, pounding out energetic and full-bodied blues-rock and leading a stripped-down trio with a journeyman's enthusiasm and his trademark thick, sustained guitar solos slashing through the proceedings. The majority of the tracks are originals, although even the best of them sound suspiciously like rewritten blues standards. "Cold Black Night" is little more than a speeded-up "Messin' With the Kid," and "Picture of the Moon" sounds awfully similar to Moore's own "Still Got the Blues." And whether the world needs yet another version of "Stormy Monday" or "I Ain't Got You" is debatable. But Moore pulls off even the most clichéd material with his phenomenal prowess; supple, identifiable vocals; and a guitar tone that effortlessly shifts from a Santana/Peter Green-styled hovering intensity to a slashing Stevie Ray Vaughan attack. While Moore isn't redefining the genre or even his own approach to it, he's adding his stamp to blues-rock with Back to the Blues. Consistently rugged, moving, and heartfelt, the album is a reminder that even without reinventing an established musical style, an artist can effectively work within its boundaries to produce a satisfying, if not quite fresh, interpretation relying solely on talent and passion.

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George Gershwin • Piano Rolls

Review by Scott Yanow
George Gershwin made 130 piano rolls between 1916-1927; 28 were recorded and released in 1998 on two Nonesuch CDs. This particular release has quite a few obscure Gershwin songs, including his very first tune, "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em." Certainly such tunes as "Novelette in Fourths," "So Am I," and "Idle Dreams" are long forgotten but worth reviving. Among the other highlights of the fascinating and highly enjoyable recital are "Sweet and Lowdown," "Swanee" and a 14-minute rendition of "Rhapsody in Blue." The 1933 item is a bit unusual, for it is a two-piano rendition of "An American in Paris" that lasts over 16 minutes and was arranged by Frank Milne. Well worth exploring.

 Editorial Reviews:
Imagine hearing George Gershwin play his own compositions in pristine sound! Pianist/scholar Artis Wodehouse transferred the rarest and most desirable of the over 130 piano rolls Gershwin made for player piano to the Yamaha Disklavier, which reproduced Gershwin's own performances on a 9-foot concert grand (or, in the case of American in Paris , two concert grands!).

Jelly Roll Kings • Rockin' The Juke Joint Down

The Jelly Roll Kings are a trio of state-of-the-art Mississippi Delta bluesmen who play their music raw and unvarnished, complete with lilting rhythms, dreamily atmospheric keyboards, dance-shuffle drums, and soul-drenched vocals. Led by guitarist Big Jack Johnson, the band includes two veterans of the Delta juke joint scene -- Frank Frost on keyboards and harmonica, and Sam Carr, the son of legendary blues musician Robert Nighthawk, on drums.

This rollicking 1979 session was their first as the Jelly Roll Kings, but the telepathic interplay between the three had existed for decades. Their sound hearkens back to the untamed blues of Sun Records' early years as they channel everything from boogie-woogie to country blues through their pawnshop amps. What comes out of those amps is crude, naked, juke-joint blues.

Herbie Mann • Live at the Bottom Line

Charlie Musselwhite • Sanctuary

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Peter Nero • Plays Love Is Blue

Bijaya Vaidya • Bijaya - The Power of Music
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Pete Fountain • Something Misty