egroj world: septiembre 2018

domingo, 30 de septiembre de 2018

Grant Green • Blue Breakbeats

In the '70s, guitarist Grant Green turned to an R&B and funk style in order to keep up with the times and invite as wide an audience as possible. At the time, critics cried foul at what they called "selling out" and disavowed Green from their critical radar. Fast forwarding to the '90s, this period of Green's career became in great demand as the "acid jazz" craze came into vogue. BLUE BREAKBEATS collects some of Green's more revered works from this period. These are the tracks that DJs constantly sample and loop to form new electronically manipulated works.

To be sure, the grooves here are gritty and the melodies, what little there are, are simple and brash, but the determined mood and downright funkiness is nothing to sneeze at. Cuts like James Brown's "Ain't It Funky Now" and the immensely popular "Sookie Sookie" are staples in any self-respecting DJ's arsenal. The driving beats of Ben Dixon's "Cantaloupe Woman" and the stunning "The Final Comedown" offer plenty of fertile sampling opportunities as well. Overall, though, this is a celebration of Green's late-period talent that didn't get its just desserts in his time.

Personnel: Grant Green (guitar); Harold Vick (soprano saxophone); Claude Bartee (tenor saxophone); Blue Mitchell, Marvin Stamm, Irv Markowitz (trumpet); Phil Bodner (woodwinds); Billy Wooten, Willie Bivens (vibraphone); Emmanuel Riggins, Clarence Palmer (electric piano); Earl Neal Creque, Ronnie Foster (organ); Richard Tee (keyboards); Cornell Dupree (guitar); Jimmy Lewis, Chuck Rainey, Gordon Edwards (electric bass); Idris Muhammad, Grady Tate (drums); Richard Landrum (bongos); Candido Camero, Ray Armando, Joseph Armstrong (congas); Ralph McDonald (percussion).

Producers: Francis Wolff, George Butler.

Engineers include: Rudy Van Gelder, Don Hahn.

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey between January 30, 1970 and May 21, 1971; A&R Recording Studios, New York, New York on December 13, 1971; live at the Cliche Lounge, Newark, New Jersey on August 15, 1970. Includes liner notes by DJ Smash.

Recording information: A&R Studios, New York, NY (01/30/1970-12/13/1971); Cliche Lounge, Newark, NJ (01/30/1970-12/13/1971); Van Gelder Studios, Englewood Cliffs, NJ (01/30/1970-12/13/1971).

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sábado, 29 de septiembre de 2018

Michel Petrucciani • Playground

El Chicano • Viva Tirado

El Chicano is an American chicano rock and brown-eyed soul group from Los Angeles, California, whose style incorporates various modern music genres including rock, funk, soul, blues, jazz, and salsa. The group's name is from Chicano, a term for United States citizens of typically Mexican American descent.
El Chicano, originally formed by Freddie Sanchez under the name The VIP's arose during a period of increasing Chicano consciousness in America. Their initial hit, Viva Tirado, was a jazzy soul rock rendition of Gerald Wilson's original song about a bullfighter. The song did very well on Los Angeles radio and remained #1 for thirteen straight weeks. Other notable tracks recorded by El Chicano are the funky Tell Her She's Lovely as well as a cover of Van Morrison's 1967 hit, Brown Eyed Girl.
Original members of El Chicano include Bobby Espinosa, Freddie Sanchez, Mickey Lespron, Andre Baeza, and John De Luna. Ersi Arvisu was lead singer. During the 1970s, new members Rudy Regalado, Max Garduno, Danny Lamonte, Brian Magness, Jerry Salas, Joe Pererria. joined the group.
On their 1970 albumViva Tirado the group covered the Herbie Hancock jazz standard "Cantaloupe Island". The song was one of nine songs which included the hit single "Viva Tirado" which went gold.
El Chicano continues to be active with a combination of original and new members. They performed on the 2009 PBS pledge break special, Trini Lopez Presents the Legends of Latin Rock, along with Thee Midniters, Tierra, and Gregg Rolie (of Santana and Journey fame).
Original keyboardist, Bobby Espinosa ‒ who laid down Hammond organ on some of El Chicano's most recognizable tracks ‒ died on February 27, 2010. Former percussionist, Rudy Regalado, who spent twelve years with the band died on November 4, 2010. Latin percussionist of former Santana renown, Walfredo Reyes, Jr., recorded with the band from 2010 to 2012, and is currently performing with the band Chicago.

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Pierre Bonnard The Graphic Art • MET

Bill Evans and Jeremy Steig • What`s New

Melvin Sparks • It Is What It Is

viernes, 28 de septiembre de 2018

Floyd Morris • The ConSoul Of Floyd Morris

American jazz pianist and keyboard player, died May 13, 1988 in Chicago, IL, USA.
In Groups: Johnny Pate Quintet, The Apex All-Stars, The Floyd Morris Trio

Discogs ...

Lionel Hampton & Oscar Peterson • Jazz Masters

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Van Gogh in Arles • Ronald Pickvance

Xavier Cugat • Bread, Love and Cha Cha Cha

The Grits • The Grits

Editorial Review:
Hailing from Brighton, The Grits emerge with their own take on raw, rare and grimy instrumental funk. Their journey began in 2005 with guitarist Stuart ''Countryboy'' Carter and Nick ''The Organiser'' Harris. Bassist James and drummer Johnny were recruited soon after, marking the birth of one seriously slick funk four piece.
Their self titled debut includes a superb cover of The Soul Drifters 'Funky Soul Brother', as well as 'Boom Boom', the sold out 45 released on Freestyle and its B side 'Jan Jan' - an instant raw funk classic championed by Radio 2's Mark Lamarr and Radio 6 funkster Craig Charles.
With their roots firmly steeped in classic funk, The Grits add their own slant with trashy guitars, crunchy drums and deep bass. Add to this super-modulated Moog, a bag of percussion and their trademark guttural vocal grunts and you have a live show that never fails to work their live audiences into a funk frenzy.
On record, The Grits manage to keep the rawness alive, whilst upping the stakes sonically with modular analogue synths, piano, harmonica and even a huge metal cabinet played with a stick!
Pure funk gold! Enjoy!

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Jimmy Smith • Rockin' the Boat

jueves, 27 de septiembre de 2018

Jimmy Mitchell & Tony Mottola • Hawaii Five-O

Niacin • Niacin

Niacin is a neo-fusion instrumental trio featuring bassist Billy Sheehan, drummer Dennis Chambers, and keyboardist John Novello. Founded in 1996, the band's name comes from the timbral foundation of the Hammond B3 organ; vitamin B3 is also known as niacin.
While the members pursue solo and sideman projects, they have continued to record and tour as a unit.

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Nelson Riddle • Music for Wives & Lovers

Earl Van Dyke • That Motown Sound

Earl Van Dyke (July 8, 1930, September 18, 1992) was an African American soul musician, most notable as the main keyboardist for Motown Records' in-house Funk Brothers band during the late 1960s and early 1970s. Van Dyke, who was born in Detroit, Michigan, United States, was preceded as keyboardist and bandleader of the Funk Brothers by Joe Hunter. In the early 1960s, he also recorded as a jazz organist with saxophonists Fred Jackson and Ike Quebec for the Blue Note label.

 Discogs ...

120 intérieurs en couleurs, suite de la couleur dans l'habitation [19...]

Count Basie • Chairman Of The Board

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Frank Wess • The Frank Wess Quartet

Frank Wess has long been one of the most underrated flautists in jazz, but it's his primary instrument on this CD reissue of a Moodsville LP recorded in 1960. With fine accompaniment by piano master Tommy Flanagan, bassist Eddie Jones and drummer Bobby Donaldson, the leader's lyrical chops are evident in Alec Wilder's rarely performed ballad It's So Peaceful in the Country. The light Latin setting of Star Eyes initially spotlights Flanagan's elegant piano, with the rhythm switching gears as Wess works his magic on flute. Flanagan alone introduces the dreamy interpretation of But Beautiful, while Wess will melt any heart with his gorgeous flute solo. Wess is best known for his swinging tenor saxophone, heard on the richly textured Gone With the Wind, a spacious Stella by Starlight (which will rival any saxophonist's recording for pure beauty), as well as his bluesy original Rainy Afternoon, with Donaldson's light percussion possibly suggesting stepping in sidewalk puddles or windshield wipers clearing intermittent precipitation. Highly recommended. - Ken Dryden

Frank Wess - flute, tenor saxophone
Tommy Flanagan - piano
Eddie Jones - bass
Bobby Donaldson - drums

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miércoles, 26 de septiembre de 2018

Karla Pundit • Journey To The Ancient City

Extract of "Widening the Horizon: Exoticism in Post-War Popular Music edited by Philip Hayward"
The lounge revival has also resulted in a tribute band called Karla Pundit, whose CD Journey to the Ancient City (1996) pokes loving fun at Pandit. The musie clearly is meant as an homage - it is serious and sincere. A comment at the end of the liner notes reads: "[a]ll musie was ... performed with the greatest respect for and as a tribute to Korla Pandit, its inspiration, and is in no way mean to belittle or ridicule his musical achievements" (Kaufman, 1996). Pundit, whose real ñame is Lance Kaufman, does parody Pandit in some ways, mainly in his talk about the musie. The liner notes to Journey to the Ancient City, rather than employing something resembling Pandit's rhetoric of "the universal language of musie" and love, instead parody the dry, descriptive style of a scientist, or perhaps more to the point, National Geographic, which would have been quite at home introducing an adventure program on 1950s radio. Also, Los Angeles-based lounge revivalist Joey Sehee helped resuscitate Pandit's career in the mid-late 1990s. Sehee produced Pandit's Exótica 2000 (1996), and performed live with Pandit. Sehee also makes short films that affectionately lampoon lounge culture, in which Pandit occasionally made a carneo. However, both Pundit and Sehee are far from the centre of mainstream popular music.
Souce ...

Obscure artists and eclectic music.


Traducción Automática:
Extracto de "Ampliando el horizonte: el exotismo en la música popular de posguerra" editado por Philip Hayward "
El renacimiento del salón también ha resultado en una banda de tributo llamada Karla Pundit, cuyo CD Viaje a la ciudad antigua (1996) muestra diversión amorosa en Pandit. La musie claramente se entiende como un homenaje, es serio y sincero. Un comentario al final de las notas indica: "[a] ll musie fue ... interpretada con el mayor respeto y en homenaje a Korla Pandit, su inspiración, y de ninguna manera significa menospreciar o ridiculizar su musical logros "(Kaufman, 1996). Pundit, cuyo verdadero nombre es Lance Kaufman, parodia a Pandit de alguna manera, principalmente en su charla sobre la musie. Las notas indicadoras de Viaje a la Ciudad Antigua, en lugar de emplear algo parecido a la retórica de Pandit del "lenguaje universal de la musa" y el amor, en lugar de parodiar el estilo seco y descriptivo de un científico, o tal vez más al punto, National Geographic, que Hubiera estado como en casa presentando un programa de aventuras en la radio de 1950. Además, el revivalista salón de Los Ángeles Joey Sehee ayudó a resucitar la carrera de Pandit a mediados y finales de la década de 1990. Sehee produjo Pandit's Exótica 2000 (1996) y actuó en vivo con Pandit. Sehee también hace cortometrajes que afectuosamente satirizan la cultura lounge, en la que Pandit ocasionalmente hace un carneo. Sin embargo, tanto Pundit como Sehee están lejos del centro de la música popular convencional.
Souce ...

Artistas obscuros y música ecléctica.

Discogs ...

Martin Denny • Exotica Volume II

Discogs ...

Bill Doggett • Honky Tonk Organ

Best known for his big instrumental hit from 1956, "Honky Tonk," keyboardist Bill Doggett is not an easy musician to pigeonhole since he had also played with the Ink Spots and Louis Jordan before breaking through on his own. Some people might take issue with the labels that I've assigned to him and say that he should be classified as an R&B musician. To my way of thinking, black music from the 1940s and 1950s described as such is better categorized as blues or rock 'n' roll. Never mind the fact that this LP was recorded in 1966 or thereabouts because the material is still very much in a 1950s and early 1960s vein. Doggett always did have a jazz side to him as well, and many of the cuts here compare favorably with material by other Hammond B-3 organ wizards such as Jack McDuff and Jimmy McGriff.
Recorded for Columbia's budget imprint Harmony, Honky Tonk Organ is a pleasant if not not life-changing instrumental album. It includes a two-part remake of "Honky Tonk" that the liner notes describe as "played at a slightly faster tempo to accommodate the newest dance steps." Don't worry, they don't try to make it psychedelic or anything like that; it's still very much in keeping with the original. Tracks such as "Canadian Sunset," "'Deed I Do," "All Souls Blues," and "Buster" make for agreeable swinging bachelor pad cocktail music. "Opus D" allows Doggett to stretch out a bit, while "St. Louis Blues" and "Careless Love" are nice, swinging interpretations of old standards. "Mommy Part 1" is cut from a cloth similar to "Honky Tonk," but what happened to "Part 2"?
Most of the performances utilize Doggett's typical organ-electric guitar-drum trio format, although there is a saxophonist that appears on many of the tracks as well. It's a pity that the backing musicians are uncredited, and especially the guitarist because his playing will appeal to those who are fans of Kenny Burrell and Wes Montgomery. Overall, this LP is not as great as the classic sides that he did for King Records during the 1950s, but is still worth a spin nonetheless.

Discogs ...

VA • Surf Music

 Beach Boys,  Dick Dale,  The Trashmen,  The Shadows,  The Surfaris...

Cornell Dupree • I'm Alright

A veteran of over 2,500 recording sessions, guitarist Cornell Dupree worked most prolifically in R&B and blues, but he was equally at home in jazz, particularly funky fusion and soul-jazz. Dupree was born in Fort Worth, TX, in 1942, and by the age of 20 was playing in King Curtis' R&B group. He became a session musician soon after, playing on Brook Benton's "Rainy Night in Georgia," as well as records by stars like Lou Rawls, Paul Simon, Barbra Streisand, Harry Belafonte, Lena Horne, Roberta Flack, Joe Cocker, Michael Bolton, Mariah Carey, and countless others. Dupree was also a member of Aretha Franklin's touring band from 1967-1976, and during that time also became a presence on many jazz-funk recordings, the sort that would find favor with rare groove and acid jazz fans in the years to come. Dupree's first jazz session as a leader was 1974's Teasin', which was followed by Saturday Night Fever in 1977, and Shadow Dancing in 1978. During the same period, Dupree was a member of the studio-musician fusion supergroup Stuff, which signed with Warner Bros. in 1975 and recorded four albums. They also reunited periodically in the '80s and spawned a mid-'80s spin-off group called the Gadd Gang, which Dupree also belonged to. Some of Dupree's most rewarding jazz albums came in the late '80s and early '90s; 1988's Coast to Coast was nominated for a Grammy, and funky sessions like 1991's Can't Get Through, 1992's live Uncle Funky, and 1993's Child's Play received positive reviews. 1994's Bop 'n' Blues was his most straight-ahead jazz album, also ranking as one of his best.

Many words have been used to describe Cornell Dupree's guitar playing over the last 45 plus years, but one label that fits the bill is the ultimate session guitarist. He has over 2500 credits, playing with the likes of King Curtis, Aretha Franklin, Donny Hathaway, Bill Withers, Brooke Benton, Ray Charles, Joe Cocker, the Gadd Gang and of course he was a member of the super session jazz/fusion group Stuff. Known as "Uncle Funky", Cornell, had a slew of well received solo albums over the course of his career, Like "Teasin", "Can't Get Enough", "Childs Play", "Cornell Dupree" "Who It Is" To name a few. Cornell who had been seriously ill over the past few years, passed away in May of 2011, but not before completing the final solo recording of his career, just eight weeks prior to his passing. His final words to his wife Erma was "I'm Doin Alright", hence the title of this cd. As sick as Cornell had been, attached to oxygen, he entered the recording studio, and let his wonderful guitar speak one more time. The result is stunningly well played Jazz/blues, with a touch of funky overtones that has a sound that is vintage Cornell till the end. Highlights include the funky "Doin Alright", a beautiful take on Brooke Benton's "Rainy Night In Georgia', which Cornell played on. He adds spice with a funkified take on "Help Me Make It Through The night". He then uses a jazz shuffle on the tune "I Ain't Got You", complete with sax solo, that will get anyone's feet moving. This is a wonderful farewell recording that should not be missed by anyone who loves Jazz/Rock fusion. He is supported by a tight back-up band in the studio, With B.E Smith "Frosty" on Drums, Mike Flanigin on organ, Nick Connelly keyboards, Ronnie James and Larry Fulcher as well as George Porter on bass. It has been a pleasure to listen to this man's recordings over the past 40 years both as a session and solo artist. I only hope the RRHOF, will see fit to elect Cornell into its session wing, as one of the great influential guitarists of the modern pop era. RIP "Uncle Funky"!


Un veterano de más de 2,500 sesiones de grabación, el guitarrista Cornell Dupree trabajó de manera más prolífica en R&B y blues, pero estaba igualmente en casa en el jazz, particularmente en la fusión funky y el soul-jazz. Dupree nació en Fort Worth, Texas, en 1942, y a la edad de 20 años jugaba en el grupo de R&B de King Curtis. Poco después se convirtió en músico de sesión, tocando en "Rainy Night in Georgia" de Brook Benton, así como en discos de estrellas como Lou Rawls, Paul Simon, Barbra Streisand, Harry Belafonte, Lena Horne, Roberta Flack, Joe Cocker, Michael Bolton, Mariah Carey, y muchos otros. Dupree también fue miembro de la banda de gira de Aretha Franklin de 1967 a 1976, y durante ese tiempo también se convirtió en una presencia en muchas grabaciones de jazz-funk, del tipo que encontraría el favor de los fanáticos de groove y acid jazz en los próximos años. La primera sesión de jazz de Dupree como líder fue Teasin 'de 1974, seguida por Saturday Night Fever en 1977 y Shadow Dancing en 1978. Durante el mismo período, Dupree fue miembro del supergrupo de estudio y músico de fusión Stuff, que firmó con Warner. Bros. en 1975 y grabó cuatro discos. También se reunieron periódicamente en los años 80 y crearon un grupo spin-off a mediados de los 80 llamado Gadd Gang, al que también pertenecía Dupree. Algunos de los álbumes de jazz más gratificantes de Dupree llegaron a finales de los 80 y principios de los 90; Coast to Coast, de 1988, fue nominado para un Grammy, y sesiones funky como Can't Get Through de 1991, Uncle Funky en vivo de 1992 y Child's Play de 1993 recibieron críticas positivas. Bop 'n' Blues, de 1994, fue su álbum de jazz más sencillo, también clasificado como uno de sus mejores.

Se han usado muchas palabras para describir la interpretación de la guitarra de Cornell Dupree en los últimos 45 años o más, pero una etiqueta que encaja a la perfección es la mejor guitarrista de sesión. Tiene más de 2500 créditos, jugando con jugadores como King Curtis, Aretha Franklin, Donny Hathaway, Bill Withers, Brooke Benton, Ray Charles, Joe Cocker, Gadd Gang y, por supuesto, fue miembro del grupo de súper sesiones de jazz / fusión. Cosas. Conocido como "Uncle Funky", Cornell tuvo una serie de álbumes solistas muy bien recibidos a lo largo de su carrera, como "Teasin", "Can't Get Enough", "Childs Play", "Cornell Dupree" "Who It Is " Para nombrar unos pocos. Cornell, quien había estado gravemente enfermo en los últimos años, falleció en mayo de 2011, pero no antes de completar la grabación final en solitario de su carrera, solo ocho semanas antes de su fallecimiento. Sus últimas palabras a su esposa Erma fueron "I'm Doin Alright", de ahí el título de este CD. Tan enfermo como Cornell había estado, unido al oxígeno, entró en el estudio de grabación y dejó que su maravillosa guitarra hablara una vez más. El resultado es un jazz / blues asombrosamente bien tocado, con un toque de tonos funky que tiene un sonido clásico de Cornell hasta el final. Lo más destacado incluye el funky "Doin Alright", una hermosa versión de "Rainy Night In Georgia" de Brooke Benton, en la que jugó Cornell. Agrega sabor con una versión funkificada de "Help Me Make It Through The night". Luego usa un jazz. Mezcla la melodía "I Ain't Got You", con un solo de saxo, que hará que los pies de cualquiera se muevan. Esta es una maravillosa grabación de despedida que no debe ser extrañada por nadie que ame la fusión de Jazz / Rock. banda de respaldo apretada en el estudio, con BE Smith "Frosty" en la batería, Mike Flanigin en el órgano, los teclados Nick Connelly, Ronnie James y Larry Fulcher, así como George Porter en el bajo. Ha sido un placer escuchar a este hombre grabaciones de los últimos 40 años como solista y solista. Solo espero que el RRHOF, elegirá a Cornell para su ala de sesión, como uno de los grandes guitarristas influyentes de la era del pop moderno. ¡RIP "Uncle Funky"!

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Charlie Parker & Dizzy Gillespie • Bird and Dizz

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martes, 25 de septiembre de 2018

Wynonie Harris • Jukebox Hits

Artist Biography by Bill Dahl
No blues shouter embodied the rollicking good times that he sang of quite like raucous shouter Wynonie Harris. "Mr. Blues," as he was not-so-humbly known, joyously related risque tales of sex, booze, and endless parties in his trademark raspy voice over some of the jumpingest horn-powered combos of the postwar era.
Those wanton ways eventually caught up with Harris, but not before he scored a raft of R&B smashes from 1946 to 1952. He was already a seasoned dancer, drummer, and singer when he left Omaha for L.A. in 1940 (his main influences being Big Joe Turner and Jimmy Rushing). He found plenty of work singing and appearing as an emcee on Central Avenue, the bustling nightlife strip of the black community. Harris' reputation was spreading fast -- he was appearing in Chicago at the Rhumboogie Club in 1944 when bandleader Lucky Millinder hired him as his band's new singer. With Millinder's orchestra in brassy support, Harris made his debut on shellac by boisterously delivering "Who Threw the Whiskey in the Well" that same year for Decca. By the time it hit in mid-1945, Harris was long gone from Millinder's organization and back in L.A.
The shouter debuted on wax under his own name in July of 1945 at an L.A. date for Philo with backing from drummer Johnny Otis, saxist Teddy Edwards, and trumpeter Howard McGhee. A month later, he signed on with Apollo Records, an association that provided him with two huge hits in 1946: "Wynonie's Blues" (with saxist Illinois Jacquet's combo) and "Playful Baby." Harris' own waxings were squarely in the emerging jump blues style then sweeping the West Coast. After scattered dates for Hamp-Tone, Bullet, and Aladdin (where he dueled it out with his idol Big Joe on a two-sided "Battle of the Blues"), Harris joined the star-studded roster of Cincinnati's King Records in 1947. There his sales really soared.
Few records made a stronger seismic impact than Harris' 1948 chart-topper "Good Rockin' Tonight." Ironically, Harris shooed away its composer, Roy Brown, when he first tried to hand it to the singer; only when Brown's original version took off did Wynonie cover the romping number. With Hal "Cornbread" Singer on wailing tenor sax and a rocking, socking backbeat, the record provided an easily followed blueprint for the imminent rise of rock & roll a few years later (and gave Elvis Presley something to place on the A-side of his second Sun single).
After that, Harris was rarely absent from the R&B charts for the next four years, his offerings growing more boldly suggestive all the time. "Grandma Plays the Numbers," "All She Wants to Do Is Rock," "I Want My Fanny Brown," "Sittin' on It All the Time," "I Like My Baby's Pudding," "Good Morning Judge," "Bloodshot Eyes" (a country tune that was first released on "King" by Hank Penny), and "Lovin' Machine" were only a portion of the ribald hits Harris scored into 1952 (13 in all) -- and then his personal hit parade stopped dead. It certainly wasn't Harris' fault -- his King output rocked as hard as ever under Henry Glover's supervision -- but changing tastes among fickle consumers accelerated Wynonie Harris' sobering fall from favor.

Sides for Atco in 1956, King in 1957, and Roulette in 1960 only hinted at the raunchy glory of a few short years earlier. The touring slowed accordingly. In 1963, his chaffeur-driven Cadillacs and lavish New York home a distant memory, Harris moved back to L.A., scraping up low-paying local gigs whenever he could. Chess gave him a three-song session in 1964, but sat on the promising results. Throat cancer silenced him for good in 1969, ending the life of a bigger-than-life R&B pioneer whose ego matched his tremendous talent.

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Satan's Pilgrims • Frankenstomp. Singles, Rarities & More 1993-2014

Discogs ...

Designing Nature The Rinpa Aesthetic in Japanese Art

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Horace Silver • Song For My Father

Gene Harris • Alley Cats Concord Record

Review by Alex Henderson:
Too many artists have gone their entire careers without providing any live albums, but that hasn't been a problem for Gene Harris whose live recordings from the 1980s and 1990s ranged from unaccompanied solo piano to big-band dates. Arguably, the best live album he gave listeners in the 1990s was Alley Cats; recorded live at Jazz Alley in Seattle on December 11-12, 1998, this CD finds Harris' working quintet (Harris on piano, Frank Potenza on guitar, Luther Hughes on bass, and Paul Kreibich on drums) joined by such accomplished soloists as Red Holloway (tenor sax), Ernie Watts (alto and tenor sax), and Jack McDuff (organ). Many inspired moments occur, and a 65-year-old Harris really goes that extra mile on gems ranging from Nat Adderley's "Jive Samba" and Benny Golson's "Blues March" to Joe Sample's "Put It Where You Want It" (which, in the 1970s, was introduced by the Crusaders before being covered by the Average White Band). A talented but underexposed singer (underexposed in the 1990s, anyway) who has recorded R&B albums but is quite capable of handling jazz, Harris' daughter Niki Harris is featured on earthy performances of "You've Changed," "Please Send Me Someone to Love," and "Guess Who." McDuff, meanwhile, brings his gritty, down-home Hammond B-3 to two songs: Eddie Harris' "Listen Here" and Gene Harris' "Walkin' With Zach." Soul-jazz enthusiasts will definitely want this excellent CD.


Traducción Automática:
Reseña por Alex Henderson:Demasiados artistas han pasado toda su carrera sin proporcionar ningún álbum en vivo, pero eso no ha sido un problema para Gene Harris cuyas grabaciones en vivo de los años 80 y 90 variaron desde el solo de piano sin acompañante hasta las fechas de la gran banda. Podría decirse que el mejor álbum en vivo que dio a los oyentes en la década de 1990 fue Alley Cats; grabado en vivo en Jazz Alley en Seattle del 11 al 12 de diciembre de 1998, este CD encuentra al quinteto de Harris (Harris al piano, Frank Potenza a la guitarra, Luther Hughes al bajo y Paul Kreibich a la batería) junto a solistas tan talentosos como Red Holloway (saxo tenor), Ernie Watts (saxo alto y tenor) y Jack McDuff (órgano). Muchos momentos inspirados ocurren, y Harris, de 65 años, realmente hace un esfuerzo adicional en gemas que van desde "Jive Samba" de Nat Adderley y "Blues March" de Benny Golson hasta "Put It Where You Want It" de Joe Sample (que, en la década de 1970, fue introducida por los Cruzados antes de ser cubierta por la Banda Blanca Promedio). Un cantante talentoso pero poco expuesto (subexpuesto en la década de 1990, de todos modos) que ha grabado discos de R & B pero es bastante capaz de tocar jazz, la hija de Harris, Niki Harris, aparece en las actuaciones terrenales de "You've Changed", "Please Send Me Someone to Amor, "y" Adivina quién ". Mientras tanto, McDuff trae a Hammond B-3, su áspero y casero, a dos canciones: "Listen Here" de Eddie Harris y "Walkin 'With Zach" de Gene Harris. Los entusiastas del soul-jazz definitivamente querrán este excelente CD.
Gene Harris Quartet: Gene Harris (piano); Frank Potenza (guitar); Luther Hughes (bass); Paul Kreibich (drums).Additional personnel: Niki Harris (vocals); Ernie Watts (alto saxophone); Red Holloway (tenor saxophone); Brother Jack McDuff (Hammond B-3 organ).Recorded live at Jazz Alley, Seattle, Washington on December 11 & 12, 1998.

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lunes, 24 de septiembre de 2018

Esquivel & His Orchestra • Infinity In Sound

Discogs ...

Lori Bell • Brooklyn Dreaming

No matter where we go, our formative experiences travel with us. That's what Lori Bell appears to say with Brooklyn Dreaming. For her ninth album, this California-based flutist decided to glance eastward, recalling time spent soaking in the sounds of New York City with her musical family in her youth. The result? A love letter that proves that Bell has bi-coastal jazz citizenship, having been baptized in Brooklyn's swing and sizzle while currently belonging to the hot Golden State scene.
Brooklyn Dreaming is clearly Bell's baby, but her band mates deserve equal credit for bringing this music to life. She's joined by a trio of West Coast rhythm aces—Clayton-Hamilton Jazz Orchestra-associated pianist Tamir Hendelman, rising star drummer Matt Witek, and bassist Katie Thiroux, a hot topic since self-releasing her debut and being selected as a semi-finalist in the 2015 Thelonious Monk International Jazz Competition for vocalists. Together, these three expertly navigate their way through six Bell creations and three covers that all fit the New York-centric theme.
While Brooklyn holds Bell's heart and gets top billing here, only a pair of pieces—the airy, calmly waltzing title track and an angular, swinging ode to enjoying a Nathan's hot dog on Coney Island—reference that borough. Six of the seven other numbers are firmly planted in Manhattan by name. The album starts in the tourist-filled heart of New York City, referencing Times Square not once, but twice. Charles Mingus' famed "Nostalgia in Times Square," opening with some incredibly tasty brushwork from Witek, kicks things off, and Bell's own "Times Squared," a wonderful slice of chilled-out funk ushered in with a rubato preface, follows it. As the album continues, Bell moves all around the city. A perky and spicy look at Thelonious Monk's "52nd Street Theme" and a hip "3 Deuce Blues" both nod to the same stretch of jazz clubs that's no longer with us; an inventive take on "Harlem Nocturne," shifting from a mysterious feel in five to a comfortable swing, looks further uptown; and a Latin-ized "Lower Manhattan" points in the opposite direction.
Bell glides, glows, and runs up and down her flute in seemingly effortless fashion throughout. Her rhythm mates, in turn, keep the grooves swinging and flowing while adding their two cents in all the right places. Brooklyn Dreaming is a tight and classy affair that furthers Bell's fine reputation, shines a spotlight on her talented compatriots, and reminds us all that east and west aren't so far apart after all.

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Dave Baby Cortez • Dave Baby Cortez and His Happy Organ

Born David Cortez Clowney, 13 August 1938, Detroit, Michigan
Pianist / organist / vocalist / songwriter.
Nowadays, Dave "Baby" Cortez (Clowney) is almost solely remembered for his # 1 record "The Happy Organ" (1959), but he had a long and, at times, successful recording career both before and after this hit. Growing up in Detroit, Dave showed musical aptitude at an early age and was guided toward the piano by his father, who also played the instrument. His musical career took off when he joined the Five Pearls in 1954 as second tenor and pianist, and he moved with them to New York the next year. The group, which became better known as the Pearls, recorded for Aladdin, Atco and Onyx. Clowney then had a short tenure with the group The Valentines, led by Richard Barrett, and recorded two singles with them for Rama. In the autumn of 1956 he recorded two piano instrumentals, "Movin' 'n' Groovin'" and "Soft Lights" (Ember 1010), which were credited to The David Clowney Band and got a good review in Billboard. This was followed by another great unknown R&B instrumental single, "Hoot Owl"/"Shakin'" (Paris 513) in early 1958, with King Curtis on tenor sax, Jimmy Spruill on guitar and Dave himself on pounding piano. A few months later, he cut a Little Richard-styled vocal single, "Honey Baby" and "You Give Me Heebie Jeebies" (Okeh 7102) as Baby Cortez. None of these records registered, good was they were. Meanwhile he did work as a session musician behind such artists as The Chantels, The Isley Brothers, The Aquatones ("She's the One For Me") and Little Anthony and the Imperials.

In 1958, his previous association with Ember Records brought Dave to Clock Records, a brand new label, which was run by veteran English-born EMI record man Wally Moody and his son Doug, and initially distributed by Ember. Now billed as Dave "Baby" Cortez, the young pianist/singer had his first Clock single released in August 1958, "You're the Girl"/"Eenie Meeny Miny Mo", which did nothing at all. But then came "The Happy Organ".

It was a Saturday morning in the fall of 1958 at Allegro Recording Studio in the basement of 1650 Broadway in New York City. Dave was supposed to cut a few vocal numbers, but he lost his voice during the session and said, "Let me try an instrumental". They had a huge Hammond B-3 organ in the corner, and though Dave had never played the organ before, he started doing a tune based on "Shortnin' Bread". The backing musicians (who included Jimmy Spruill on guitar, Buddy Lucas on sax and Panama Francis on drums) started picking up the rhythm. The end of the take was rough, it went on and on and was full of wrong notes, reason why it was faded out on the record after 1:58. The resulting single was called "The Happy Organ", a # 1 pop smash in the spring of 1959 (also # 5 R&B). It did much to popularise the Hammond organ amongst the huge teen market and soon Johnny and the Hurricanes and Bill Black's Combo would score chart hits with organ-led instrumentals.

The follow-up, "The Whistling Organ" was a poor record by comparison and went only to # 61. No further hits on Clock followed, despite strong 45s such as "Piano Shuffle", "Cat Nip" and "Dave's Special". After Clock's distribution deal with Ember ended, RCA Victor stepped in and the album "Dave 'Baby' Cortez And His Happy Organ" came out on RCA in September 1959. Clock later issued the LP on its own label, but not before RCA sold thousands of copies. In 1962, Dave was back in the Top 10 with "Rinky Dink" on Chess (picked up from Julia Records, which was probably Dave's own label), followed by some minor hits on Chess. The mid-sixties saw him recording for the Roulette label and, keeping in tune with the times, Cortez soon moved into funky soul music. In 1973, he had his last chart entry with "Someone Has Taken Your Place" on All Platinum (# 45 R&B). His final single was also released in that year, "Hell Street Junction", which was an imitation of Sly and the Family Stone's "Life". By the 1980s he had turned his back on the music business and was living in Jamaica, New York, with a day-time job. Since then he has always refused to be interviewed about his career as a musician.

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Leo Parker • Let Me Tell You 'Bout It

An uncomplicated, booting, bass-register driven melange of first generation bop and early R&B, Let Me Tell You 'Bout It is baritone saxophonist Leo Parker's finest surviving work, and it's measurably enhanced in this edition by Rudy Van Gelder's 2004 remastering.
Parker came up through the swing/jump band nexus—his most regular employer during the '40s was Illinois Jacquet—but frequently crossed over into more or less pure bop during the latter part of the decade, working with Tadd Dameron, J.J. Johnson, Fats Navarro, and Dexter Gordon, amongst other heavy hitters. He also picked up some of these musicians' heroin habits and spent most of the '50s off the scene. In '61, apparently clean, he was introduced to Alfred Lion by mutual friend Ike Quebec, and Let Me Tell You 'Bout It was his comeback album and Blue Note debut.
It's a glorious, funked-up romp through bop, swing, and R&B which, were it not for the excellent sound quality, could well have been recorded in the late '40s. It's almost as if the stylistic developments of the '50s never happened—which, given where Parker was at during most of the decade, was indeed pretty much the case for him. There are two, then-vogueish, gospel infused, soul jazz tunes—the title track and "Low Brown"—but the first of these, with the horns arranged in a manner reminiscent of "Abide With Me" on Thelonious Monk's Monk's Music, was written by Robert Lewis, and the second, with pronounced similarities to Herbie Hancock's "Watermelon Man," was written by pianist Yusef Salim. (Interestingly, Hancock recorded "Watermelon Man" six months after the session for Let Me Tell You 'Bout It, raising the question of who, if anyone, influenced whom.)
Parker, of course, takes to the soul jazz groove like a duck to water, and he also shines on his own down-the-line bop tunes "Glad Lad" and "TCTB," the swing-reminiscent "Parker's Pals," and the sprightly, mid-tempo blues "Blue Leo" (co-written with Quebec). The band members, all coming from the same bop/R&B crossroads as Parker, provide rock-solid, hard-swinging accompaniment, and when offered solo space—Parker takes most of the solos—rise to the occasion.
Parker died a few months after making this album (having recorded one more for Blue Note, the almost as excellent Rollin' With Leo), and he remains an unjustly neglected figure. Anyone discovering Leo Parker now for the first time is in for a big treat.

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domingo, 23 de septiembre de 2018

Jo Basile • Jazz Accordion

The high talent and extraordinary versatility of Jo Basile is reaffirmed once more with this recording. Basile is an exceptionally gifted musician whose facility, artistry and imagination have placed him in the front rank of entertainers. He has played countless supper clubs and radio amd television shows throughout the United States and the continent and he toured several years with the famous French chanteuse. The coveted Grand Prix du Disque, the highest recording in France, was bestowed upon Basile in 1957.
The accordion in the jazz context is most often employed as a novelty, but Basile's jazz while is light, is also quite serious and this album throws heretofore only hinted at facets of his great talent into relief. He is assisted in his pursuits by a very fine and emphatetic group of subordinates and the quality of the 10 songs he has chosen to play further inspires his gifts.

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Wolfgang Lackerschmid • Jazz Tribute To Franz Grothe

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Big Mama Thornton • The Complete 1950-1961

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Roxy Music • Flesh & Blood

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Ken Peplowski • Double Exposure

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Stevie Ray Vaughan • Hound Dog Man

Impressionist and Post Impressionist Paintings • The Metropolitan Museum of Art