miércoles, 31 de octubre de 2018
My Fair Lady recorded November 1958 & Fiorello! recorded January 1960.
Personnel tracks 1-7 (My Fair Lady):
Oscar Peterson - Piano
Ray Brown - Bass
Gene Gammage -Drums
Personnel tracks 8-15 (Fiorello!):
Oscar Peterson - Piano
Ray Brown - Bass
Ed Thigpen - Drums
This 1972 CTI date by Stanley Turrentine was his third for the label, and was produced by Creed Taylor with Rudy Van Gelder at the board. Shockingly, Don Sebesky was not called in to arrange anything here. The band chosen to back up Turrentine's edgy, soulful tenor is a fine and diverse one, especially in the heyday of the fusion years: Milt Jackson on vibes, drummer Billy Cobham, pianist (electric of course) Bob James, Ron Carter on bass, and guitarist Cornell Dupree.
The opener is Lee Morgan's "Speedball," played as a near straight-ahead hard bop barnburner, with a killer little vamp in the melody that is accented and filled by both Bags and James alternating bars. This is followed by a fine is not exceptional read of Johnny Mercer's "I'll Remember You," though Jackson's vibe solo that opens the tune and offers the lead into the melody is quite moving. Jackson's own "The Rev's" is a bluesed-out strut, with Turrentine, James, and Bags holding through the lead riffs before Turrentine digs deep into his soulful bag for a brilliant solo that runs over the bluesology of the old masters -- Dexter Gordon and Ben Webster most notably. But it is the last half of the album that holds the real beauty, with the title track framed by two Weldon Irvine Jr. classics, "Sister Sanctified" and "Introspective" as the closer. Irvine arranged his own tunes, and they are far more wondrous and strange than anything in the CTI catalog. "Sister Sanctified," a deep gospel with repetitive choruses and assertive lead lines, has James playing a gospel piano more reminiscent of Abdullah Ibrahim than himself. Cobham shoves the beat to the margin, double- and triple-timing in places while never leaving the pocket of the groove. Turrentine's solo, especially in the bridge, is phenomenal, guttural, and nearly squalling. "Introspective" is a loping post-bop blues. The long, intricate melody lines are perfectly suited to the complex sense of lyricism that is Turrentine's strength. The more general figures and accents are picked up by Jackson, and Cobham slips through and around the chances in a Latin-styled dance to hold the middle and bring in the blues feel. It's phenomenal and sends this session off on a high note. Recommended. ~ Thom Jurek, All Music Guide.
Stanley Turrentine - Tenor Saxophone
Milt Jackson - Vibraphone
Bob James - Piano, Electric Piano
Cornell Dupree - Guitar
Ron Carter - Bass
Billy Cobham - Drums
Review by Stewart Mason:
An aptly named but stylistically unusual set from soul-jazz vibraphonist Johnny Lytle, 1962's Nice and Easy is a mellow and heavily bop-influenced set fairly far removed from his usual blues-tinged funk. In a quintet setting featuring a rhythm section borrowed from Cannonball Adderley, Lytle trades in his usual organ counterpoint for Bobby Timmons' piano, Sam Jones' typically understated bass work, and Louis Hayes' brushed drums, creating a sound not that far removed from Milt Jackson's sessions as a leader. The secret weapon of the session is tenor saxophonist Johnny Griffin, who takes the majority of the solos (including a surprisingly dissonant and almost free break in the middle of an otherwise restrained take on the standard "But Not for Me"), allowing Lytle to play, well, nice and easy. The results are a welcome change of pace from Lytle's often frenetic and occasionally too-busy style, and the ballad-heavy selection is a nice balance of new tunes and a few familiar standards. Overall, this could well be Johnny Lytle's best set.
Revisión por Stewart Mason:Un conjunto apropiadamente llamado, pero estilísticamente inusual, del vibrafonista de soul-jazz Johnny Lytle, Nice and Easy de 1962 es un conjunto suave y fuertemente influenciado por el bop bastante alejado de su habitual funk teñido de blues. En un quinteto con una sección rítmica prestada de Cannonball Adderley, Lytle intercambia su habitual contrapunto de órgano por el piano de Bobby Timmons, el trabajo de bajos típicamente subestimado de Sam Jones y la batería de Louis Hayes, creando un sonido no muy alejado de Milt Sesiones de Jackson como líder. El arma secreta de la sesión es el saxofonista tenor Johnny Griffin, que se lleva la mayoría de los solos (incluida una ruptura sorprendentemente disonante y casi libre en medio de una versión restringida del estándar "Pero no para mí"), que permite a Lytle Jugar, bueno, bonito y fácil. Los resultados son un cambio de ritmo bienvenido del estilo a menudo frenético y a veces demasiado ocupado de Lytle, y la selección de baladas pesadas es un buen balance de nuevas melodías y algunos estándares familiares. En general, este podría ser el mejor set de Johnny Lytle.
Review by Hal Horowitz:
Charlie Musselwhite continues his prolific four-decade career jumping over to Telarc for his first album of the millennium after spending the '90s recording for Alligator and Virgin. A recap of his formative Memphis roots, Musselwhite receives substantial assistance from guests Robben Ford on guitar (Musselwhite provided Ford with his first gigs when the guitarist was in his late teens), Texas vocalist Kelly Willis, and guitarist/mandolin player Marty Stuart; the last two bring a rootsy, laid back country feel to the album that effectively fuses the swampy C&W, R&B, and blues of Memphis into a cohesive statement. Musselwhite blows unamplified harp on every track, but it's his weathered, understated vocals that infuse these songs with down-home charm. Covers from Jimmy Reed, Los Lobos (the album takes its title from their "One Time One Night"), Ivory Joe Hunter, and Kieran Kane flow beautifully into each other as the artist masterfully blurs the lines between genres. He tears into Johnny Cash's "Big River" like it was a Chicago blues classic and retells his own childhood in the affecting original "Blues Overtook Me." He and producer Randy Labbe generate a Creedence-styled swamp vibe on the opening "Trail of Tears," with both Willis and Christine Ohlman chiming in on gripping backing vocals that set the atmosphere. But the album resonates most effectively on the sparsest tracks. "Ain't It Time" exudes a resigned, almost gospel feel in its achingly slow groove, and "In Your Darkest Hour," another Musselwhite original, shimmers with just harp and T-Bone Wolk's spooky walking bass creating a foggy mood that envelopes the listener. Not just a fresh start at a new label, this album is a sentimental and sincere recap of Musselwhite's influences and a stirring listen throughout.
Revisión por Hal Horowitz:Charlie Musselwhite continúa su prolífica carrera de cuatro décadas saltando a Telarc para su primer álbum del milenio después de pasar la grabación de los 90 para Alligator y Virgin. Un resumen de sus raíces formativas en Memphis, Musselwhite recibe una gran asistencia de los invitados Robben Ford en la guitarra (Musselwhite le dio a Ford sus primeros conciertos cuando el guitarrista estaba en su adolescencia), la vocalista de Texas Kelly Willis y el guitarrista / mandolina Marty Stuart; los dos últimos aportan una sensación de país arraigada y relajada al álbum que fusiona efectivamente el pantano C&W, R&B y blues de Memphis en una declaración coherente. Musselwhite sopla arpa sin amplificar en cada canción, pero son sus voces desgastadas y sobrias las que infunden estas canciones con el encanto de la casa. Las cubiertas de Jimmy Reed, Los Lobos (el álbum toma su título de "One Time One Night"), Ivory Joe Hunter y Kieran Kane fluyen maravillosamente entre sí mientras el artista difumina magistralmente las líneas entre los géneros. Llega al "Big River" de Johnny Cash como si fuera un clásico del blues de Chicago y vuelve a contar su propia infancia en el original "Blues Overtook Me". Él y el productor Randy Labbe generan un ambiente de pantano al estilo Creedence en la apertura "Trail of Tears", con Willis y Christine Ohlman tocando las voces de acompañamiento que crean el ambiente. Pero el álbum resuena más efectivamente en las pistas más escasas. "Ain't It Time" emana un sentimiento resignado, casi evangélico en su ritmo cada vez más lento, y "In Your Darkest Hour", otro original de Musselwhite, reluciente con solo el arpa y el bajo escalofriante de T-Bone Wolk creando un ambiente brumoso que envuelve el oyente. No solo es un nuevo comienzo en un nuevo sello, este álbum es un resumen sentimental y sincero de las influencias de Musselwhite y una escucha conmovedora.
martes, 30 de octubre de 2018
Terry Pollard fue una delicada y exquisita pianista y vibrafonista muy activa en el jazz de la década de 1950. Formó parte de la fértil escena jazzística de Detroit en la década de 1940 y principios de los años '50, acompañando a muchos de los principales artistas de entonces.
Pero su mayor visibilidad la tuvo entre 1953 y 1957, cuando fue descubierta por el vibrafonista Terry Gibbs e invitada a su cuarteto para expresarse tanto desde el piano como desde el vibráfono, ganando así una sólida reputación.
También se destacó en grabaciones con Dick García, Yusef Lateef, Dorothy Ashby, Clark Terry y Don Fagerquist.
Su técnica exuberante fue comparada a la de dos grandes de su generación como Barry Harris y Tommy Flanagan, mientras que Leonard Feather, en su Enciclopedia del Jazz, la consideró como “una brillante solista moderna que nunca recibió el reconocimiento merecido”.
A mediados de 1960 decidió volver a Detroit y dedicarse enteramente a su familia y abandonar la carrera pese a su enorme talento.
En 1979, una desgraciada apoplejía le anuló la mano izquierda...
Había nacido en Detroit el 15 de Agosto y murió el pasado 16 de Diciembre (2009) en Nueva York.
Como líder registró sólo un disco para el sello Bethlehem.
No tuvo título.
Simplemente se identificó con su nombre y su número de archivo: BCP 1015.
Terry Pollard was a delicate and exquisite pianist and vibraphonist very active in the jazz of the 1950s was part of the fertile Detroit jazz scene in the 1940s and early '50s, accompanying many of the leading artists then.
He began working with Johnny Hill in 1948 and then with Emmit Slay between 1950 and 1952 and regularly with Billy Mitchell between 1952 and 1953.
But his greatest visibility had it between 1953 and 1957, when it was discovered by the vibraphonist Terry Gibbs and his quartet invited to express both the piano and from the vibraphone, gaining a solid reputation.
It was also noted in recordings with Dick Garcia, Yusef Lateef, Dorothy Ashby, Clark Terry and Don Fagerquist.
His exuberant technique was compared to that of two of his generation as Barry Harris and Tommy Flanagan, while Leonard Feather in his Encyclopedia of Jazz, saw it as "a brilliant modern soloist who never received the deserved recognition."
In mid-1960 he decided to return to Detroit and devote himself entirely to his family and leave the race despite his enormous talent.
In 1979, an unfortunate stroke he canceled his left hand ...
He was born in Detroit on Aug. 15 and died last December 16 (2009) in New York.
As the leader recorded only one album for the Bethlehem label. He had no title.
Simply he identified with your name and file number: BCP 1015.
DISCOGRAFÍA / DISCOGRAPHY
1955: Terry Pollard (Bethlehem)
Con Billy Mitchell
1952: Swing… Not Spring! (Savoy)
Con Clark Terry
1954: Cats vs. Chicks (MGM)
Con Terry Gibbs
1955: Terry Gibbs (EmArcy)
1955: Vibes On Velvet (EmArcy)
1956: Mallets A Plenty (EmArcy)
1956: Swingin’ With Terry Gibbs And His Orchestra (EmArcy)
Con Dick Garcia
1956: Message From: Garcia (Dawn)
Con Yusef Lateef
1959: The Dreamer (Savoy)
1959: Yusef Lateef’s Fabric Of Jazz (Savoy)
Con Dorothy Ashby
1961: Soft Winds (Jazzland)
lunes, 29 de octubre de 2018
Rune Urban Gustafsson (August 25, 1933 – June 15, 2012) was a Swedish jazz guitarist and composer, known in particular for the soundtrack of Swedish films The Man Who Quit Smoking (1972 ), Release the Prisoners to Spring (1975), and Sunday's Children (1992).
Rune Gustafsson was born in 1933 in Gothenburg. He moved to Stockholm in the 1950s to work with Putte Wickman (Swedisk Jazz Kings, EP, 1957) and Arne Domnérus Radio band and Radio Jazz Group. His first published works were Young Guitar (Metronome, MLP 15 072, 1961) with Arne Domnérus, Jan Johansson, Jimmy Woode, Bjarne Nerem, Börje Fredriksson and Jan Allan.
Rune at the Top was published in 1969 and included the Norwegian drummer Jon Christensen. He played in the Arne Domnérus duo (Dialog, 1972) and his various orchestras, with Jan Johansson, Georg Riedel, Cornelis Vreeswijk. Rune Gustafsson Himself Plays Gilbert O'Sullivan (1973), Killing Me Softly (1973) and Move (1977), was recorded with Egil Johansen, who was one of Gustafsson's most popular jazz partners. On a Clear Day (Sonet, SLP 2581, 1976) included Red Mitchell and Duke Ellington's drummer Ed Thigpen. He played with Zoot Sims on two recordings: The Sweetest Sounds (1979) and In a Sentimental Mood (1985), the latter was Sims last album. A duo performance with Niels-Henning Ørsted Pedersen at Vossajazz 1980, concluded on the album Just The Way You Are on the label Sonet Grammofon, recorded half a year after this first meeting.
Rune Gustafsson died in 2012 in Stockholm after short illness.
Review by Thom Jurek
Before jazz guitarist and composer Pat Martino's surgery after a brain aneurysm, which took away his memory and ability to play for seven years, he made a kind of left turn. Martino had been making trio and quartet recordings for most of the '70s that featured his reflective or quietly swinging originals and standards. In 1976 he made Starbright, on which he played synthesizer and percussion in addition to guitars. He also employed some of the hottest jazz fusion players, like synthesists Warren Bernhardt and Michael Mainieri, electric and acoustic keyboardist Gil Goldstein, drummer Michael Carvin, and bassist Will Lee, with Marty Quinn on tablas, Joe Donofrio on violin, and Al Regni on flute. The result was a startling yet warm and, in retrospect, wonderful recording of originals and covers, the most notable of which were two radically interpreted Wayne Shorter compositions, "Nefertiti," and "Fall." Later that year, Martino went further afield with Joyous Lake, employing Delmar Brown on all manner of keyboards (electronic only, a Fender Rhodes being the most conventional), electric bassist Mark Leonard, and drummer and percussionist Kenwood Dennard. All the compositions were by Martino or his bandmates. The latter album was too far out in the fusion field. Not funky enough, and too completely technical to be of much use to jazz fans who may have enjoyed the sparing experimentation of the former release but were not prepared for so studied and artificial an outing. Where Starbright showed another powerful and poetic dimension to Martino's personality, Joyous Lake subsumed it wholesale. The pair are available together on Collectables.
During the second half of the 18th century, the German workshop of Abraham and David Roentgen was among Europe's most successful cabinetmaking enterprises. The Roentgens' pieces combined innovative designs with intriguing mechanical devices that revolutionized traditional types of European furniture. An important key to their success was the pairing of the skilled craftsman Abraham with his brashly entrepreneurial son David, whose clients included Louis XVI and Marie Antoinette of France as well as Catherine the Great of Russia. This landmark publication is the first comprehensive survey, in nearly four decades, of the firm from its founding in about 1742 to its closing in the late 1790s. The Roentgen workshop perfected the practice of adapting prefabricated elements according to the specifications of the customers. Detailed discussions of these extraordinary pieces are complemented by illustrations showing them in their contemporary interiors, design drawings, portraits, and previously unpublished historical documents from the Roentgen estate. This fascinating book provides an essential contribution to the study of European furniture.
Review by Alex Henderson:
Like so many risk takers, Jethro Tull have had their share of both admirers and detractors over the years. To their admirers, Ian Anderson and his colleagues did a lot to expand rock's boundaries; to their detractors, they epitomized progressive rock's excesses (especially during the '70s) and were a prime example of why the punk movement was needed. It's no secret that Tull -- like Yes, Pink Floyd, Genesis, and Emerson, Lake & Palmer -- were influenced by European classical music (as well as British folk, Celtic music, blues, and jazz). So it comes as no surprise that on this live two-CD set, Anderson celebrates that Euro-classical influence by joining forces with a large orchestra. Ian Anderson Plays the Orchestral Jethro Tull documents a December 2004 concert in Mannheim, Germany, where Anderson (lead vocals, flute, acoustic guitar) is joined by the Neue Philharmonie Frankfurt. "Aqualung," "Locomotive Breath," "My God," and other Tull favorites receive the orchestral treatment, as do Johann Sebastian Bach's "Bourée" and the European Christmas carol "God Rest Ye, Merry Gentlemen." The arrangements are not only tasteful -- they sound perfectly natural given the classical influence that has been a part of Anderson's work for so long. Of course, these performances aren't classical music in the strict sense -- even if one of the pieces is by Bach. Rock is still Anderson's foundation, which doesn't mean that he cannot use some of the Euro-classical vocabulary to his creative advantage. Ian Anderson Plays the Orchestral Jethro Tull is unlikely to win over Anderson's critics, but for prog rock diehards, this double CD (which is also available as a two-DVD set) is a pleasing (if short of essential) demonstration of Tull's ability to interact with the orchestral/classical world.
Revisión por Alex Henderson:Como tantos tomadores de riesgos, Jethro Tull ha tenido su parte de admiradores y detractores a lo largo de los años. Para sus admiradores, Ian Anderson y sus colegas hicieron mucho para expandir los límites del rock; Para sus detractores, personificaron los excesos del rock progresivo (especialmente durante los años 70) y fueron un excelente ejemplo de por qué se necesitaba el movimiento punk. No es ningún secreto que Tull, como Yes, Pink Floyd, Genesis y Emerson, Lake & Palmer, fueron influenciados por la música clásica europea (además del folk británico, la música celta, el blues y el jazz). Así que no es sorprendente que en este set de dos CD en vivo, Anderson celebre esa influencia euro-clásica uniendo fuerzas con una gran orquesta. Ian Anderson toca la orquesta Jethro Tull documenta un concierto de diciembre de 2004 en Mannheim, Alemania, donde se une a Anderson (vocalista principal, flauta, guitarra acústica) la Neue Philharmonie Frankfurt. "Aqualung", "Locomotive Breath", "My God" y otros favoritos de Tull reciben el tratamiento orquestal, al igual que "Bourée" de Johann Sebastian Bach y el villancico europeo "God Rest Ye, Merry Gentlemen". Los arreglos no solo son elegantes, sino que suenan perfectamente naturales dada la influencia clásica que ha sido parte del trabajo de Anderson durante tanto tiempo. Por supuesto, estas actuaciones no son música clásica en sentido estricto, incluso si una de las piezas es de Bach. Rock sigue siendo la base de Anderson, lo que no significa que no pueda usar parte del vocabulario euro-clásico para su ventaja creativa. Ian Anderson toca la orquesta Jethro Tull es poco probable que se gane a los críticos de Anderson, pero para los fanáticos del rock progresivo, este doble CD (que también está disponible como un set de dos DVD) es una demostración agradable (aunque no esencial) de la capacidad de Tull para Interactuar con el mundo orquestal / clásico.
domingo, 28 de octubre de 2018
Review by Scott Yanow
One of the guitar heroes of fusion, Al di Meola was just 22-years-old at the time of his debut as a leader but already a veteran of Chick Corea's Return to Forever. The complex pieces (which include the three-part "Suite-Golden Dawn," an acoustic duet with Corea on "Short Tales of the Black Forest," and a brief Bach violin sonata show di Meola's range even at this early stage. With assistance from such top players as bassists Jaco Pastorius and Stanley Clarke, keyboardist Barry Miles, and drummers Lenny White and Steve Gadd, this was a very impressive beginning to di Meola's solo career.
Revisión por Scott Yanow:
Al di Meola, uno de los héroes de la guitarra de la fusión, tenía solo 22 años cuando debutó como líder, pero ya era un veterano de Return to Forever de Chick Corea. Las piezas complejas (que incluyen la "Suite-Golden Dawn" en tres partes, un dúo acústico con Corea en "Cuentos cortos de la Selva Negra" y una breve muestra de sonata para violín de Bach de Meola incluso en esta etapa temprana. Con ayuda De los mejores jugadores como los bajistas Jaco Pastorius y Stanley Clarke, el teclista Barry Miles y los bateristas Lenny White y Steve Gadd, este fue un comienzo muy impresionante para la carrera solista de di Meola.
Review by Richie Unterberger
On this date Jackson led a quintet also featuring Carl Wilson on organ, Pat Martino on guitar, Frank Robinson on trumpet, and Joe Hadrick on drums; Leonard Gaskin added bass to a few tracks. It's respectable, not too cool and not too hot early-'60s organ-sax jazz, with Wilson's organ and the still-teenaged Martino's guitar as vital to the success of the date as Jackson's tenor sax is. Except for a three-minute revival of "Stompin' at the Savoy," most of the grooves settle in for a half-dozen minutes or so, the up-tempo "Brother Elijah" and "Grease" working best. They play a smoldering, soulful slow strut for 11-and-a-half minutes on "Gra-a-a-vy," though. The CD Gravy combines Grease 'n' Gravy with another Prestige LP, The Good Life, that consists of another half-dozen tracks from the same May 1963 session.
Featured over these two CDs is the first flowering of the 'Stax' sound, a sound that would develop throughout the '60s to become one of the most predominant sounds of American R&B and soul around the world.
Included are three complete albums, two from The Mar-Keys and one from Booker T & The MGs plus bonus singles. These were the first acts to break on Stax Records with hits like, 'Last Night' and 'Green Onions'.
Here then are three of the earliest albums released out of Jim Stewart and Estelle Axton's legendary label and the genesis of one of the most important house bands in recording history.
Jasmine Records ...
Jazz violinist Svend Asmussen will celebrate his 100th birthday on 28 February and a tribute will be paid him at this concert featuring Mads Tolling and his Danish quartet – as well as the solo vocalist Sinne Eg.
The 99-year-old Asmussen has stopped making public appearances, but who is Mads Tolling?
For over 40 years, Mads Tolling has lived in USA and was educated at Berklee College of Music in Boston. His many years abroad have so far led to two Grammy Awards and several years’ collaboration with Turtle Island Quartet and the bass player Stanley Clarke. In San Francisco he leads his own group, the Mads Tolling Quartet, and their CD “The Playmaker” received fine reviews in, among others, Downbeat Magazine and Washington Post.
“Since at the age of 15 I had this burning desire to play jazz on a violin, I contacted Svend Asmussen; he was fortunately in the telephone directory. He told me that he did not teach, but that I should simply listen to Stuff Smith. Which I did, and Svend and I have kept in contact ever since. A few years ago, he gave me a large part of his collection of sheet music – included a lot of handwritten stuff – a fine gesture, I felt. He also wanted to pass on something of what he has stood for to the younger generation. Since that gesture, I have felt like paying a tribute to him and his wonderful music, Mads Tolling says.
When Mads at the age of 14 listened for the first time to Svend Asmussen at a concert in Hørsholm, the young guitarist Jacob Fisher was a part of Asmussen’s quartet. Now, almost twenty years later, Mads and Jacob have come together again and tour northern Europe in honour of their mentor.
The programme is a mix of Svend Asmussen’s collaboration with Ulrik Neumann and his recent quartet, and it naturally includes some of Svend’s signature tunes, such as ‘June Night’ and ‘Scandinavian Shuffle’. Also featured are a couple of Tolling’s and Fischer’s own compositions.
Mads Tolling Quartet:
Mads Tolling, violin
Jakob Fischer, guitar
Kasper Tagel, bass
Snorre Kirk, drums
sábado, 27 de octubre de 2018
Leon Spencer (1945 - March 11, 2012) was an American acid jazz / soul jazz organist born in Houston, Texas. He played piano with David Newman, and later organ with Melvin Sparks.
Spencer is best known for his albums for the Prestige Records label in the early 1970s, i.e. Sneak Preview (1970) Louisiana Slim (1971) and Where I'm Coming From (1973). Some of the musicians who appeared with him on these albums include Grover Washington, Jr., Idris Muhammad, Melvin Sparks and Buddy Caldwell.
Harold Alexander was a competent saxophonist and dynamic flutist whose early and mid-’70s albums for Flying Dutchman and Atlantic blended originals, soul/jazz and R&B effectively. Alexander recorded three albums (including a live ‘Montreux Jazz Festival’ record in 1972) and contributed to various other recordings during his career.
After a very brief period of recording music, from about 1967 to 1974, Alexander disappeared from the music scene. He is alleged to have commented on the music industry by saying: Most people don’t know what happened to me…I guess they think I’m gone. They didn’t kill my spirit, but they killed my desire to share”. Before his removal from the scene of recorded music, Harold Alexander provided the world with some incredibly funky jazz fusion tracks with a distinct otherworldly craziness.
His most recognized LP is 1971’s Sunshine Man, on Flying Dutchman Records. On that album, the most sought after groove is the straight up banger “Mama Soul”, which features insane scatting over a delicious funky flute and organ driven beat. An immaculate six minutes of mental vocals and Alexander’s flute doing exactly what the vocals are doing. It comes as no surprise that “Mama Soul” was sampled multiple times by artists from ‘Blackalicious’ to ‘DJ Shadow’.
Another highlight (one of the many on this album) is the adept double beat from iconic drummer “Bernard ‘Pretty’ Purdie” (husband to Aretha Franklin & known for his work with Isaac Hayes, Cat Stevens, B.B. King & Joe Cocker) who is delivering some of the most tight and wicked drum-skills known to man. Bass duties here are filled by another icon: the award winning “Richard Davies” (known for his work with Miles Davis, Bruce Springsteen, Van Morrison, Frank Sinatra & Leonard Bernstein). Production of the album was handled by industry veteran “Bob Thiele” who produced & arranged countless albums from the likes of Art Blakey, Duke Ellington, Louis Armstrong, Quincy Jones, John (and Alice) Coltrane & Gil Scott-Heron.
Harold Alexander’s Sunshine Man is pure bliss, free-form Jazz with hints of soul and P-funk (courtesy of ‘Jimmy Castor’ collaborator Richard Landrum on the congas) to cosmic music with both profoundly spiritual and resolutely physical dimensions. Sunshine Man is that rare record that’s both far-out and funky at the same time. Originally released in 1971, now back available as a limited deluxe vinyl edition featuring the original gatefold artwork. To top all this off, this reissue also comes with extensive liner notes by Harold Alexander himself.
Harold Alexander era un saxofonista competente y un flautista dinámico cuyos álbumes de principios y mediados de los años 70 para Flying Dutchman y Atlantic combinaban los originales, el soul / jazz y el R&B de manera efectiva. Alexander grabó tres álbumes (incluido un disco en vivo en el 'Festival de Jazz de Montreux' en 1972) y contribuyó a varias otras grabaciones durante su carrera.
Después de un breve período de grabación de música, desde aproximadamente 1967 hasta 1974, Alexander desapareció de la escena musical. Se dice que él comentó sobre la industria de la música diciendo: la mayoría de las personas no saben lo que me pasó ... creo que piensan que me he ido. No mataron mi espíritu, pero mataron mi deseo de compartir ". Antes de retirarse de la escena de la música grabada, Harold Alexander proporcionó al mundo algunas pistas de fusión de jazz increíblemente funky con una locura distinta de otro mundo.
Su LP más reconocido es el Sunshine Man de 1971, en Flying Dutchman Records. En ese álbum, el ritmo más buscado es el directo "Mama Soul", que presenta una locura dispersándose sobre una deliciosa flauta funky y un ritmo de órgano. Un impecable seis minutos de voces mentales y la flauta de Alexander haciendo exactamente lo que están haciendo las voces. No es de extrañar que "Mama Soul" haya sido muestreado varias veces por artistas desde "Blackalicious" a "DJ Shadow".
Otro punto culminante (uno de los muchos en este álbum) es el adepto doble golpe del icónico baterista "Bernard 'Pretty' Purdie" (esposo de Aretha Franklin y conocido por su trabajo con Isaac Hayes, Cat Stevens, BB King y Joe Cocker) quien está entregando algunas de las habilidades de batería más estrictas y perversas que conoce el hombre. Los deberes de los bajos aquí están llenos de otro ícono: el galardonado "Richard Davies" (conocido por su trabajo con Miles Davis, Bruce Springsteen, Van Morrison, Frank Sinatra y Leonard Bernstein). La producción del álbum fue manejada por el veterano de la industria "Bob Thiele" que produjo y arregló innumerables álbumes de artistas como Art Blakey, Duke Ellington, Louis Armstrong, Quincy Jones, John (y Alice) Coltrane y Gil Scott-Heron.
El Sunshine Man de Harold Alexander es pura felicidad, Jazz de forma libre con toques de soul y P-funk (cortesía del colaborador de 'Jimmy Castor' Richard Landrum en las congas) a la música cósmica con dimensiones profundamente espirituales y resueltamente físicas. Sunshine Man es ese disco raro que es a la vez lejano y funky al mismo tiempo. Originalmente lanzado en 1971, ahora está disponible nuevamente como una edición de vinilo de lujo limitada con la portada original. Para rematar todo esto, esta reedición también viene con extensas notas del propio Harold Alexander.
Review by Bruce Eder
This album, along with St. Louis to Liverpool and Fresh Berry's, constitutes part of Chuck Berry's lost Chess years, and, for most listeners, a broader "lost period" for Berry. At the time, his music was never more widely copied and covered, courtesy of the British invasion bands streaming into the U.S. in person and on record, yet he couldn't chart a single or get top bookings in the U.S. Chuck Berry in London has its feet planted in 1965, offering harder blues-based numbers like "Why Should We End This Way" and "I Got a Booking," both influenced by Big Bill Broonzy (the latter, in particular, is Berry's rewrite of "Key to the Highway"), along with lean hot rockers like "St. Louis Blues" and the loud, sneering "I Want to Be Your Driver." The latter was a clear influence on Bob Dylan's "Obviously Five Believers," and demonstrates that Berry was still an influence on rock & roll as late as 1965. Therein lies the beauty of this record -- it shows Berry evolving as a singer and guitar player, exploring sides of his music and persona in a very contemporary way, and not at all awkwardly. He does revert back to past formula here and there -- "His Daughter Caroline" is the kind of sentimental ballad that Berry used to insert between his classic rock & roll on his early albums, in attempt to break the mood and vary the pacing. "Jamaica Farewell" and the Spanish-flavored "The Song of My Love" are more diverting and successful.
Revisión por Bruce EderEste álbum, junto con St. Louis to Liverpool y Fresh Berry's, constituye parte de los años perdidos de Chuck Berry Chess y, para la mayoría de los oyentes, un "período perdido" más amplio para Berry. En ese momento, su música nunca fue más copiada y cubierta, cortesía de las bandas de invasión británicas que se transmiten a los Estados Unidos en persona y en el registro, sin embargo, no pudo registrar una sola o conseguir las mejores reservas en los Estados Unidos. Chuck Berry en Londres tiene sus pies plantados en 1965, que ofrecen números basados en el blues más difíciles como "¿Por qué deberíamos terminar de esta manera" y "Tengo una reserva", ambos influenciados por Big Bill Broonzy (este último, en particular, es la reescritura de Berry de "Key to the Highway "), junto con rockeros magros como" St. Louis Blues "y el ruidoso y burlón" Quiero ser tu conductor ". Esta última fue una clara influencia en "Obviously Five Believers" de Bob Dylan y demuestra que Berry seguía siendo una influencia en el rock & roll hasta 1965. Ahí reside la belleza de este disco: muestra a Berry evolucionando como cantante y guitarra. jugador, explorando los lados de su música y su personalidad de una manera muy contemporánea, y para nada torpe. Él vuelve a su fórmula anterior aquí y allá: "Su hija Caroline" es el tipo de balada sentimental que Berry solía insertar entre su clásico rock & roll en sus primeros álbumes, en un intento por romper el estado de ánimo y variar el ritmo. "Jamaica Adiós" y el "The Song of My Love" con sabor español son más divertidos y exitosos.
viernes, 26 de octubre de 2018
Artist Biography by Stephen Thomas Erlewine
Bobbi Humphrey is a jazz flautist whose musical tastes lean toward fusion and smooth jazz-pop. From the outset of her career, Humphrey was quite popular, winning a large crossover audience with her pop-oriented jazz-fusion. Throughout her career, her popularity exceeded her critical acclaim, but she received high marks for her technique and showmanship. Audiences stayed with Humphrey for decades, buying her records and attending her concerts from the Montreux Festival to Carnegie Hall.
Although Bobbi Humphrey was born in Marlin, TX, she was raised in Dallas. She began playing flute in high school and continued her studies at Texas Southern University and Southern Methodist University. Dizzy Gillespie saw Humphrey play at a talent contest at Southern Methodist and, impressed with what he had heard, he urged her to pursue a musical career in New York City. She followed through on his advice, getting her first big break performing at the Apollo Theater on amateur night. Shortly afterward, she began playing regularly throughout the city, including a gig with Duke Ellington.
Humphrey signed with Blue Note in 1971. Her smooth blend of jazz, funk, pop, and R&B fit in well with the new sound of Blue Note, and her six albums for the label -- Flute In, Dig This, Blacks and Blues, Satin Doll, Live at Montreux, and Fancy Dancer -- were all successes. In particular, 1973's Blacks and Blues was a rousing success, earning her a crossover pop and R&B audience. That same year, she played the Montreux Festival in Switzerland. In 1976, she was named Best Female Instrumentalist by Billboard. The following year, she switched record labels, signing with Epic and releasing Tailor Made that same year. She also played on Stevie Wonder's platinum album Songs in the Key of Life in 1977.
Tailor Made was the first of three albums for Epic Records; Freestyle followed in 1978 and The Good Life appeared about a year afterward. During the '80s, Humphrey continued to perform regularly, even if she didn't record often. She returned to recording in 1989, releasing City Beat on Malaco Records. Five years later, Passion Flute appeared on her own Paradise Sounds label, where she is President and C.E.O.
Bobbi Humphrey (Flute); Billy Harper (Sax Tenor); Lee Morgan (Trumpet); Gene Bertoncini (Guitar); Hank Jones, Frank Owens (Piano); Gordon Edwards, George Duvivier (Bass); Idris Muhammad, Jimmy Johnson Jr. (Drums); George Devens (Marimba, Percussion, Vibraphone); Ray Armando (Conga).
Opus De Funk is an album by jazz organist Johnny "Hammond" Smith recorded for the Prestige label in 1961 but not released until 1966.
The Allmusic site awarded the album 4 stars stating "The really unusual element here is the presence of McCoy, because one doesn't usually associate vibes with jazz organ combos. The vibes work, however, and give the resonance of Smith's organ a lighter counterpoint that brightens up the overall sound"
Born in Louisville, Kentucky, Johnny ‘Hammond’ Smith began playing piano at age five. Growing up to influences such as Oscar Peterson, Charlie Parker, Lionel Hampton, Arthur Rubenstein, Gershwin, etc., Johnny sought to bring a new dimension to jazz piano.
Forming his first professional group at age twelve, he knew exactly what he wanted to present and how to present it. Since then he has recorded dozens of albums under his own name and even more as a guest artist, awarding him the acclaim as one of the top jazz organist record sellers in the world. He has taken the keyboard into a new realm via exciting performance and fluent technique. A true stylist and innovator of the jazz tradition, he has been a featured artist at Concerts by the Sea, the Lighthouse, the Dorothy Chandler Pavilion, the Hollywood Bowl, and the Hollywood Palladium. He has also toured outside of the U.S. in such countries as France, Japan, Spain, Canada, Germany, England, Italy, Sweden, and numerous others.
In addition to the many places he has toured, Johnny has also toured and recorded with many top performers such as George Benson, Grover Washington, Jr., and Ron Carter, to name a few. Many see Johnny as one of the founders of today’s jazz sound.
Johnny was a key part in bringing the Hammond organ from gospel into jazz, but that is not why ‘Hammond’ is in his name: “I was working at Prestige Records in 1959,” Johnny said, “and there was already a Jimmy Smith and a Johnny Smith. So a producer gave me the name ‘Hammond’ to distinguish me from the two; and I’ve had it ever since…but I don’t mind.”
Other than recording and performing, Johnny has also focused his talent in the areas of writing music, prose, and poetry. He has also worked as an executive at CTI records.
Johnny is currently spending his ‘temporary retirement’ teaching privately and at a California University to young musicians with a “desire to learn, just as I had.” Although he receives the most satisfaction and fulfillment now in writing, he still very much enjoys helping young artists and, of course, playing.
The future for Johnny Hammond Smith shines with a “brightness on the horizon.” Johnny foresees much success in the area of music composition, hoping to be a pioneer to another generation of young artists and another era of music.
Johnny passed away at home in Hesperia, California in 1997 (Other bios indicate his death in Chicago, which is erroneous. He played the Charles Earland Organ Summit in Chicago only days before his death, but did not pass away there.)
Billboard Magazine’s Obit, from August 9, 1997, page 30:
Johnny “Hammond” Smith, a highly skilled organist who came to prominence in the 1960?s, died of cancer June 4 in Victorville, Calif. Known for his deep blues feeling on the Hammond B-3 organ, he recorded for Prestige for most of the decade. One of his classic discs is 1969?s “Soul Talk.” Smith was 64 years old. http://johnnyhammondsmith.com/
Review by Richie Unterberger
A CD reissue that combines Jones' fifth and sixth Prestige LPs, Noway! (1970) and What It Is (1971), onto one disc. Grover Washington, Jr. (tenor sax) and Bernard Purdie (drums) are the key accompanists on both sessions. Noway! is a set of pretty funky early-1970s soul-jazz, though the covers of fairly straight pop numbers ("Georgia on My Mind," the Jackson 5's "I'll Be There") are kind of undistinguished. Better are the originals "No Way" and "Holdin' Back" (by Jones) and "Sunshine Alley" (by organist Butch Cornell), which have a more convincing groove. "No Way" is the toughest, with funk guitar lines betraying some influence from James Brown; "Holdin' Back" sounds a bit like a jazzy instrumental treatment of the kind of songs Marvin Gaye used to record in his early Motown days. Using the same personnel, Jones offers more good-natured funk-soul-jazz on What It Is. After getting a couple of contemporary pop covers (of Bill Withers' "Ain't No Sunshine" and Carole King's "I Feel the Earth Move") out of the way, it's mostly Jones originals. On his slower moments, as in "Fadin'" and Sonny Thompson's "Let Them Talk," he shows the influence of straight jazz players such as Wes Montgomery; "What It Is" and "Inside Job" are more cut-to-the-chase funk riffs. Jones has his cult following, but as soul-jazz goes, this is kind of run-of-the-mill: good for background, but not captivating foreground listening.