egroj world: enero 2019
PW: egroj

miércoles, 30 de enero de 2019

Al Hirt • Swingin' Dixie - At Dan's Pier 600 in New Orleans, Vol. 2



Review by Scott Yanow
Trumpeter Al Hirt was heard at his best in the mid- to late 1950s, when his fame was mostly regional. Playing in his native New Orleans, Hirt and his sextet (which includes trombonist Bob Havens and clarinetist Harold Cooper) swing their way through a dozen Dixieland standards on his second of four albums in this series. Hirt's phenomenal technique is clearly in evidence, and he comes up with many exciting ideas on such songs as "Darktown Strutters Ball," "Stumblin'," "Chicago" and "Song of the Wanderer." Worth searching for by Dixieland fans.

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Tradución Automática:
Revisión por Scott Yanow
El trompetista Al Hirt se escuchó en todo su esplendor a mediados y finales de la década de 1950, cuando su fama era principalmente regional. Jugando en su Nueva Orleans natal, Hirt y su sexteto (que incluye al trombonista Bob Havens y al clarinetista Harold Cooper) se abren paso a través de una docena de estándares de Dixieland en su segundo de los cuatro álbumes de esta serie. La fenomenal técnica de Hirt está claramente en evidencia, y se le ocurren muchas ideas emocionantes en canciones como "Darktown Strutters Ball", "Stumblin '", "Chicago" y "Song of the Wanderer". Vale la pena buscar por los fans de Dixieland.


Spo-Dee-O-Dee • The House Is Rockin!

martes, 29 de enero de 2019

Richard ''Groove'' Holmes • Welcome Home



Richard "Groove" Holmes (1931-1991) empezó su carrera profesional como pianista, pero tras escuchar tocar al gran organista, Jimmy Smith, adoptó el órgano Hammond como su instrumento. Fue descubierto para el jazz por el pianista de Soul, Les McCann.

En 1961, firma un contrato de larga duración con el sello "Pacific Jazz" y ese mismo año graba su primer disco titulado genéricamente "Groove" el apodo con que sería conocido para siempre. El disco fue un gran éxito y le acompañaban, el guitarrista George Freeman, el propio Les MacCann al piano, Tricky Lofton al trombón, a la batería, Ron jefferson y al saxo tenor el maestro Ben Webster.

En 1965, logró otro gran éxito con una nueva versión del tema "Misty" una melodía muy famosa compuesta por el pianista, Erroll Garner y que serviría para darle titulo a su nuevo álbum, esta vez para el sello, "Prestige". Holmes poseía una buena técnica y especialmente en el formato del trío: órgano-guitarra-batería. Era fácil tocar con el y sus compañeros de grupo siempre alababan su capacidad para dejar entrar a los demás instrumentos. Su "tempo" era perfecto y sus solos muy originales y creativos.
http://www.apoloybaco.com/richardholmesbiografia.htm

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Automatic translation:
Richard "Groove" Holmes (1931-1991) began his professional career as a pianist, but after listening to the great organist, Jimmy Smith, he adopted the Hammond organ as his instrument. It was discovered for jazz by the pianist of Soul, Les McCann.

In 1961, he signed a long-term contract with the label "Pacific Jazz" and that same year recorded his first album titled "Groove" the nickname with which he would be known forever. The album was a great success and he was accompanied by guitarist George Freeman, Les MacCann himself on piano, Tricky Lofton on trombone, drums, Ron jefferson and tenor sax maestro Ben Webster.

In 1965, he achieved another great success with a new version of the song "Misty" a very famous melody composed by the pianist, Erroll Garner and that would serve to give title to his new album, this time for the label, "Prestige". Holmes had a good technique and especially in the format of the trio: organ-guitar-drums. It was easy to play with him and his bandmates always praised his ability to let other instruments in. His "tempo" was perfect and his solos very original and creative.
http://www.apoloybaco.com/richardholmesbiografia.htm




Discogs ...





Bob Wyatt • The Happy Organ Of Bob Wyatt



Extract of The Organ in Jazz - Part 1
... Bob Wyatt, who around 1948 was heard at the Royal Roost on Broadway working in a duo with pianist Billy Taylor. Wyatt impressed most listeners as a fine musician but not essentially a jazzman. He has recorded on the Forum label.

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Traducción Automática:
Extracto de The Organ in Jazz - Parte 1
... Bob Wyatt, que alrededor de 1948 se escuchó en el Royal Roost en Broadway trabajando en un dúo con el pianista Billy Taylor. Wyatt impresionó a la mayoría de los oyentes como un buen músico, pero no esencialmente un músico de jazz. Ha grabado en el sello Forum.


Discogs ...





lunes, 28 de enero de 2019

Lonnie Smith • Mama Wailer



Review by Thom Jurek
Dr. Lonnie Smith's Mama Wailer is one of the quintessential sides issued by Creed Taylor's CTI/Kudu imprint. Out of print for decades on LP, in 2003 it became available again in Japan as a beautifully remastered CD -- as part of King's ambitious reissue project of all things Kudu. Uncharacteristically, Smith played clavinet as well as organ on this set, and arranged all but one track. The rest of the band was comprised of Billy Cobham, Ron Carter, Chuck Rainey, Grover Washington, Jr., Airto, Jimmy Ponder, George Davis, and others. There are only four cuts on Mama Wailer, the title and "Hola Muneca" were written by Smith, the others are covers of pop tunes from the era: Carole King's "I Feel the Earth Move," and Sly Stone's "Stand" -- the latter takes up all of Side Two. Smith's keyboard playing -- particularly on the clavinet, is dirty, greasy, and way-gone funky. He rides Latin grooves on "Hola Muneca," and his B3 collides with the basses and Cobham's dancing, inverted backbeat groove. This is what Latin soul is all about when it meets jazz. The improvisations are in the pocket, but, at the same time, off the page. Here is where boogaloo and hard bop meet headlong. On the King tune, soul-jazz reigns supreme as the B3 administers groove therapy to the rhythm challenge. Elsewhere, as on "Stand," (arranged by Washington), Smith's overdubbed B3s create a wondrously complex harmonic melody as the band moves in behind the beat. A few minutes in (it's almost 20 minutes in length), the ensemble picks up the tempo, and falls into the groove pocket from which all things are possible improvisationally. Two-and-a-half minutes into the tune, the jam unfolds, a soul-jazz deep funky grit that streams and sweats call-and-response lines from one player to the next. For anyone who's ever had reservations about Washington's ability to cut loose as an improviser, they need only to give this track a listen and then apologize to his ghost. As guitars weave in and around the slinky, deep-groove basslines, Smith and Washington trade fours, and then Ponder turns his guitar into an overdrive machine to match Smith line for line, interweaving and intercutting before the whole mutha lifts off at eight-minutes-thirty-seconds and into a James Brown and His Famous Flames riot of soulful funky badness that nonetheless allows for Washington to solo outside on the edges of an over-amped rhythm section. Whew!

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Traducción Automática:
Revisión por Thom Jurek
Mama Wailer, del Dr. Lonnie Smith, es una de las partes por excelencia del sello CTI / Kudu de Creed Taylor. Fuera de impresión durante décadas en LP, en 2003 volvió a estar disponible en Japón como un CD hermosamente remasterizado, como parte del ambicioso proyecto de reedición de King de todo lo relacionado con Kudu. Extrañamente, Smith tocó tanto el clavinet como el órgano en este set, y organizó todas las pistas menos una. El resto de la banda estaba compuesto por Billy Cobham, Ron Carter, Chuck Rainey, Grover Washington, Jr., Airto, Jimmy Ponder, George Davis y otros. Solo hay cuatro cortes en Mama Wailer, el título y "Hola Muneca" fueron escritos por Smith, los otros son covers de canciones pop de la época: "I Feel the Earth Move" de Carole King y "Stand" de Sly Stone - el último ocupa todo el lado dos. La ejecución del teclado de Smith, en particular en el clavinet, es sucia, grasienta, y funky. Él monta ritmos latinos en "Hola Muneca", y su B3 choca con los bajos y el baile de Cobham, ritmo de ritmo invertido. De esto se trata el alma latina cuando se encuentra con el jazz. Las improvisaciones están en el bolsillo, pero, al mismo tiempo, fuera de la página. Aquí es donde el boogaloo y el hard bop se encuentran de frente. En la melodía de King, el soul-jazz reina supremo a medida que el B3 administra la terapia de ritmo al desafío del ritmo. En otra parte, como en "Stand" (arreglado por Washington), los B3s doblados de Smith crean una melodía armónica maravillosamente compleja cuando la banda se mueve detrás del ritmo. A los pocos minutos (casi 20 minutos de duración), el conjunto recoge el ritmo y cae en el bolsillo de la ranura desde el cual todo es posible de manera improvisada. A dos minutos y medio de la melodía, el atasco se despliega, una profunda melodía funky de soul-jazz que transmite y suda líneas de respuesta y respuesta de un jugador a otro. Para cualquiera que haya tenido reservas acerca de la capacidad de Washington para liberarse como improvisador, solo tienen que escuchar esta canción y luego disculparse con su fantasma. Mientras las guitarras tejen en torno a las líneas de bajo slinky, surco surco, Smith y Washington intercambian cuatro, y luego Ponder convierte su guitarra en una máquina de sobremarcha para que coincida línea por línea con Smith, entretejiéndose e intercalando antes de que el mutha se levante a los ocho minutos. - Treinta segundos y en un motín de maldad funky y funky de James Brown y Sus Llamas Famosas que, sin embargo, le permite a Washington salir a solas en los bordes de una sección de ritmo demasiado amplificada. ¡Uf! 


Discogs ...





domingo, 27 de enero de 2019

miércoles, 23 de enero de 2019

Sonny Criss • Portrait of Sonny Criss



Sonny Criss' second of seven Prestige albums (which has been reissued on CD under the OJC imprint) finds the passionate altoist using the same rhythm section as on the earlier date: pianist Walter Davis, bassist Paul Chambers, and drummer Alan Dawson. Criss is in fine form on five jazz standards (including a heated "Wee" and an emotional version of "Smile") plus Davis' gospel-ish "A Million or More Times." An excellent outing.

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Traducción Automática:
El segundo de los siete álbumes de Prestny de Sonny Criss (que ha sido reeditado en un CD bajo el sello OJC) encuentra al apasionado altoista usando la misma sección de ritmo de la fecha anterior: el pianista Walter Davis, el bajista Paul Chambers y el baterista Alan Dawson. Criss está en buena forma en cinco estándares de jazz (que incluyen un acalorado "Wee" y una versión emocional de "Smile") además del gospel-ish de Davis "A Million or More Times". Una excelente salida.


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In Pursuit of Beauty Americans and the Aesthetic Movement • MET, pdf / English language



The pioneering exhibition "In Pursuit of Beauty: Americans and the Aesthetic Movement" and the accompanying publication demonstrate the continuing commitment of the Metropolitan Museum's American Wing to the study of the arts of the nineteenth century, exemplified by the landmark show Nineteenth-Century America (1970) and reaffirmed in such permanent installations as the Nineteenth-Century Arts Gallery, the Greek Revival Parlor, the John Henry Belter Rococo Revival Parlor, and the Renaissance Revival Parlor. This project is the first comprehensive study of a phenomenon that not only dominated the American arts of the 1870s and 1880s, but also helped set the course of such later developments in the United States as the Arts and Crafts movement, the indigenous interpretation of Art Nouveau, and even the rise of modernism. In fact, the early history of the Metropolitan—its founding, its sponsorship of a school of industrial design, and its display of decorative works—is inextricably tied to the Aesthetic movement and its educational goals.
"In Pursuit of Beauty: Americans and the Aesthetic Movement" comprised some 175 objects including furniture, metalwork, stained glass, ceramics, textiles, wallpaper, painting, and sculpture. Some of these had rarely been displayed; others, although familiar, were being shown in new and even startling contexts. The exhibition and catalogue are arranged thematically to illustrate both the major styles of a visually rich movement and the ideas that generated its diversity.


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Andreas Hellkvist • Finally!



Swedish Hammond jazz organist Andreas Hellkvist already boasts a prolific career as a sideman, having toured extensively for some 15 years together with the Swedish jazz elite and appeared on a dozen albums, three of which are by Do Music Records artists Trinity. As a performer, Hellkvist is a virtuoso and has flabbergasted audiences from the very outset with his impeccable skill, fiery improvisational passion and rhythmic energy, making any piece of music he lays his hands (and feet) on more or less catch fire. For years, fans have bemoaned the absence of a Hellkvist solo album, but happily, that has now changed as his debut album is here and appropriately titled 'Finally!' Forming a steady two-some with versatile drummer Daniel Olsson, Hellkvist presents Swedish jazz guitar stars Erik Söderlind, Samuel Hällkvist and Thomas Arnesen as guests, who all in unique ways add to the jazzy magic found in Hellkvist's well-crafted compositions. Hammond organ and jazz aficionados will no doubt be in seventh heaven!
https://andreashellkvist.com/

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Traducción Automática:
El organista de jazz de Hammond sueco, Andreas Hellkvist, ya cuenta con una prolífica carrera como sideman, ha realizado numerosas giras durante unos 15 años junto con la élite del jazz sueco y apareció en una docena de álbumes, tres de los cuales son de Trinity, artistas de Do Music Records. Como intérprete, Hellkvist es un virtuoso y ha sorprendido al público desde el principio con su impecable habilidad, su apasionada pasión de improvisación y su energía rítmica, haciendo que cualquier pieza de música que ponga sus manos (y pies) en más o menos fuego. Durante años, los fanáticos han lamentado la ausencia de un álbum en solitario de Hellkvist, pero felizmente, eso ha cambiado ahora que su álbum de debut está aquí y se titula apropiadamente "¡Por fin!" Hellkvist presenta a las estrellas suecas de la guitarra de jazz Erik Söderlind, Samuel Hällkvist y Thomas Arnesen, quienes se unen a la magia llamativa que se encuentra en las composiciones de Hellkvist. ¡Los aficionados al órgano y el jazz de Hammond sin duda estarán en el séptimo cielo!
https://andreashellkvist.com/


CD Baby ...





Bud Shank ‎• Brasamba



One of the greatest albums of Brazilian jazz that Bud Shank ever recorded – done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before – but there's something about this record that really gets the whole thing right – as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion. The added percussion really brings a lot to the set – and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong – caught at that clear early point in his career when he was such a fresh voice on the scene. The whole thing's wonderful overall – and if you think you might have it under another name, check the song listings – because we bet you don't! Titles include "Sambinha", "Gostoso", "Elizete", "O Barquinho", "Brasamba", and "Otem A Note".
Source: Dusty Groove

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Traducción Automática:
¡Uno de los mejores álbumes de jazz brasileño que Bud Shank haya grabado, hecho con un estilo que se parece mucho a algunos de los mejores discos de bossa de Río de la época! Bud grabó en otros ajustes de bossa antes, pero hay algo en este disco que realmente lo hace todo bien, cuando el alto y la flauta de Shank entran en juego con un combo asesino que incluye a Clare Fischer en el piano, Larry Bunker en vibraciones y tambores, Joe Pass en guitarra, y Milt Holland y Chuck Flores en percusión. La percusión agregada realmente trae mucho al conjunto, y le da un surco fuertemente impulsado por la bossa que realmente permite a Shank despegar en los solos de flauta y alto. El piano de Fischer es extraordinariamente fuerte: se vio atrapado en ese claro punto temprano de su carrera cuando era una voz tan fresca en la escena. En general, todo es maravilloso, y si crees que puedes tenerlo bajo otro nombre, consulta los listados de canciones, ¡porque apostamos a que no! Los títulos incluyen "Sambinha", "Gostoso", "Elizete", "O Barquinho", "Brasamba" y "Otem A Note".
Fuente: Dusty Groove




Discogs ...





VA • Surf War- The Battle Of The Surf Groups



Discogs ...





Oscar Peterson • Never Forget



Music-bazaar.com ... 





martes, 22 de enero de 2019

Al Di Meola • Soaring Through A Dream

Mimmo Langella • Soul Town

Lee Rocker and Big Blue • Atomic Boogie Hour

VA • Mod Jazz



Cannonball Adderley, Freddie McCoy, Brother Jack McDuff, Sonny Stitt, Willis Jackson, Shirley Scott, Jimmy Witherspoon, Johnny 'Hammond' Smith, Cal Tjader, Mongo Santamaria, Mose Allison, Ivan "Boogaloo Joe" Jones, Kenny Burrell ...











Lalo Schifrin • The Brilliance of Lalo Schifrin

John Singleton Copley in America



John Singleton Copley was the leading portraitist of the American colonial era. This volume, which accompanies a major exhibition of Copley's work organized by the Metropolitan Museum of Art, New York, and the Museum of Fine Arts, Boston, focuses on the paintings, miniatures and pastels which Copley produced before he moved to London in 1774. In four principal essays, a team of experts places Copley's work in historical and social context, and brings new critical methods to bear upon traditional aspects of the study of portraits and portraiture. Among the conclusions are that Copley's portraits helped to shape pre-Revolutionary culture, and that their content was market-driven in a relentlessly consumerist, anglophile society. Four shorter texts treat Copley's use of costumes in his portraits, his achievement as a miniaturist, his pastels, and the frames he used for his work. Catalogue entries on the color-plates detail the sitters' lives, decode the emblematic language that reflected status in colonial society, and reveal the way Copley contrived to enhance his subjects' status. The exhibition with which the book is timed to coincide opens in June 1995 in Boston and in September 1995 in New York, and travels subsequently to Houston and Milwaukee.







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Earl Bostic • The EP Collection



Review by Stephen Cook
British label See for Miles continues its high-quality EP Collection series with a fine look at smooth jump blues star Earl Bostic's prime material. Focusing on the alto saxophonist's circa-1950 work, the 26-track mix includes several complete EP sets with plenty of hits ("Flamingo," "Cherokee" and "B-side" nuggets ("Wrap It Up," "Cracked Ice". These primarily were released by R&B indie King and feature such contemporary and future jazz stars as Blue Mitchell, Benny Golson, Teddy Edwards, and Jimmy Cobb. Whether sweet ballad or honking swinger, Bostic is all tempered power and polished blowing on this essential release.

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Traducción Automática:
 Revisión por Stephen Cook
La marca británica See for Miles continúa su serie EP Collection de alta calidad con una mirada fina al material primordial de Earl Bostic, estrella de blues de suave salto. Centrándose en el trabajo de alrededor de 1950 del saxofonista alto, la mezcla de 26 pistas incluye varios sets completos de EP con muchos éxitos ("Flamingo", "Cherokee" y pepitas "B-side" ("Wrap It Up", "Cracked Ice" Estos fueron principalmente lanzados por el rey indie R&B y cuentan con estrellas del jazz tan contemporáneas y futuras como Blue Mitchell, Benny Golson, Teddy Edwards y Jimmy Cobb. Ya sea una dulce balada o un toque de bocina, Bostic es todo un poder moderado y un pulido toque en esta versión esencial. .




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lunes, 21 de enero de 2019

Melvin Rhyne • Stick To The Kick



Review by Greg Turner
On his fourth Criss Cross release, organist Melvin Rhyne is joined by trumpeter Ryan Kisor, tenor saxophonist Eric Alexander, guitarist Peter Bernstein, and drummer Kenny Washington to perform six Rhyne originals, two jazz classics, and one standard, the beautiful ballad "Laura," a feature for Alexander's tenor sax. Best known for a stint with Wes Montgomery during the late '50s and early '60s, Rhyne displays an understated but distinctive organ sound and strong basslines, complementing the youthful energy that Kisor and Alexander bring to the session. Bernstein and Washington are veterans of Rhyne's other three Criss Cross releases, two of them by the trio, resulting in what could be a great working group. Other favorites include "J. Robin," a medium swinger that alternates between funk and Latin feels in the head, "Captain McDuff," a medium shuffle written in tribute to fellow organist Jack McDuff, Bud Powell's aptly titled "Wail" (taken at a blazing tempo), and the relaxed groove of "It's Love." This is a welcome addition to Rhyne's growing discography.

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Traducción Automática:
Revisión por Greg Turner
En su cuarto lanzamiento de Criss Cross, el organista Melvin Rhyne está acompañado por el trompetista Ryan Kisor, el saxofonista tenor Eric Alexander, el guitarrista Peter Bernstein y el baterista Kenny Washington para interpretar seis originales de Rhyne, dos clásicos del jazz y una norma, la hermosa balada "Laura, "una característica para el saxo tenor de Alexander. Rhyne, mejor conocido por su paso por Wes Montgomery a finales de los años 50 y principios de los 60, muestra un sonido de órgano discreto pero distintivo y fuertes líneas de bajo, que complementan la energía juvenil que Kisor y Alexander aportan a la sesión. Bernstein y Washington son veteranos de los otros tres lanzamientos de Rhyne en Criss Cross, dos de ellos por el trío, lo que resulta en lo que podría ser un gran grupo de trabajo. Otros favoritos incluyen "J. Robin", un swinger mediano que alterna entre funk y Latin se siente en la cabeza, "Captain McDuff", una mezcla de medios escrita en homenaje a su compañero el organista Jack McDuff, el titulado "Wail" de Bud Powell (tomado en un ritmo ardiente), y el ritmo relajado de "It's Love". Esta es una adición bienvenida a la creciente discografía de Rhyne.


Discogs ...






Steve Turre • Keep Searchin'



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The Ventures • À Go-Go



Discogs ...




Dorothy Ashby • Hip Harp




Dorothy Ashby (harp) / Frank Wess (flute) / Herman Wright (bass) / Art Taylor (drums)







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Roland Shaw And His Orchestra • More James Bond In Action

Al Hirt • Swingin' Dixie - At Dan's Pier 600 in New Orleans, Vol. 1



Review by Scott Yanow
The first of four Al Hirt Audiophile albums recorded during the same year, this LP finds the trumpeter in prime form before he started making commercial hit records. With trombonist Bob Havens and clarinetist Harold Cooper completing the frontline, Hirt runs through an exciting set of Dixieland. This version of "Saints" is quite unusual, for Hirt and his fellow horn players start off trading four-bar phrases and gradually cut it in half again and again until they are trading off every beat. Other highlights include "Tiger Rag," "Fidgety Feet" and "Hindustan." An excellent example of Hirt's Dixieland playing, but unfortunately, all of his Audiofidelity releases are long out of print.

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Traducción Automática:
Revisión por Scott Yanow
El primero de los cuatro álbumes de Al Hirt Audiophile grabados durante el mismo año, este LP encuentra al trompetista en su mejor forma antes de comenzar a grabar discos de éxito comercial. Con el trombonista Bob Havens y el clarinetista Harold Cooper completando la primera línea, Hirt recorre un emocionante conjunto de Dixieland. Esta versión de "Saints" es bastante inusual, ya que Hirt y sus compañeros cuernos comienzan a intercambiar frases de cuatro compases y gradualmente lo cortan por la mitad una y otra vez hasta que cambian cada latido. Otros puntos destacados incluyen "Tiger Rag", "Fidgety Feet" e "Hindustan". Un excelente ejemplo del juego de Dixieland de Hirt, pero desafortunadamente, todos sus lanzamientos de Audiofidelity están agotados.


Discogs ...





Monty Alexander • We've Only Just Begun



Review by Ken Dryden
Monty Alexander's career was beginning to take off at the time of this 1971 club date at the Monticello in Rochester, NY. Accompanied by Dave Brubeck's former bassist, Eugene Wright, and veteran drummer Bobby Durham, who was recording extensively with Oscar Peterson, the young pianist kicks off the set with an ambitious, quote-filled rendition of a great standard "It Could Happen to You." The inclusion of several familiar popular tunes of the period, namely Michel Legrand's haunting "Summer of '42 Theme," Henry Mancini's bittersweet "Love Story Theme," and even "We've Only Just Begun" (a mega-hit for the Carpenters which actually began life as background music for a bank commercial), doesn't detract from the album in the least, due to Alexander's imaginative approaches to each of the tunes. The one original of the date is Alexander's funky "Monticello." This well-recorded date has been out of print since BASF quit manufacturing records in the U.S. in the mid-'70s, so it may be somewhat difficult to acquire.

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Revisión por Ken Dryden
La carrera de Monty Alexander estaba comenzando a despegar en el momento de esta cita del club de 1971 en el Monticello en Rochester, Nueva York. Acompañado por el ex bajista de Dave Brubeck, Eugene Wright, y el veterano baterista Bobby Durham, quien estaba grabando extensamente con Oscar Peterson, el joven pianista inicia el set con una versión ambiciosa y llena de comillas de un gran estándar "It Could Happen to You". " La inclusión de varias melodías populares familiares de la época, como el inquietante "Verano del '42" de Michel Legrand, el agridulce "Love Story Theme" de Henry Mancini e incluso "Solo hemos empezado" (un mega éxito para los Carpinteros). que en realidad comenzó la vida como música de fondo para un comercial del banco), no resta valor al álbum en lo más mínimo, debido a los enfoques imaginativos de Alexander para cada una de las canciones. El original de la fecha es el funky "Monticello" de Alexander. Esta fecha bien registrada ha estado agotada desde que BASF abandonó los registros de fabricación en los EE. UU. A mediados de los años 70, por lo que puede ser algo difícil de adquirir.


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Rick Holmstrom • Hydraulic Groove



Review by Hal Horowitz
Rod Piazza & the Mighty Flyers' guitarist, Rick Holmstrom, takes a sharp left turn on his third solo disc. Instead of churning out the traditional West Coast blues he's schooled in, he dives headfirst into the acid jazz/funk pool. While employing loops and samples may scare away his core audience, Holmstrom and producer Genome (who also contributes keyboards) utilize them to make the music even grittier, raunchier, and more swampy than you'd expect. While the blips, bloops, and brittle percussion that provide the landscape over which Holmstrom lays his fluid guitar lines are a far cry from the straight-ahead blues and boogie he's accustomed to in his full-time job, it shows he's willing to expand boundaries in creative ways. Clearly indebted to the Meters on the bulk of this album's funky groove, Holmstrom samples Rufus Thomas' spoken word to punctuate the percussive and keyboard whirlpool of "Shake It, Pt. 2." There's even more processing on the DJ Logic remix of the cut, one of four bonus tracks tacked onto the disc's final 20 minutes. John Medeski makes an appearance on the closing eight-minute jam, "Hamp's Hump," which further solidifies the acid funk sound. Holmstrom occasionally adds vocals on "These Roads," electronically treating his voice, which further highlights the break from tradition. "Pee Wee's Nightmare"'s spacy effects throw the music into a time warp led by jazzy leads vamping over the synthesized loops. "My Maria" works off the beat of Smokey Robinson & the Miracles' "Going to a Go-Go" and is the disc's most R&B-ish vibe. Depending on your allegiance to roots music, the appropriately titled Hydraulic Groove will either be a forward-looking, genre-exploding work or a misguided attempt to introduce blues to another (younger) audience. In either case, it's never boring and shows that Rick Holmstrom is one of the most challenging of contemporary blues guitarists; one who remains steeped in tradition yet is not afraid to take chances.

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Traducción Automática:
Revisión por Hal Horowitz
El guitarrista de Rod Piazza & the Mighty Flyers, Rick Holmstrom, gira a la izquierda en su tercer disco en solitario. En lugar de producir el blues tradicional de la costa oeste en el que se ha formado, se zambulle de cabeza en la piscina de acid jazz / funk. Si bien el uso de bucles y muestras puede ahuyentar a su público principal, Holmstrom y el productor Genome (que también contribuye con los teclados) los utilizan para hacer que la música sea aún más áspera, más ruda y más pantanosa de lo que cabría esperar. Mientras que los blips, bloops y la frágil percusión que brindan el panorama sobre el cual Holmstrom pone sus líneas de guitarra fluidas están muy lejos de los blues directos y el boogie al que está acostumbrado en su trabajo de tiempo completo, muestra que está dispuesto a expandir los límites. en formas creativas. Holmstrom, claramente endeudado con los Meters en el grueso del ritmo funky de este álbum, muestra la palabra hablada de Rufus Thomas para resaltar el torbellino de percusión y teclado de "Shake It, Pt. 2". Hay aún más procesamiento en el remix de DJ Logic del corte, una de las cuatro pistas adicionales agregadas a los últimos 20 minutos del disco. John Medeski hace una aparición en el atasco final de ocho minutos, "Hamp's Hump", que solidifica aún más el sonido funk ácido. Holmstrom ocasionalmente agrega voces en "These Roads", que tratan electrónicamente su voz, lo que resalta aún más la ruptura con la tradición. Los efectos spacy de "Pee Wee's Nightmare" convierten a la música en una distorsión del tiempo liderada por voces de jazzy sobre los bucles sintetizados. "My Maria" funciona al ritmo de "Going to Go-Go" de Smokey Robinson & the Miracles y es el disco con más R & B-ish. Dependiendo de su lealtad a la música de raíz, Hydraulic Groove, apropiadamente titulada, será un trabajo con visión de futuro y explosión de género o un intento equivocado de introducir el blues a otra audiencia (más joven). En cualquier caso, nunca es aburrido y demuestra que Rick Holmstrom es uno de los guitarristas de blues contemporáneos más desafiantes; Aquel que sigue sumido en la tradición, sin embargo, no teme correr riesgos. 





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domingo, 20 de enero de 2019

Trinom3 • Just A Bit Further







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Jimmy Smith • Funk For The Keys, video



1.Moanin'
2.Funk To The Keys
3.Blues For Lynn
4.Saint Thomas
5.Satin Doll
6.My Funny Valentine
7.Eight Counts For Rita
8.Tropchhic

Live At The Florida Keys Islamorada's Festival 1999


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Carioca and His Orchestra • Bossa Nova on Fire



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Wild Bill Davis & Eddie Lockjaw Davis • Live in Chateauneuf-du-Pape






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viernes, 18 de enero de 2019

The Three Sounds • Out of this world



Review by Stephen Thomas Erlewine
Out of This World relies less on originals than before, concentrating on standards which sound startlingly fresh. It's the loose, flexible groove that's the key. Simpkins and Dowdy keep things on track, while Gene Harris plays -- he can be nimble, he can pound, but he keeps the music flowing at a nice, easy pace. He has a good sense of the groove, and he stays within the groove even as he plays a lot of notes; it's truly an individual style. Despite the R&B-flavored arrangements on "Girl of My Dreams" and the swinging, gospel-inflected "Sanctified Sue," Out of This World is a particularly light and breezy record from the Three Sounds. They're just as comfortable stretching out with the groove as they are with keeping things short, simple, and concise -- either way, it's thoroughly enjoyable music. But no matter how easy the group is to enjoy, they have true style, as Harris' bluesy flourishes and the rhythm section's supple support illustrate. It's hard to sound this light and easy, and the Three Sounds pull it off with grace.

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Traducción Automática:
Revisión por Stephen Thomas Erlewine
Out of This World se basa menos en los originales que antes, concentrándose en estándares que suenan sorprendentemente nuevos. Es la ranura flexible y suelta que es la clave. Simpkins y Dowdy mantienen las cosas en el buen camino, mientras que Gene Harris toca: puede ser ágil, puede golpear, pero mantiene la música fluyendo a un ritmo agradable y fácil. Tiene un buen sentido del ritmo, y se mantiene dentro del ritmo incluso cuando toca muchas notas; Es verdaderamente un estilo individual. A pesar de los arreglos con sabor a R & B en "Girl of My Dreams" y de la "Sueña Santificada" oscilante e inflexionable, "Out of This World" es un disco particularmente ligero y ventoso de Three Sounds. Son tan cómodos estirándose con el ritmo como lo son manteniendo las cosas cortas, simples y concisas; en cualquier caso, es una música muy agradable. Pero no importa lo fácil que sea disfrutar el grupo, tienen un estilo verdadero, como lo demuestran los blues de Harris y el apoyo flexible de la sección de ritmo. Es difícil hacer este sonido ligero y fácil, y los Tres Sonidos lo logran con gracia.


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Hugo Montenegro • Scenes & Themes



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Jesse Butler • Memphis Soul



Billboard July 8 1967 page 8 mentions that he is a Memphis-born organist and the LP on Philips is entitled Memphis Blues

Extrac of Interview with Ralph T. Lofton
The Art of the Gospel Organ
Jesse (Spooky) Butler, from Memphis, TN, he was a Gospel organist who also played in the jazz arena. He also mastered the art of setting the drawbars to get really great sounds out of the organ. His chord structures were phenomenal. The one thing that intrigued me about him was how he could utilize four fingers to create chords and sometime not use his thumbs. I found that to be fascinating.
http://www.45cat.com/record/40494

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Traducción Automática:
La cartelera del 8 de julio de 1967, página 8, menciona que él es un organista nacido en Memphis y el LP de Philips se titula Memphis Blues

Extracto de la entrevista con Ralph T. Lofton
El arte del órgano evangélico
Jesse (Spooky) Butler, de Memphis, TN, era un organista de Gospel que también tocaba en la arena del jazz. También dominó el arte de configurar los tiradores (drawbars ) para obtener sonidos realmente geniales del órgano. Sus estructuras de acorde eran fenomenales. Lo único que me intrigó acerca de él era cómo podía utilizar cuatro dedos para crear acordes y, a veces, no usar sus pulgares. Me pareció fascinante.
http://www.45cat.com/record/40494


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David Hazeltine • Manhattan Autumn



Review by Ken Dryden
Pianist David Hazeltine joins forces once again with tenor saxophonist Eric Alexander for an outstanding session. With bassist Peter Washington and drummer Joe Farnsworth supplying the base of a solid rhythm section, Hazeltine delves into several pop songs from the 1950s and 1960s, giving them complete makeovers. Henry Mancini's slow waltz "Moon River" incorporates stop-time measures initially before settling into a driving hard bop mode. Burt Bacharach's often tediously played ballad "The Look of Love" is still played at a slow tempo, but the pianist adds an ominous sound to sections of his trio arrangement. The briskly paced scoring of Jimmy Van Heusen's
"Nancy (With the Laughing Face)" features a driving piano reminiscent of McCoy Tyner's style, as well as adding a tasty bass solo by Washington. The originals on the session are every bit as potent. The leader's "A Walk in the Park" is a demanding piece full of twists and turns, which the quartet navigates with ease. His "Blues on the 7" showcases Alexander's powerful playing, while the tenor saxophonist's vigorous blues "On the Marc" is every bit as enjoyable. There's nothing fancy about the quartet's approach to Thelonious Monk's "Ask Me Now"; they just dive into this memorable ballad and play it without any unnecessary frills.

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Traducción Automática:
Review by Ken Dryden
Pianist David Hazeltine joins forces once again with tenor saxophonist Eric Alexander for an outstanding session. With bassist Peter Washington and drummer Joe Farnsworth supplying the base of a solid rhythm section, Hazeltine delves into several pop songs from the 1950s and 1960s, giving them complete makeovers. Henry Mancini's slow waltz "Moon River" incorporates stop-time measures initially before settling into a driving hard bop mode. Burt Bacharach's often tediously played ballad "The Look of Love" is still played at a slow tempo, but the pianist adds an ominous sound to sections of his trio arrangement. The briskly paced scoring of Jimmy Van Heusen's
"Nancy (With the Laughing Face)" features a driving piano reminiscent of McCoy Tyner's style, as well as adding a tasty bass solo by Washington. The originals on the session are every bit as potent. The leader's "A Walk in the Park" is a demanding piece full of twists and turns, which the quartet navigates with ease. His "Blues on the 7" showcases Alexander's powerful playing, while the tenor saxophonist's vigorous blues "On the Marc" is every bit as enjoyable. There's nothing fancy about the quartet's approach to Thelonious Monk's "Ask Me Now"; they just dive into this memorable ballad and play it without any unnecessary frills.


Discogs ...



Lee Rocker • Hot N' Greasy Vol. 1 y 2





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jueves, 17 de enero de 2019

Ron Levy's Wild Kingdom • Best Grooves & Jams



Ron Levy's Wild Kingdom grooveliciously combines, works, plays in, stretches out, distorts, harmonizes and reflects the familiar and exotic, the smooth and toxic, the dynamic ups and the downs, the known and unknown boundaries of Blues and Jazz, Latin and Gospel, Hip-Hop and free style feelings into a unique musical gumbo, exciting young hip club and college audiences as well as the older veteran Blues and Jazz aficionados everywhere across the globe.
Levy, a steady 40+ year veteran of every cool scene to be seen, whether it be with Albert King, B.B. King, Roomful of Blues, Luther 'Guitar Jr' Johnson or Karl Denson and as organist, pianist, composer, arranger, sideman or soloist, producer and A&R man of over 200 recording projects of traditional and contemporary Blues, R&B, Jazz, Gospel, and real deal, hardcore music from New Orleans, Memphis, NYC, West Coast, Texas and beyond, has garnered many awards and nine Grammy nominations. His original compositions and recordings have been used on every television network and over a dozen films.
He has culminated and organized his musical/magical know-how and formed an elite group of top musicians, Ron Levy's Wild Kingdom. He's currently performing on side projects with the up-and-coming Blues guitarist and singer Barrett Anderson [along with Per Hanson], 2013 winners for 'Best Blues Band' at the Boston Music Awards, SPANK! [with Fuzz and Eric Kalb of Deep Banana Blackout] and Philip Pemberton, the current lead singer with Roomful of Blues. Levy and Pemberton were just inducted into the Rhode Island Music Hall of Fame. [Ron is in New Hampshire's HOF too!] Levy is currently teaching Hammond organ and music theory in the Boston area and around the world via Skype as well.

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Traducción Automática:
El Reino Salvaje de Ron Levy combina, trabaja, juega, se estira, distorsiona, armoniza y refleja lo familiar y lo exótico, lo suave y lo tóxico, las subidas y bajadas dinámicas, los límites conocidos y desconocidos del blues y el jazz, el latín y el evangelio. El hip-hop y los sentimientos de estilo libre en un gumbo musical único, emocionantes jóvenes del hip club y el público universitario, así como los veteranos veteranos de Blues y Jazz en todo el mundo.
Levy, un constante veterano de más de 40 años de cada escena genial que se puede ver, ya sea con Albert King, BB King, Roomful of Blues, Luther 'Guitar Jr' Johnson o Karl Denson y como organista, pianista, compositor, arreglista, sideman o solista, productor y hombre de A&R de más de 200 proyectos de grabación de Blues tradicional y contemporáneo, R&B, Jazz, Gospel y real deal, música hardcore de Nueva Orleans, Memphis, NYC, West Coast, Texas y más allá, ha ganado muchos premios y Nueve nominaciones a los Grammy. Sus composiciones y grabaciones originales se han utilizado en todas las cadenas de televisión y en más de una docena de películas.
Él ha culminado y organizado su conocimiento musical / mágico y ha formado un grupo de élite compuesto por los mejores músicos, Ron Levy's Wild Kingdom. Actualmente se está presentando en proyectos paralelos con el prometedor guitarrista y cantante de Blues Barrett Anderson [junto con Per Hanson], ganadores de 2013 de "Best Blues Band" en los Boston Music Awards, ¡SPANK! [con Fuzz y Eric Kalb de Deep Banana Blackout] y Philip Pemberton, el cantante actual de Roomful of Blues. Levy y Pemberton fueron incorporados al Salón de la Fama de la Música de Rhode Island. [¡Ron también está en el HOF de New Hampshire!] Levy también está enseñando teoría de órgano y música de Hammond en el área de Boston y en todo el mundo a través de Skype.

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