egroj world: 2020

 

jueves, 31 de diciembre de 2020

FELIZ AÑO NUEVO / HAPPY NEW YEAR

 




с новым годом
Ein gutes neues jahr 
Bon any nou
Sretna nova godina
Šťastný nový rok
Bonne année
Καλή χρονιά Kali chronia
Boldog új évet
Felice anno nuovo
 Felix sit annus novus
Feliz ano novo
Gott nytt år









Plas Johnson • This Must Be the Plas + Mood for the Blues + Bonus Tracks

 



During the late Fifties and early Sixties in the US the saxophone of Plas Johnson was a ubiquitous sound on radio. Known as the horn behind the hits, he was famous as the tenor sax on the celebrated 1963 Pink Panther main theme recording. Born near New Orleans, he moved to the west coast at a very young age and there launched a career that made him one of the most sought-after studio musicians on the Los Angeles scene, with a great reputation built largely on his remarkable ability to play any style of music with taste and restraint.

The two Capitol albums here epitomize this. On "This Must Be the Plas!" (1959), he is accompanied by three small groups with slight personnel changes, and although Plas is the main voiceon tenor, baritone and alto saxeverybody else in the group has his own solo space. "Mood for the Blues" (1960) features Plas on tenor with strings and rhythm, the tasteful arrangements of Gerald Wilson and René Hall forming a fine background for his solo work. Also included here is his first single for Capitol, including his smash hit The Big Twist and Come Rain or Come Shine.

His warm tone and naturally easy style is as greatly admired by other musicians as it is by jazz and pop music fans. It resulted in the kind of soulful, pretty and well-controlled sound that gave universal enjoyment.
https://www.freshsoundrecords.com/plas-johnson-albums/6086-this-must-be-the-plas-mood-for-the-blues-2-lps-on-1-cd-bonus-tracks.html

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A finales de los cincuenta y principios de los sesenta en los Estados Unidos el saxofón de Plas Johnson era un sonido omnipresente en la radio. Conocido como el cuerno detrás de los éxitos, fue famoso como el saxo tenor en la célebre grabación del tema principal de la Pantera Rosa de 1963. Nacido cerca de Nueva Orleans, se trasladó a la costa oeste a una edad muy temprana y allí inició una carrera que lo convirtió en uno de los músicos de estudio más solicitados de la escena de Los Ángeles, con una gran reputación construida en gran parte por su notable capacidad para tocar cualquier estilo de música con gusto y moderación.

Los dos álbumes de Capitol aquí personifican esto. En "This Must Be the Plas!" (1959), le acompañan tres pequeños grupos con ligeros cambios de personal, y aunque Plas es la voz principal, tenor, barítono y saxofón alto, todos los demás tienen su propio espacio en solitario. "Mood for the Blues" (1960) presenta a Plas en tenor con cuerdas y ritmo, los arreglos de buen gusto de Gerald Wilson y René Hall forman un buen fondo para su trabajo en solitario. También se incluye aquí su primer single para Capitol, incluyendo su gran éxito The Big Twist y Come Rain or Come Shine.

Su tono cálido y su estilo naturalmente fácil es tan admirado por otros músicos como por los aficionados al jazz y al pop. El resultado fue el tipo de sonido conmovedor, bonito y bien controlado que dio un disfrute universal.
https://www.freshsoundrecords.com/plas-johnson-albums/6086-this-must-be-the-plas-mood-for-the-blues-2-lps-on-1-cd-bonus-tracks.html


www.freshsoundrecords.com ...


Jonah Jones • Muted Jazz + Hit Me Again

 



Jonah Jones zoomed to popularity in the late 50s. He found a successful formula and used it to brighten the hit charts with a succession of bouncy albums on Capitol Records. His quartet was one of the three newcomers in the Top 10 wide variety of small groups listed in the favorite Instrumental Billboard lists in 1958.

On Muted Jazz, Jones distinctive muted trumpet swings tastefully in Armstrong derived style, and also sings pleasantly, good jazz standards. Jones had long forsaken the pure jazz route for a more readily communicative form of music.

Hit Me Again! is an excellent example of what he was aiming for in 1959 and 1960, which makes it a very listenable and danceable album. In 1961... Jonah Jones was still Americas No.1 Jazz Salesman!
https://www.freshsoundrecords.com/jonah-jones-albums/6160-muted-jazz-hit-me-again-2-lps-on-1-cd.html



Biography by Scott Yanow
A talented and flashy trumpeter, Jonah Jones hit upon a formula in 1955 that made him a major attraction for a decade; playing concise versions of melodic swing standards and show tunes muted with a quartet. But although the non-jazz audience discovered Jones during the late '50s, he had already been a very vital trumpeter for two decades. Jones started out playing on a Mississippi riverboat in the 1920s. He freelanced in the Midwest (including with Horace Henderson), was briefly with Jimmie Lunceford (1931), had an early stint with Stuff Smith (1932-1934), and then spent time with Lil Armstrong's short-lived orchestra and the declining McKinney's Cotton Pickers. Jones became famous for his playing with Stuff Smith's Onyx club band (1936-1940), recording many exciting solos. He gigged with Benny Carter and Fletcher Henderson and became a star soloist with Cab Calloway (1941-1952), staying with the singer even after his big band became a combo. Jones played Dixieland with Earl Hines (1952-1953), toured Europe in 1954 (including a brilliant recording session with Sidney Bechet), and then led his quartet at the Embers (1955), hitting upon his very successful formula. His shuffle version of "On the Street Where You Live" was the first of many hits and he recorded a long series of popular albums for Capitol during 1957-1963, switching to Decca for a few more quartet albums in 1965-1967. Jonah Jones recorded a fine date with Earl Hines for Chiaroscuro (1972) and still played on an occasional basis in the 1980s and early '90s; he died April 30, 2000, at the age of 91.
https://www.allmusic.com/artist/jonah-jones-mn0000261332/biography

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Jonah Jones aumentó su popularidad a finales de los 50. Encontró una fórmula exitosa y la usó para iluminar las listas de éxitos con una sucesión de álbumes inflables en Capitol Records. Su cuarteto fue uno de los tres recién llegados en el Top 10 de la amplia variedad de pequeños grupos que figuraban en las listas de la cartelera instrumental favorita en 1958.

En "Muted Jazz", la trompeta silenciada distintiva de Jones se balancea con gusto en el estilo derivado de Armstrong, y también canta agradablemente, buenos estándares de jazz. Jones había abandonado por mucho tiempo la ruta del jazz puro por una forma de música más fácilmente comunicativa.

Hit Me Again! es un excelente ejemplo de lo que pretendía en 1959 y 1960, lo que lo convierte en un álbum muy escuchable y bailable. En 1961... Jonah Jones seguía siendo el vendedor de jazz número 1 de América!
https://www.freshsoundrecords.com/jonah-jones-albums/6160-muted-jazz-hit-me-again-2-lps-on-1-cd.html



Biografía de Scott Yanow
Un talentoso y llamativo trompetista, Jonah Jones encontró una fórmula en 1955 que lo convirtió en una gran atracción durante una década; tocando versiones concisas de estándares de swing melódico y melodías de espectáculo silenciadas con un cuarteto. Pero aunque el público no especializado descubrió a Jones a finales de los 50, ya había sido un trompetista muy vital durante dos décadas. Jones empezó a tocar en un barco del Mississippi en los años 20. Trabajó como freelance en el Medio Oeste (incluyendo a Horace Henderson), estuvo brevemente con Jimmie Lunceford (1931), tuvo una temprana estancia con Stuff Smith (1932-1934), y luego pasó un tiempo con la orquesta de corta duración de Lil Armstrong y la decadente McKinney's Cotton Pickers. Jones se hizo famoso por tocar con la banda del club Onyx de Stuff Smith (1936-1940), grabando muchos solos emocionantes. Actuó con Benny Carter y Fletcher Henderson y se convirtió en un solista estrella con Cab Calloway (1941-1952), permaneciendo con el cantante incluso después de que su gran banda se convirtiera en un combo. Jones tocó en Dixieland con Earl Hines (1952-1953), hizo una gira por Europa en 1954 (incluyendo una brillante sesión de grabación con Sidney Bechet), y luego dirigió su cuarteto en el Embers (1955), dando con su fórmula de gran éxito. Su versión aleatoria de "On the Street Where You Live" fue el primero de muchos éxitos y grabó una larga serie de álbumes populares para el Capitolio durante 1957-1963, pasando a Decca para unos pocos álbumes más del cuarteto en 1965-1967. Jonah Jones grabó una buena cita con Earl Hines para Chiaroscuro (1972) y todavía tocó ocasionalmente en los años ochenta y principios de los noventa; murió el 30 de abril de 2000, a la edad de 91 años.
https://www.allmusic.com/artist/jonah-jones-mn0000261332/biography

www.freshsoundrecords.com ...


Jackie Mittoo And The Soul Vendors • Evening Time

 



Tony Scott • Germany 1957 - Asia 1962

 





























Michel Camilo & Tomatito • Spain Forever

 


  Pere


Skeewiff • Man Turns Animal! (For the erotic pleasures of women... and men)

 



www.skeewiff.com ...


 

Fortunate Sonː My Life, My Music - John Fogerty

 

 

Creedence Clearwater Revival is one of the most important and beloved bands in the history of rock, and John Fogerty wrote, sang, and produced their instantly recognizable classics: "Proud Mary," "Bad Moon Rising," "Born on the Bayou," and more. Now he reveals how he brought CCR to number one in the world, eclipsing even the Beatles in 1969. By the next year, though, Creedence was falling apart; their amazing, enduring success exploded and faded in just a few short years.

Fortunate Son takes readers from Fogerty's Northern California roots, through Creedence's success and the retreat from music and public life, to his hard-won revival as a solo artist who finally found love.

 

Historia insólita de la música clásica II

 


La inspiracin de los genios y sus partituras universales Los demonios, las circunstancias de pobreza y necesidad, las perversiones y las obsesiones de las que nacieron las ms sublimes piezas de Beethoven, Mahler, Mozart, Debussy, Chopin,... Una obra que le descubrir el increble proceso creativo de estos genios.

 

amazon.com ...

 

Umberto Boccioni • MET

 

 

Umberto Boccioni (1882–1916) is a model of the spirit and flavor of Futurism—militant, exuberant, actively taking part in the social and political events of the turbulent times in which he lived. His manifestos and his powerfully sensuous visualizations exemplify the nature and the pertinence of the Futurist contribution to modern art. Along with F. T. Marinetti, Giacomo Balla, Carlo Carra, Luigi Russolo, and Gino Severini, Boccioni played a leading role in the development and practice of Futurist ideas and art. During his brief life he made seminal contributions through his writings, paintings, sculptures, drawings, and engravings.

Futurism burst forth with impassioned energy in Italy during the years immediately preceding World War I. Rejecting past idealism and scorning contemporary culture and society, the proponents of this major art movement shaped a forceful and revolutionary rhetoric that became the basis for their dynamic art, which conveys the frenetic and colorful motions of urban life. Throughout the course of the twentieth century, Futurism has been largely dismissed in favor of the Cubism concurrently developed in Paris. Yet the Futurist concepts set forth as early as 1910 have been of consequence in many areas of subsequent avant-garde art, both for their championing of the anti-past, pro-technological present and for the resulting art that injects Cubist formal elements with a lively, worldly, urban content.

This publication presents an overview of Boccioni's unique accomplishments; it includes both a comprehensive survey of his art and of his writings, a number of which appear here for the first time in English. It documents the first retrospective exhibition of Boccioni's art in the United States. The American audience at last has the opportunity to assess Boccioni's place in the history of twentieth-century art. His fields of whirling action demonstrate that the period standardly termed the Cubist epoch could, with equal justice, be termed the Futurist era, in acknowledgment of the vanguard movement in Italy.

 

miércoles, 30 de diciembre de 2020

VA • Intimate Jazz

 







Jan Akkerman • C U

 



For over fifty years, Jan Akkerman (b. 1946) has been one of Holland’s most respected guitarists. In addition to his leading role in the globally acclaimed bands like The Hunters, Brainbox, Focus and collaborated with many local and international artists, in his solo projects, Akkerman has combined rock, jazz, blues, classical music and dance in his own distinctive style.

Throughout his respected career, Akkerman has appeared on worldwide stages. Besides several gigs at the Montreux Jazz Festival, the North Sea Jazz Festival, he has played on countless tours around theatres and various stages, also performing far beyond Europe in countries/comtinents like Japan, Russia, Syria, North & South America and Australia.

Since early 2012, Jan has revived his old Brainbox times with the start of My Brainbox, featuring ex-Vandenberg singer Bert Heerink. This project was in celebration of Akkerman's 50 years of activity on worldwide stages.

Jan also continues to design his own guitars. In 2013, he drew out the new J.A. Personal II for the Dutch company, Brandin Guitars.

In 2005, Akkerman received the prestigious Golden Harp Award for his complete oeuvre and, again, garnered recognition and support for his distinctive role in guitar music by many people.

At the end of 2012, Akkerman was knighted in the Order of Oranje Nassau, in recognition of his influential contribution to Dutch music.

Since 1968, Akkerman has released many solo records, on which he has let his creativity run free. Fifty years later, the Red Bullet record company has compiled his work into the 26CD box set, The Complete Jan Akkerman, featuring all of his solo albums, his most important live records, his work with Johnny and his Cellar Rockers, The Hunters, Brainbox and Focus, as well as a selection of previously unreleased recordings.

Even now, in 2018, Akkerman is still considered the most influential guitar player ever to come out of the Netherlands. For generations, he has impressed and inspired a large numbers of guitarists with his timing, harmonics, virtuosity and ability to perform with a wide range of musicians from various musical backgrounds.

He has always taken chances and forged his own path, as is evident across his twenty-plus albums and countless concerts. Being fresh, energetic and unpredictable, Akkerman continues to perform at the highest level, sharing his passion for the guitar with current band members Coen Molenaar (keyboards), David de Marez Oyens (bass guitar), Marijn van den Berg (drums) and, last, but not least - in fact foremost - with his worldwide audience.

What will be his next challenge?

Source: Wouter Bessels (music journalist/author )
https://musicians.allaboutjazz.com/janakkerman

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Durante más de cincuenta años, Jan Akkerman (nacido en 1946) ha sido uno de los guitarristas más respetados de Holanda. Además de su papel de líder en las bandas mundialmente aclamadas como The Hunters, Brainbox, Focus y de colaborar con muchos artistas locales e internacionales, en sus proyectos en solitario, Akkerman ha combinado el rock, el jazz, el blues, la música clásica y la danza en su propio estilo distintivo.

A lo largo de su respetada carrera, Akkerman ha aparecido en los escenarios de todo el mundo. Además de varios conciertos en el Festival de Jazz de Montreux, el Festival de Jazz del Mar del Norte, ha realizado innumerables giras por teatros y diversos escenarios, y también ha actuado mucho más allá de Europa, en países y continentes como Japón, Rusia, Siria, América del Norte y del Sur y Australia.

Desde principios de 2012, Jan ha revivido sus viejos tiempos de Brainbox con el comienzo de My Brainbox, con la participación del ex cantante de Vandenberg Bert Heerink. Este proyecto fue en celebración de los 50 años de actividad de Akkerman en los escenarios mundiales.

Jan también continúa diseñando sus propias guitarras. En 2013, dibujó el nuevo J.A. Personal II para la compañía holandesa Brandin Guitars.

En 2005, Akkerman recibió el prestigioso Premio Arpa de Oro por su obra completa y, una vez más, obtuvo el reconocimiento y el apoyo de mucha gente por su papel distintivo en la música de guitarra.

A finales de 2012, Akkerman fue nombrado caballero de la Orden de Oranje Nassau, en reconocimiento a su influyente contribución a la música holandesa.

Desde 1968, Akkerman ha publicado muchos discos en solitario, en los que ha dejado correr libremente su creatividad. Cincuenta años más tarde, la compañía discográfica Red Bullet ha recopilado su trabajo en la caja de 26 CD, The Complete Jan Akkerman, que contiene todos sus álbumes en solitario, sus discos en vivo más importantes, su trabajo con Johnny y sus Cellar Rockers, The Hunters, Brainbox y Focus, así como una selección de grabaciones inéditas.

Incluso ahora, en 2018, Akkerman sigue siendo considerado el guitarrista más influyente que haya salido de los Países Bajos. Durante generaciones, ha impresionado e inspirado a un gran número de guitarristas con su timing, sus armónicos, su virtuosismo y su capacidad para tocar con una amplia gama de músicos de diversos orígenes musicales.

Siempre se ha arriesgado y ha forjado su propio camino, como es evidente en sus más de veinte álbumes e innumerables conciertos. Fresco, enérgico e impredecible, Akkerman sigue actuando al más alto nivel, compartiendo su pasión por la guitarra con los actuales miembros de la banda Coen Molenaar (teclados), David de Marez Oyens (bajo), Marijn van den Berg (batería) y, por último, pero no por ello menos importante, con su público en todo el mundo.

¿Cuál será su próximo reto?

La fuente: Wouter Bessels (periodista musical/autor)
https://musicians.allaboutjazz.com/janakkerman


www.janakkerman.com ...


Jimmy Smith Trio • The Master

 


Sam 'The Man' Taylor • Music with the Big Beat - Blue Mist

 



American jazz and blues saxophonist (tenor, baritone), born July 12, 1916 in Lexington, Tennessee, died October 5, 1990 in Lexington, Tennessee.
Worked with Scat Man Crothers (late 1930's), Cootie Williams, Lucky Millinder (early 1940s), Cab Calloway, Ray Charles, Buddy Johnson, Louis Jordan, Big Joe Turner, Ella Fitzgerald and many others.


Artist Biography by Ron Wynn
A certified honking sax legend, Sam "The Man" Taylor's non-stop drive and power worked perfectly in swing, blues, and R&B sessions. He had a huge tone, perfect timing, and sense of drama, as well as relentless energy and spirit. Taylor began working with Scat Man Crothers and the Sunset Royal Orchestra in the late '30s. He played with Cootie Williams and Lucky Millinder in the early '40s, then worked six years with Cab Calloway. Taylor toured South America and the Caribbean during his tenure with Calloway. Then, Taylor became the saxophonist of choice for many R&B dates through the '50s, recording with Ray Charles, Buddy Johnson, Louis Jordan, and Big Joe Turner, among others. He also did sessions with Ella Fitzgerald and Sy Oliver. During the '60s, Taylor led his own bands and recorded in a quintet called the Blues Chasers. He currently has one session available on CD, recorded in the late '50s with Charlie Shavers and Urbie Green.

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Saxofonista americano de jazz y blues (tenor, barítono), nacido el 12 de julio de 1916 en Lexington, Tennessee, fallecido el 5 de octubre de 1990 en Lexington, Tennessee.
Trabajó con Scat Man Crothers (finales de los años 30), Cootie Williams, Lucky Millinder (principios de los años 40), Cab Calloway, Ray Charles, Buddy Johnson, Louis Jordan, Big Joe Turner, Ella Fitzgerald y muchos otros.


Biografía del artista por Ron Wynn
Una leyenda del saxofón, Sam "The Man" Taylor, con su potencia y su conducción ininterrumpida, funcionaba perfectamente en sesiones de swing, blues y R&B. Tenía un tono enorme, una sincronización perfecta y sentido del drama, así como una energía y espíritu implacables. Taylor empezó a trabajar con Scat Man Crothers y la Sunset Royal Orchestra a finales de los años 30. Tocó con Cootie Williams y Lucky Millinder a principios de los 40, y luego trabajó seis años con Cab Calloway. Taylor hizo una gira por Sudamérica y el Caribe durante su estancia en Calloway. Luego, Taylor se convirtió en el saxofonista elegido para muchas fechas de R&B hasta los años 50, grabando con Ray Charles, Buddy Johnson, Louis Jordan y Big Joe Turner, entre otros. También hizo sesiones con Ella Fitzgerald y Sy Oliver. Durante los años 60, Taylor lideró sus propias bandas y grabó en un quinteto llamado The Blues Chasers. Actualmente tiene una sesión disponible en CD, grabada a finales de los 50 con Charlie Shavers y Urbie Green.


jasmine-records.co.uk ...


Ray Bryant • Groove House

 



Colaborador / Contribuitor:  BOBpinBOB


Dave Pike • Times Out Of Mind

 



Review by Scott Yanow
Vibraphonist Dave Pike's debut for Muse (which has been reissued on CD) has generally strong individual playing although the material (five group originals plus a brief version of the bop standard "Wee") and use of electronics sound a bit dated. Pike teams up with keyboardist Tom Ranier (who also plays some alto and tenor), guitarist Ron Eschete, either Luther Hughes or Harvey Newmark on bass, drummer Ted Hawke and (on three of the six numbers) guitarist Kenny Burrell. Nothing all that memorable occurs during this lesser effort.
https://www.allmusic.com/album/times-out-of-mind-mw0000612796

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Reseña de Scott Yanow
El debut del vibrafonista Dave Pike para Muse (que ha sido reeditado en CD) tiene en general una fuerte interpretación individual, aunque el material (cinco originales del grupo más una breve versión del estándar de bop "Wee") y el uso de la electrónica suenan un poco anticuados. Pike forma equipo con el teclista Tom Ranier (que también toca algo de alto y tenor), el guitarrista Ron Eschete, o bien Luther Hughes o Harvey Newmark en el bajo, el baterista Ted Hawke y (en tres de los seis números) el guitarrista Kenny Burrell. Nada tan memorable ocurre durante este menor esfuerzo.
https://www.allmusic.com/album/times-out-of-mind-mw0000612796


Colaborador / Contribuitor:  BOBpinBOB


The James Taylor Quartet • Extended Play

 



The James Taylor Quartet (or JTQ) are a British four-piece jazz funk band, who have become renowned for their live performances. They were formed in 1987 by Hammond organ player James Taylor following the break-up of his former band The Prisoners in the wake of Stiff Records’ bankruptcy. The current line-up is James Taylor (Keyboards and Orchestration), Mark Cox (guitar), Andrew McKinney (bass) and Pat Illingworth (drums), although recordings and live performances usually feature vocalist Yvonne Yanney.

The James Taylor Quartet’s first single, “Blow-Up” (a funked-up version of Herbie Hancock’s main theme from the seminal 1960s film of the same name), was released in 1987 on the Re Elect The President label, which would later become the Acid Jazz label. The track was championed by the NME and John Peel, appearing in Peel’s Festive Fifty chart for 1987. The band’s debut 7 track mini album, Mission Impossible (1987) followed and predominantly comprised covers of 1960s film themes such as “Alfie”, “Mrs. Robinson” and “Goldfinger” in a rough, up-tempo, almost punk-like style, that was primarily focussed on Taylor’s Hammond organ playing. Their second album, The Money Spyder (1987), was the soundtrack to an imaginary spy film, applying the band’s distinctive style to Taylor’s own compositions.

While promoting these albums The James Taylor Quartet developed a strong reputation as a live band, that remains to this day. The live set focuses on accessible rhythm driven music, that some classify as having elements of modern dance music, despite including a lot of improvised solos. During this period a contract with a major record led to them playing to ever increasing audiences. The band recorded their signature tune “The Theme From Starsky and Hutch” featuring Fred Wesley and Pee Wee Ellis of The JBs in 1988 and this was included on their next album “Wait A Minute” (1988). Their popularity as a live act led to the release of the live album Absolute – JTQ Live in 1991, which attempted to capture the experience of the band in concert (even though it was recorded ‘live’ in the studio, the audience cheering being overdubbed later).
https://www.jamestaylorquartet.co.uk/jtq/biography/

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The James Taylor Quartet (o JTQ) es una banda británica de jazz funk de cuatro miembros, que se ha hecho famosa por sus actuaciones en directo. Fueron formados en 1987 por el organista de Hammond James Taylor tras la ruptura de su antigua banda The Prisoners a raíz de la quiebra de Stiff Records. La formación actual está formada por James Taylor (teclados y orquestación), Mark Cox (guitarra), Andrew McKinney (bajo) y Pat Illingworth (batería), aunque en las grabaciones y actuaciones en directo suele figurar la vocalista Yvonne Yanney.

El primer sencillo del Cuarteto James Taylor, "Blow-Up" (una versión funky-up del tema principal de Herbie Hancock de la película seminal de los años 60 del mismo nombre), fue lanzado en 1987 en el sello Re Elect The President, que más tarde se convertiría en el sello Acid Jazz. El tema fue defendido por el NME y John Peel, apareciendo en la lista de Peel's Festive Fifty para 1987. El primer mini álbum de 7 canciones de la banda, Mission Impossible (1987), siguió y comprendía predominantemente covers de temas de películas de los 60 como "Alfie", "Mrs. Robinson" y "Goldfinger" en un estilo áspero, de ritmo rápido, casi punk, que se centraba principalmente en la interpretación del órgano Hammond de Taylor. Su segundo álbum, The Money Spyder (1987), fue la banda sonora de una película imaginaria de espías, aplicando el estilo distintivo de la banda a las propias composiciones de Taylor.

Mientras promocionaban estos álbumes, el Cuarteto de James Taylor desarrolló una sólida reputación como banda de directo, que sigue vigente hoy en día. El conjunto en vivo se centra en la música accesible impulsada por el ritmo, que algunos clasifican como teniendo elementos de música de baile moderna, a pesar de incluir muchos solos improvisados. Durante este período, un contrato con un importante disco les llevó a tocar ante un público cada vez más numeroso. La banda grabó su tema característico "The Theme From Starsky and Hutch" con Fred Wesley y Pee Wee Ellis de The JBs en 1988 y esto fue incluido en su siguiente álbum "Wait A Minute" (1988). Su popularidad como acto en vivo llevó al lanzamiento del álbum en vivo "Absolute - JTQ Live" en 1991, que intentó capturar la experiencia de la banda en concierto (aunque se grabó "en vivo" en el estudio, siendo el público aplaudido más tarde).
https://www.jamestaylorquartet.co.uk/jtq/biography/


www.jamestaylorquartet ...


Francesco Buzzurro & Richard Smith • Heart Of The Emigrants

 



www.richardsmithguitar.com ...


Colaborador / Contribuitor:  Michel



Birdː The Life and Music of Charlie Parker

 


Saxophone virtuoso Charlie "Bird" Parker began playing professionally in his early teens, became a heroin addict at 16, changed the course of music, and then died when only 34 years old. His friend Robert Reisner observed, "Parker, in the brief span of his life, crowded more living into it than any other human being." Like Louis Armstrong, Duke Ellington, Miles Davis, and John Coltrane, he was a transitional composer and improviser who ushered in a new era of jazz by pioneering bebop and influenced subsequent generations of musicians.
 
Meticulously researched and written, Bird: The Life and Music of Charlie Parker tells the story of his life, music, and career. This new biography artfully weaves together firsthand accounts from those who knew him with new information about his life and career to create a compelling narrative portrait of a tragic genius.
 
While other books about Parker have focused primarily on his music and recordings, this portrait reveals the troubled man behind the music, illustrating how his addictions and struggles with mental health affected his life and career. He was alternatively generous and miserly; a loving husband and father at home but an incorrigible philanderer on the road; and a chronic addict who lectured younger musicians about the dangers of drugs. Above all he was a musician, who overcame humiliation, disappointment, and a life-threatening car wreck to take wing as Bird, a brilliant improviser and composer.
 
With in-depth research into previously overlooked sources and illustrated with several never-before-seen images, Bird: The Life and Music of Charlie Parker corrects much of the misinformation and myth about one of the most influential musicians of the twentieth century.
https://www.amazon.com/Bird-Music-Charlie-Parker-American/dp/0252080890


martes, 29 de diciembre de 2020

Mercy Dee Walton • Troublesome Mind

 



He is considered by many to be one of the great unsung heroes of early Texas blues. A brilliant performer in his day, he was known as a talented songsmith, and pianist, whose compositions ran the gamut from lowdown blues to jumping rhythm and blues items. Using the pseudonym of Mercy Dee his smooth vocals and style of piano playing can be heard on such numbers as, "Call The Asylum", "Pauline", "Rock & Roll Fever", "Perfect Health", and "One Room Country Shack." Walton's "One Room Country Shack" which he recorded in 1953 for the Los Angeles based Specialty Records Label became a top R&B hit. It was later covered by blues legend Mose Allison who also had success with the recording. Born in Waco, Texas, he learned to play music at a young age, and by the age of thirteen he was performing in and around his native Texas. Wanting to further his career he moved to California and played gigs and other venues around the state for sometime before he settled in Los Angeles. He officially made his recording debut on record with the release of his 1949 album, "Lonesome Cabin Blues" on the Spire Logo. Over the next few years he continued recording and released some sides on the Specialty and Imperial Labels. By 1955, he was signed by the famed Bihari Brothers and soon recorded the single, "Come Back Maybelline" (a sequel to the Chuck Berry song "Maybelline") on their Flair Label. After taking a break from music in the mid-1950s, he returned to the recording studio in 1961. He began working with record producer Chris Strachwitz on his Arhoolie Label that same year and began releasing new recordings. He also had time to work with other noted musicians such as Otis Cherry, K.C. Douglas, and Sidney Maiden, before falling ill. His last album, "Pity And A Shame" (1962), featuring the releases, "Your Friend And Woman", "The Drunkard", and "Shady Lane", among many others, was released shortly before his death. He died from a cerebral hemorrhage at the age 47.
https://es.findagrave.com/memorial/28583107/mercy-dee-walton

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Es considerado por muchos como uno de los grandes héroes no reconocidos del blues de Texas. Un brillante intérprete en su día, fue conocido como un talentoso cantautor, y pianista, cuyas composiciones abarcaban toda la gama desde el blues más bajo hasta los artículos de rhythm y jump blues. Usando el seudónimo de Mercy Dee, su suave voz y su estilo de tocar el piano se pueden escuchar en números como "Call The Asylum", "Pauline", "Rock & Roll Fever", "Perfect Health", y "One Room Country Shack". "One Room Country Shack" de Walton, que grabó en 1953 para el sello Specialty Records de Los Ángeles, se convirtió en un gran éxito del R&B. Más tarde fue cubierta por la leyenda del blues Mose Allison que también tuvo éxito con la grabación. Nacido en Waco, Texas, aprendió a tocar música a una edad temprana, y a los trece años ya actuaba en su Texas natal y sus alrededores. Con el fin de avanzar en su carrera se mudó a California y tocó en conciertos y otros lugares del estado durante algún tiempo antes de establecerse en Los Ángeles. Oficialmente hizo su debut discográfico con el lanzamiento de su álbum de 1949, "Lonesome Cabin Blues" en el Spire Logo. Durante los siguientes años continuó grabando y lanzó algunos discos en los sellos Specialty e Imperial. En 1955, fue firmado por los famosos hermanos Bihari y pronto grabó el sencillo "Come Back Maybelline" (una secuela de la canción de Chuck Berry "Maybelline") en su sello Flair. Después de tomar un descanso de la música a mediados de los 50, volvió al estudio de grabación en 1961. Comenzó a trabajar con el productor Chris Strachwitz en su sello Arhoolie ese mismo año y comenzó a publicar nuevas grabaciones. También tuvo tiempo para trabajar con otros músicos famosos como Otis Cherry, K.C. Douglas y Sidney Maiden, antes de caer enfermo. Su último álbum, "Pity And A Shame" (1962), con los lanzamientos, "Your Friend And Woman", "The Drunkard", y "Shady Lane", entre muchos otros, fue lanzado poco antes de su muerte. Murió de una hemorragia cerebral a la edad de 47 años.
https://es.findagrave.com/memorial/28583107/mercy-dee-walton


Bucky Pizzarelli • April Kisses



Master guitarist Bucky Pizzarelli offers 20 short, patient solo pieces played on his seven-string, acoustic, Benedetto, plectrum, archtop, hollow-bodied, double f-hole instrument. They reflect the style and compositions of early pioneers Carl Kress, Eddie Lang, and George VanEps, and emphasize that Pizzarelli was, and still is in the company of these peers, mentors, and historic figures. A flamenco tinge is unmistakable on the first two numbers, Kress' "Helena" and the Lang written title cut. Then a classical, no-time feeling comes about on the regret filled three part Kress suite "Afterthoughts." By "The End of a Love Affair" Pizzarelli's guitar is weeping and moaning. George M. Smith is another figurehead in this tradition and he gets his due on "Slow Burning," as does Django Reinhardt for "Tears." More classical sounding selections as Kress' "Love Song" make way for tunes with some tempo, like the two beat Pizzarelli original "Indy Annie," based on "Back Home Again in Indiana," the upbeat Kress number "Sutton Mutton," and the slower VanEps chestnut "Squattin' at the Grotto." Pizzarelli tosses in a polka-like, cat quick single line with chordal accented tribute to bassist Slam Stewart "Slamerino," a technical marvel. Concluding the program are more swinging displays like Kress' "Peg Leg Shuffle," Bucky's hard driving "Stompin' for Boz," and the slicker "Silk City Blues." Pizzarelli's sound should be put on the commodities market and sold as a public offering. This music is much more precious than bars of gold. Only the lack of a rhythm section might detract more listeners from getting next to this beautifully conceived work. Those who don't need bass and drums surely will treasure this regardless.



John Paul "Bucky" Pizzarelli (January 9, 1926 – April 1, 2020) was an American jazz guitarist.

He was the father of jazz guitarist John Pizzarelli and double bassist Martin Pizzarelli. He worked for NBC as a staffman for Dick Cavett (1971) and ABC with Bobby Rosengarden in (1952). The list of musicians he collaborated with includes Benny Goodman, Les Paul, Stéphane Grappelli, and Antônio Carlos Jobim. Pizzarelli cited as influences Django Reinhardt, Freddie Green, and George Van Eps

Early life :
Pizzarelli was born on January 9, 1926, in Paterson, New Jersey. He learned to play guitar and banjo at a young age. His uncles, Pete and Bobby Domenick, were professional musicians, and sometimes the extended family would gather at one of their homes with their guitars for jam sessions. Pizzarelli cited as an inspiration Joe Mooney, a blind accordion player who led a quartet that included Pizzarelli's uncle, Bobby Domenick.During high school, Pizzarelli was the guitarist for a small band that performed classical music.

Career :
Pizzarelli began his professional career at 17 when he joined the Vaughn Monroe dance band in 1944.

In 1952 Pizzarelli became a staff musician for NBC, playing with Skitch Henderson.In 1964, he became a member of The Tonight Show Band on The Tonight Show Starring Johnny Carson. During his time spent performing for the Tonight Show, he accompanied guest bands and musicians playing through a variety of musical genres, including playing with Tiny Tim (after tuning the performer's ukulele) on the day that Tiny Tim married Miss Vicki on Carson's show.

From 1956 to 1957, Pizzarelli used the stage name "Johnny Buck" and performed with The Three Suns pop music trio. He toured several times with Benny Goodman until Goodman's death in 1986. During the following year, he and guitarist George Barnes formed a duo and recorded two albums, including a live performance in August 1971, at The Town Hall in New York City. Beginning in the 1970s, he began recording as a leader, issuing many tributes to musicians of the 1930s. He performed with Benny Goodman at the White House in Washington, D.C., and he performed for presidents Ronald Reagan, Bill Clinton,and First Lady Pat Nixon.

"Jersey Jazz Guitars" was the name of a 1985 concert held at the Rutgers University Nicholas Music Center in New Brunswick, New Jersey. The ticket featured Pizzarelli, Les Paul, Tal Farlow, and Pizzarelli's son, John. The concert was aired on New Jersey's public radio station as part of their three-part New Jersey Summerfare Series. Pizzarelli and Les Paul had performed together before, as they were neighbors and friends. The show aired for one hour in August 1985, with son John adding his vocals on two selections.

Pizzarelli continued to play into his 90s, making several appearances even after a stroke in 2016, officially retiring after a final brief appearance with Michael Feinstein in 2018.

Guitars :
Pizzarelli's first guitar was an archtop Gibson, an expensive instrument at the time. He played a Benedetto Bucky Pizzarelli Signature seven-string guitar made by Robert Benedetto, who also makes guitars for Howard Alden and Frank Vignola. He learned to play the seven-string from George Van Eps.The extra string on Pizzarelli's guitar provided him with a bass line during performances. Pizzarelli also played a custom seven-string American archtop guitar made by luthier Dale Unger, who also makes custom guitars for Pizzarelli's partner, Ed Laub.

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El maestro guitarrista Bucky Pizzarelli ofrece 20 cortos y pacientes solos tocados en su instrumento de siete cuerdas, acústico, Benedetto, púa, arco, cuerpo hueco, doble f. Reflejan el estilo y las composiciones de los primeros pioneros Carl Kress, Eddie Lang y George VanEps, y enfatizan que Pizzarelli estuvo y sigue estando en compañía de estos compañeros, mentores y figuras históricas. Un matiz flamenco es inconfundible en los dos primeros números, la "Helena" de Kress y el corte del título escrito por Lang. Luego un sentimiento clásico, sin tiempo, aparece en la suite de tres partes de Kress "After Thoughts". En "El fin de una aventura amorosa" la guitarra de Pizzarelli llora y se queja. George M. Smith es otra figura de esta tradición y se le debe en "Slow Burning", al igual que a Django Reinhardt por "Tears". Selecciones de sonidos más clásicos como "Love Song" de Kress dan paso a melodías con cierto tempo, como la original de Pizzarelli "Indy Annie", basada en "Back Home Again in Indiana", el optimista número de Kress "Sutton Mutton", y el más lento de los VanEps "Squattin' at the Grotto". Pizzarelli lanza una línea rápida como la de una polca, con acento en los acordes, en homenaje al bajista Slam Stewart "Slamerino", una maravilla técnica. Concluyendo el programa hay más exhibiciones de swing como "Peg Leg Shuffle" de Kress, "Stompin' for Boz" de Bucky, y el más elegante "Silk City Blues". El sonido de Pizzarelli debería ser puesto en el mercado de materias primas y vendido como una oferta pública. Esta música es mucho más valiosa que los lingotes de oro. Sólo la falta de una sección rítmica podría distraer a más oyentes de acercarse a esta obra bellamente concebida. Aquellos que no necesiten el bajo y la batería seguramente atesorarán esto a pesar de todo.



John Paul "Bucky" Pizzarelli (9 de enero de 1926 - 1 de abril de 2020) era un guitarrista de jazz americano.

Era el padre del guitarrista de jazz John Pizzarelli y del contrabajista Martin Pizzarelli. Trabajó para la NBC como empleado de Dick Cavett (1971) y para la ABC con Bobby Rosengarden (1952). La lista de músicos con los que colaboró incluye a Benny Goodman, Les Paul, Stéphane Grappelli y Antônio Carlos Jobim. Pizzarelli citó como influencias a Django Reinhardt, Freddie Green, y George Van Eps

La vida temprana :
Pizzarelli nació el 9 de enero de 1926 en Paterson, Nueva Jersey. Aprendió a tocar la guitarra y el banjo a una edad temprana. Sus tíos, Pete y Bobby Domenick, eran músicos profesionales, y a veces la familia extendida se reunía en una de sus casas con sus guitarras para las jam sessions. Pizzarelli citó como inspiración a Joe Mooney, un acordeonista ciego que dirigía un cuarteto que incluía al tío de Pizzarelli, Bobby Domenick. Durante la secundaria, Pizzarelli fue el guitarrista de una pequeña banda que tocaba música clásica.

Carrera:
Pizzarelli comenzó su carrera profesional a los 17 años cuando se unió a la banda de baile de Vaughn Monroe en 1944.

En 1952 Pizzarelli se convirtió en un músico de plantilla de la NBC, tocando con Skitch Henderson. En 1964, se convirtió en miembro de la banda del Tonight Show en el Tonight Show protagonizado por Johnny Carson. Durante el tiempo que pasó actuando para el Tonight Show, acompañó a bandas invitadas y músicos que tocaban en una variedad de géneros musicales, incluyendo tocar con Tiny Tim (después de afinar el ukelele del intérprete) el día que Tiny Tim se casó con la Srta. Vicki en el show de Carson.

De 1956 a 1957, Pizzarelli usó el nombre artístico "Johnny Buck" y actuó con el trío de música pop The Three Suns. Hizo varias giras con Benny Goodman hasta la muerte de Goodman en 1986. Durante el año siguiente, él y el guitarrista George Barnes formaron un dúo y grabaron dos álbumes, incluyendo una actuación en vivo en agosto de 1971, en el Town Hall de la ciudad de Nueva York. A partir de la década de 1970, comenzó a grabar como líder, rindiendo muchos homenajes a los músicos de la década de 1930. Actuó con Benny Goodman en la Casa Blanca en Washington, D.C., y actuó para los presidentes Ronald Reagan, Bill Clinton y la Primera Dama Pat Nixon.

"Jersey Jazz Guitars" fue el nombre de un concierto celebrado en 1985 en el Centro de Música Nicholas de la Universidad de Rutgers en New Brunswick, Nueva Jersey. La entrada incluía a Pizzarelli, Les Paul, Tal Farlow, y el hijo de Pizzarelli, John. El concierto se transmitió en la estación de radio pública de Nueva Jersey como parte de su serie de tres conciertos de verano de Nueva Jersey. Pizzarelli y Les Paul habían actuado juntos antes, ya que eran vecinos y amigos. El programa se emitió durante una hora en agosto de 1985, con el hijo John añadiendo sus voces en dos selecciones.

Pizzarelli continuó tocando hasta los 90 años, haciendo varias apariciones incluso después de un derrame cerebral en 2016, retirándose oficialmente después de una breve aparición final con Michael Feinstein en 2018.

Guitarras :
La primera guitarra de Pizzarelli fue una Gibson de arco, un instrumento muy caro en ese momento. Tocaba una guitarra de siete cuerdas Benedetto Bucky Pizzarelli Signature hecha por Robert Benedetto, quien también hace guitarras para Howard Alden y Frank Vignola. Aprendió a tocar las siete cuerdas de George Van Eps. La cuerda extra de la guitarra de Pizzarelli le proporcionó una línea de bajo durante las actuaciones. Pizzarelli también tocaba una guitarra americana de siete cuerdas hecha por el luthier Dale Unger, que también hace guitarras personalizadas para el socio de Pizzarelli, Ed Laub.



Hampton Hawes • I'm All Smiles

 




Review by Ron Wynn
Pianist Hampton Hawes led a trio during the 1960s and '70s that remained popular without compromising its sound or musical integrity. His phrasing and voicings could entice or amaze, and he displays great range, rhythmic vitality, and harmonic excellence during the five selections featured on this 1966 live date now reissued on CD. Hawes moves from the Afro-Latin feel of "Manha de Carnaval" to the brilliant chordal exposition on "Spring Is Here" and "The Shadow of Your Smile," before concluding with a flourish on "Searchin." Hawes is backed by wonderful bassist Red Mitchell and steady drummer Donald Bailey, who had both been with him for over a decade. They are not just a cohesive unit, but an intuitive team, maintaining a communication with him that is amazing even within a genre that demands it.
https://www.allmusic.com/album/im-all-smiles-mw0000623559

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Reseña de Ron Wynn
El pianista Hampton Hawes dirigió un trío durante los años 60 y 70 que se mantuvo popular sin comprometer su sonido o integridad musical. Su fraseo y sus voces podían atraer o asombrar, y muestra una gran gama, vitalidad rítmica y excelencia armónica durante las cinco selecciones que aparecen en esta fecha de 1966 en vivo, ahora reeditada en CD. Hawes pasa del sentimiento afrolatino de "Manha de Carnaval" a la brillante exposición de acordes en "Spring Is Here" y "The Shadow of Your Smile", antes de concluir con un florecimiento en "Searchin". Hawes está respaldado por el maravilloso bajista Red Mitchell y el baterista Donald Bailey, quienes han estado con él por más de una década. No son sólo una unidad cohesiva, sino un equipo intuitivo, manteniendo una comunicación con él que es asombrosa incluso dentro de un género que lo exige.
https://www.allmusic.com/album/im-all-smiles-mw0000623559



Django Reinhardt • Souvenirs

 



Colaborador / Contribuitor:  Michel


Terry Gibbs • 92 Years Youngː Jammin' At The Gibbs House

 



"92 Years Young." Sometimes that's an exaggeration. On the other hand, when applied to vibraphonist Terry Gibbs it may well be an understatement. Gibbs was indeed a mere six months shy of his ninety-second birthday when "Jammin' at the Gibbs House" was recorded in his living room in April 2016. Close your eyes, however, and it's the 1940s again, and Gibbs is jammin' with Woody Herman's Second Herd, or the '50s, and he's presiding over his high-powered Dream Band in Los Angeles. In other words, as people often reassure nonagenarians, he "hasn't changed a bit." In this case, however, it's more truism than solace. While Gibbs has no doubt changed a bit, as has everyone his age, that bit is wholly imperceptible to the human ear.

To put it another way, Gibbs continues to play, even in "retirement," with the energy and enthusiasm of a teenager auditioning for his first gig. Yes, Gibbs had been sequestered for more than a year, and had to be coaxed by Neal Weiss at Whaling City Sound to take vibes in hand for a "comeback" recording. When at last Gibbs agreed, his provisos were that no travel would be involved, and that the event would be akin to a good old-fashioned jam session in which he would suggest a song and the others would either agree or turn thumbs down. Son Gerry Gibbs helped turn Terry's living room into a recording studio, pianist John Campbell and bassist Mike Gurrola were invited on board to make it a quartet, and four days were set aside during which thirty-one songs were recorded and fifteen chosen (with no second takes or playbacks).

The session opens with the flag-waver "Back Home in Indiana" and closes with another, the Terry Gibbs original "Here It Is." In between, tempos are for the most part more moderate with half a dozen opulent ballads brightening the landscape. Billy Strayhorn is represented with "Take the 'A' Train," Lionel Hampton with "Blues for Hamp," Charlie Parker with "Yardbird Suite." After the last note of "Here It Is" has faded, Terry says, "Let's go home," to which Gerry replies, "You are home."

Gerry, who no doubt learned long ago to stay out of his dad's way, plays with brushes as often as sticks (and is outstanding on either), while Campbell proves time and again what a superlative player he is and Gurrola keeps the rhythm sure and steady. In the liner notes, Terry writes, "If you can't find anything good to say about the CD, give it to your friend." Sorry, Terry; this one isn't going anywhere. It's a twenty-four carat keeper.
Jack Bowers By JACK BOWERS
June 5, 2017  
https://www.allaboutjazz.com/92-years-young-jammin-at-the-gibbs-house-whaling-city-sound-review-by-jack-bowers.php

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"92 años de juventud". A veces eso es una exageración. Por otro lado, cuando se aplica al vibrafonista Terry Gibbs puede ser una subestimación. Gibbs estaba en realidad a sólo seis meses de su noventa y dos cumpleaños cuando "Jammin' at the Gibbs House" fue grabado en su sala de estar en abril de 2016. Cierra los ojos, sin embargo, y es la década de 1940 otra vez, y Gibbs está improvisando con la Segunda Manada de Woody Herman, o los años 50, y está presidiendo su potente Dream Band en Los Ángeles. En otras palabras, como la gente suele tranquilizar a los nonagenarios, "no ha cambiado nada". En este caso, sin embargo, es más una verdad que un consuelo. Aunque Gibbs sin duda ha cambiado un poco, como todos los de su edad, esa parte es totalmente imperceptible para el oído humano.

Para decirlo de otra manera, Gibbs sigue tocando, incluso en el "retiro", con la energía y el entusiasmo de un adolescente que hace una audición para su primer concierto. Sí, Gibbs había estado secuestrado durante más de un año, y tuvo que ser persuadido por Neal Weiss en Whaling City Sound para tomar las vibraciones en mano para una grabación de "regreso". Cuando por fin Gibbs estuvo de acuerdo, sus condiciones fueron que no habría ningún viaje, y que el evento sería similar a una buena jam session a la antigua en la que sugeriría una canción y los demás estarían de acuerdo o rechazarían los pulgares. Son Gerry Gibbs ayudó a convertir la sala de Terry en un estudio de grabación, se invitó al pianista John Campbell y al bajista Mike Gurrola a bordo para formar un cuarteto, y se reservaron cuatro días durante los cuales se grabaron treinta y una canciones y se eligieron quince (sin segundas tomas ni playbacks).

La sesión se abre con el abanderado "Back Home in Indiana" y se cierra con otro, el original de Terry Gibbs "Here It Is". Entre medias, los tempos son en su mayoría más moderados con media docena de baladas opulentas que iluminan el paisaje. Billy Strayhorn está representado con "Take the 'A' Train", Lionel Hampton con "Blues for Hamp", Charlie Parker con "Yardbird Suite". Después de que la última nota de "Here It Is" se ha desvanecido, Terry dice, "Vamos a casa", a lo que Gerry responde, "Estás en casa".

Gerry, que sin duda aprendió hace mucho tiempo a no meterse en el camino de su padre, juega con los pinceles tan a menudo como con los palos (y es sobresaliente en cualquiera de los dos), mientras que Campbell demuestra una y otra vez lo superlativo que es y Gurrola mantiene el ritmo seguro y constante. En las notas del forro, Terry escribe: "Si no encuentras nada bueno que decir sobre el CD, dáselo a tu amigo". Lo siento, Terry; este no va a ninguna parte. Es un conservador de veinticuatro quilates.
Jack Bowers por JACK BOWERS
5 de junio de 2017  
https://www.allaboutjazz.com/92-years-young-jammin-at-the-gibbs-house-whaling-city-sound-review-by-jack-bowers.php





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