Buddy Tate • The Texas Tenor

 

Buddy Tate was born in Texas, February 22, 1915 and had his first gig in 1927 He worked with various bands including Count Basie’s Orchestra from 1939 – 1949 and had his own band in 1953. From the early 70s he made many tours in Europe and Japan.

This 2CD features recordings at Antibes, France July 23, 1975 with Doc Cheatham (tp) Vic Dickenson (tb & vo) Johnny Guarnieri (p) George Duvivier (b) and Oliver Jackson (dr) and in Copenhagen Live at La Fontaine September 24, 1975 with Tete Montoliu (p) Finn Zigler (vl) Bo Stief (b) Svend Erik Nørregaard (dr)

Buddy Tate is one of the saxophonists that represent the Texas Tenor sound together with Illinois Jacquet, Arnett Cobb, Jimmy Guiffre and King Curtis
https://www.storyvillerecords.com/products/the-texas-tenor-1038438

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Buddy Tate nació en Texas, el 22 de febrero de 1915 y tuvo su primer concierto en 1927. Trabajó con varias bandas, incluida Count Basie's Orchestra desde 1939-1949 y tuvo su propia banda en 1953. Desde principios de los 70 realizó muchas giras por Europa y Japón.

Este doble CD incluye grabaciones en Antibes, Francia, el 23 de julio de 1975 con Doc Cheatham (tp) Vic Dickenson (tb & vo) Johnny Guarnieri (p) George Duvivier (b) y Oliver Jackson (dr) y en Copenhagen Live en La Fontaine el 24 de septiembre , 1975 con Tete Montoliu (p) Finn Zigler (vl) Bo Stief (b) Svend Erik Nørregaard (dr)

Buddy Tate es uno de los saxofonistas que representan el sonido Texas Tenor junto a Illinois Jacquet, Arnett Cobb, Jimmy Guiffre y King Curtis
https://www.storyvillerecords.com/products/the-texas-tenor-1038438


www.storyvillerecords.com ...

James Brown • Best Of Live At The Apollo 50th Anniversary

 

Review by Steve Leggett
Seldom have a performer and a venue been more suited to each other than James Brown and the Apollo Theater in Harlem. Brown played over 600 shows on the Apollo stage when all was said and done, beginning in 1959 when he was the opening act for Little Willie John, ended up the headliner by the end of the run, and then returned every year through 1974, returning again when the Apollo reopened. In front of audiences that were frenzied and passionate, Brown's equally frenzied and passionate shows are the stuff of legend. A landmark album of vintage early Brown with his Famous Flames, Live at the Apollo, appeared in 1963 (the show documented was from October 24, 1962), followed by two more, Live at the Apollo, Vol. 2 (from shows on June 24 and 25, 1967, it was released in 1968) and Revolution of the Mind: Recorded Live at the Apollo, Vol. 3 (recorded between July 21 and 25, 1971, it was released that same year). This set honors the 50th anniversary of the release of that classic first live Apollo set by taking key tracks from all three of the Apollo releases and then tacking on a couple of tracks from the unreleased album Get Down at the Apollo with the J.B.'s, which was recorded at shows on September 13 and 14 in 1972. It's also sort of a live James Brown greatest-hits album, with powerful versions of "I'll Go Crazy," "Night Train," "Please, Please, Please," and "Sex Machine," among others. It's a dynamite sequence documenting an explosive performer in his prime on the exact right stage at the exact right time in front of the exact right audience. This, folks, is James Brown at the Apollo.
https://www.allmusic.com/album/best-of-live-at-the-apollo-50th-anniversary-mw0002415272

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Reseña de Steve Leggett
Rara vez un intérprete y un lugar han sido más adecuados entre sí que James Brown y el Apollo Theatre de Harlem. Brown tocó en más de 600 shows en el escenario de Apollo cuando todo estaba dicho y hecho, comenzando en 1959 cuando fue el acto de apertura de Little Willie John, terminó como cabeza de cartel al final de la carrera, y luego regresó todos los años hasta 1974, regresando. de nuevo cuando el Apolo reabrió. Frente a un público frenético y apasionado, los espectáculos igualmente frenéticos y apasionados de Brown son legendarios. En 1963 apareció un álbum histórico de Brown temprano con su Famous Flames, Live at the Apollo (el programa documentado fue del 24 de octubre de 1962), seguido de dos más, Live at the Apollo, vol. 2 (de los programas del 24 y 25 de junio de 1967, fue lanzado en 1968) y Revolution of the Mind: Recorded Live at the Apollo, Vol. 3 (grabada entre el 21 y el 25 de julio de 1971, se estrenó ese mismo año). Este set rinde homenaje al 50 aniversario del lanzamiento de ese clásico primer set de Apollo en vivo tomando pistas clave de los tres lanzamientos de Apollo y luego agregando un par de pistas del álbum inédito Get Down at the Apollo con JB's, que se grabó en shows el 13 y 14 de septiembre de 1972. También es una especie de álbum de grandes éxitos de James Brown en vivo, con poderosas versiones de "I'll Go Crazy", "Night Train", "Please, Please, Please, "y" Sex Machine ", entre otros. Es una secuencia de dinamita que documenta a un artista explosivo en su mejor momento en el escenario correcto exacto en el momento exacto frente a la audiencia correcta exacta. Este, amigos, es James Brown en el Apollo.
https://www.allmusic.com/album/best-of-live-at-the-apollo-50th-anniversary-mw0002415272


www.jamesbrown.com ...

Gregor Hilden Organ Trio • Vintage Wax

 

Hilden’s music can be characterized as a mixture of soul, blues and swing. His phrasing is lean and yet highly cultured, and thus he celebrates both traditional and modern blues’n jazz licks with great verve. Fans of authentic Vintage guitar sounds will be especially taken by Gregor Hilden’s CDs, for he is inclined to generate an honest sound situated between pearly-clear and slightly rough. And he insists in capturing these tonal qualities in the studio without adding dynamic changes or effects. Such a wealth of talent cannot remain in the dark. Hilden has already performed in introductory programs for Rory Gallagher, Albert Collins and Jerry Lee Lewis, he was a special guest on a Joe Jackson tour and played in the band of the American sax legend Big Jay Neely. Anyone looking for honest blues with feeling and know-how will be well served with Gregor Hilden.
https://www.acoustic-music.de/hilden/en

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La música de Hilden se puede caracterizar como una mezcla de soul, blues y swing. Su fraseo es delgado y, sin embargo, muy culto, por lo que celebra los licks de blues y jazz tradicionales y modernos con gran entusiasmo. Los fanáticos de los auténticos sonidos de guitarra Vintage quedarán cautivados por los CD de Gregor Hilden, ya que tiende a generar un sonido honesto situado entre la claridad perlada y un poco áspero. E insiste en capturar estas cualidades tonales en el estudio sin agregar cambios dinámicos o efectos. Tal riqueza de talento no puede permanecer en la oscuridad. Hilden ya ha actuado en programas introductorios para Rory Gallagher, Albert Collins y Jerry Lee Lewis, fue un invitado especial en una gira de Joe Jackson y tocó en la banda de la leyenda del saxofón estadounidense Big Jay Neely. Cualquiera que busque blues honesto con sentimiento y experiencia estará bien servido con Gregor Hilden.
https://www.acoustic-music.de/hilden/en

www.gregorhilden.de ...

Matelo Ferré • Tziganskaïa And Other Rare Recordings 1960-1978

 

Jean Pierre "Matelo" Ferret (1918–1989) (also spelled Matelot, Matlo and Matlow, surname also later spelled Ferré on occasion) was a French musette and gypsy jazz guitarist and composer. He was an associate of Django Reinhardt and the brother of guitarists Baro and Sarane Ferret. He recorded with his own sextet in Paris in the 1940s and continued performing there, with occasional recording sessions, until his death in 1989. He was noted for a musical style that incorporated Russian and Hungarian influences and lived long enough to see a resurgence of interest in gypsy jazz in which he was recognised as one of the great surviving players of the genre. Two of his sons, Boulou and Elios Ferré, continue to play a more modern and individualistic form of gypsy jazz-based guitar music in Paris.
Biography

Matelo Ferret was the youngest of the three Ferret brothers, Gitan gypsies from Rouen, France who made their way to Paris and there made the acquaintance of Django Reinhardt in 1931. He was known by his French nickname "Matelo," which meant "sailor". He replaced guitarist Gusti Malha alongside accordionist Emile Vacher and later played with Guérino, another well known accordionist.

From 1931, the Ferret brothers Matelo, Baro and Étienne "Sarane" Ferret, and cousin René "Challain" Ferret, were favorite sidemen of Reinhardt. At that time, Django and his companions frequently played at the Russian cabarets in Paris, notably the Casanova and the Shéhérazade and, while Django moved away into a more jazz direction for the major part of his career, Matelo spent much of his subsequent time in the Russian cabarets and developed a unique guitar style incorporating many Russian and Romanian gypsy (Tzigane) elements as well as musette-style waltzes and jazz.

After recording as a sideman on various sessions in the 1930s and early 40s, his first sessions under his own name were cut in 1944 (as "Jean Ferret et son Sixtette"); he recorded sporadically through the 1950s and 1960s (including notable guitar contributions to the famous "Manouche Partie" LP) and summed up his life's work with the 2-LP set Tziganskaïa recorded for Charles Delaunay in 1978 (re-released on CD along with 4 unrecorded waltzes by Django Reinhardt which Matelo recorded in 1960) on which he was accompanied by his son Boulou on rhythm guitar, along with cimbalom (a favourite instrument of the Tzigane gypsy style) and double bass.

Matelo died of cancer on 24 January 1989, aged 70, a contemporary of Django who survived long enough to see the revival of interest in gypsy jazz and related music and to leave several modern filmed performances. Two of his sons Boulou and Elios Ferré continue to perform. A third son, Michel "Sarane" Ferré (nickname after his uncle Sarane Ferret), has also performed and recorded with his father.

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 Jean Pierre "Matelo" Ferret (1918 - 24 de enero de 1989) (también deletreado Matelot, Matlo y Matlow, apellido también posteriormente deletreado Ferré en ocasiones) fue un guitarrista y compositor francés de jazz gitano y musette . Fue socio de Django Reinhardt y hermano menor de los guitarristas Baro y Sarane Ferret . Grabó con su propio sexteto en París en la década de 1940 y continuó actuando allí, con sesiones de grabación ocasionales, hasta su muerte en 1989. Se destacó por un estilo musical que incorporó influencias rusas y húngaras y vivió lo suficiente como para ver un resurgimiento del interés. en el jazz gitano en el que fue reconocido como uno de los grandes supervivientes del género. Dos de sus hijos, Boulou y Elios Ferré , continúan tocando una forma más moderna e individualista de música de guitarra gitana basada en el jazz en París.

Biografía
Matelo Ferret era el más joven de los tres hermanos Ferret, gitanos Gitan de Rouen , Francia, que se dirigieron a París y allí conocieron a Django Reinhardt en 1931. Era conocido por su apodo francés "Matelo", que significa "marinero". . Reemplazó al guitarrista Gusti Malha junto al acordeonista Emile Vacher y luego tocó con Guérino, otro acordeonista muy conocido.

Desde 1931, los hermanos Ferret Matelo, Baro y Étienne "Sarane" Ferret , y el primo René "Challain" Ferret, fueron los acompañantes favoritos de Reinhardt. En ese momento, Django y sus compañeros tocaban con frecuencia en los cabarets rusos en París, en particular el Casanova y el Shéhérazade y, mientras Django se movió hacia una dirección más jazzística durante la mayor parte de su carrera, Matelo pasó gran parte de su tiempo posterior en los cabarets rusos y desarrolló un estilo de guitarra único que incorpora muchos elementos gitanos rusos y rumanos (Tzigane), así como valses estilo musette y jazz.

Después de grabar como acompañante en varias sesiones en los años treinta y principios de los cuarenta, sus primeras sesiones bajo su propio nombre se cortaron en 1944 (como "Jean Ferret et son Sixtette"); Grabó esporádicamente durante las décadas de 1950 y 1960 (incluidas notables contribuciones de guitarra al famoso LP "Manouche Partie") y resumió el trabajo de su vida con el set de 2 LP que Tziganskaïa grabó para Charles Delaunay en 1978 (reeditado en CD junto con 4 valses sin grabar de Django Reinhardt que Matelo grabó en 1960) en los que estuvo acompañado por su hijo Boulou a la guitarra rítmica, junto con cimbalom (un instrumento favorito del estilo gitano de Tzigane) y contrabajo.

Matelo murió de cáncer el 24 de enero de 1989, a los 70 años, un contemporáneo de Django que sobrevivió lo suficiente para ver el resurgimiento del interés por el jazz gitano y la música relacionada y dejar varias actuaciones filmadas modernas. Dos de sus hijos Boulou y Elios Ferré continúan actuando. Un tercer hijo, Michel "Sarane" Ferré (apodo de su tío Sarane Ferret ), también ha actuado y grabado con su padre.
Wikipedia


Colaborador / Contributor:  Michel

Wes Montgomery ‎• Portrait Of Wes

Jimmy McGriff • Movin Upside The Blues

Review by Scott Yanow
For his second Jazz America LP, organist Jimmy McGriff is heard on one selection (Kenny Burrell's "All Day Long") left over from the first session (which features a septet including Harold Vick on tenor and trumpeter Danny Moore), plus four numbers from 1981 with altoist Arnold Sterling, guitarist Jimmy Ponder, trumpeter Bill Hardman, and Vick. As usual, most of the music is blues-based, although the inclusion of "Moonlight Serenade" in this soul-jazz setting is a pleasant surprise.

 

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Reseña de Scott Yanow
Para su segundo LP de Jazz America, se escucha al organista Jimmy McGriff en una selección ("All Day Long" de Kenny Burrell) que queda de la primera sesión (que presenta un septeto que incluye a Harold Vick en el tenor y el trompetista Danny Moore), más cuatro temas de 1981 con el altoista Arnold Sterling, el guitarrista Jimmy Ponder, el trompetista Bill Hardman y Vick. Como es habitual, la mayor parte de la música está basada en el blues, aunque la inclusión de "Moonlight Serenade" en este escenario de soul-jazz es una agradable sorpresa.

Kombo • Cookin' Out

The duo of organist Ron Pedley and guitarist Jon Pondel, who originally played together in the group Uncle Festive, separated to work on other projects, and then reunited as Kombo.

 

Christian Sands • Reach

 

A sophisticated jazz pianist, Christian Sands emerged in the 2000s displaying his deep understanding of the post-bop and swing traditions. A protégé of the late Dr. Billy Taylor, Sands drew early accolades for his performances at the 2006 and 2007 Grammy Awards, as well as similar appearances alongside Taylor at the Kennedy Center. Following early solo albums and work as a member of Christian McBride's band, the pianist came into his own with his 2017 Mack Avenue debut, Reach, and its 2018 follow-up, Facing Dragons.

Sands was born in 1989 in New Haven, Connecticut, where he first started playing piano at age three, and by age five he was composing. As a teenager, he attended both the Neighborhood Music School and the Educational Center for the Arts in New Haven. He was also a regular participant in the Jazz in July music camp at the University of Massachusetts Amherst, where he first met his mentor, pianist Billy Taylor. After high school, Sands further honed his skills at the Manhattan School of Music, where he graduated with his bachelor's and master's degrees. Since leaving school, he has performed with a bevy of luminaries, including Lou Donaldson, Kirk Whalum, Phil Woods, James Moody, and Wycliffe Gordon.

As a solo artist, Sands debuted with Footprints at age 12 in 2002. He followed up with 2004's Harmonia and 2008's Risin', the latter of which featured trumpeter Josh Evans. There were also high-profile appearances at the 2006 and 2007 Grammys, including a duet with legendary pianist Oscar Peterson. Sands gained wider recognition performing as a guest of Taylor at the pianist's 2006 and 2007 Jazz at Kennedy Center series. He then joined bassist Christian McBride's outfit, contributing to albums like 2013's Out Here and People Music. He also recorded with bassist Ben Williams, and appeared with the Manhattan School of Music Afro-Cuban Jazz Orchestra, led by Bobby Sanabria, on the Grammy-nominated Kenya Revisited Live.

In 2014, Sands was a finalist in the American Pianists Association Jazz Fellowship Awards. Three years later, he released Reach, his debut album for Mack Avenue Records. Featured on the record were guest appearances by guitarist Gilad Hekselman, bassist McBride, and saxophonist Marcus Strickland. The following year, he returned on Mack Avenue with Facing Dragons, which featured his core rhythm section of bassist Yasushi Nakamura and drummer Jerome Jennings, as well as contributions by Strickland and trumpeter Keyon Harrold. Coming off a two-year residency living in Shanghai, Sands released Be Water, which found him drawing inspiration from martial arts icon Bruce Lee.
https://www.allmusic.com/artist/christian-sands-mn0002086938/biography


Review:
A lot plays into the success of an artist's reach, with content and presentation obviously ranking high on the list. But above all, an artist has to be willing to extend a hand if they expect listeners to do the same. Many simply reach for the musical stars without really considering the need to reach out to potential audiences through the music. Pianist Christian Sands doesn't fall into that trap. His reach—both up and out—is long and wide, exemplified on this aptly named date.

Despite any potential allusions in the previous paragraph or the titular ideal, Reach doesn't pander to populist tastes or compromise in anyway. It simply has quality material performed at an extremely high level that can appeal to a wide variety of listeners, ranging from the jazz curious to the jazz cognoscenti. If you've found your way to this site and this review, chances are there's something that appeals to you here, whether you fancy yourself a modernist, a traditionalist, a blues adherent, a neo-soul devotee, a post-bop fan, a Latin jazz lover, or something else entirely. Sands manages to craft unique statements that touch on all of the aforementioned topics, often blending or countervailing one with the other within a single song, and once your ear is hooked, that's it.

Reach opens with "Armando's Song," a nod to the great Chick Corea that seems to be cut from the same cloth—or, perhaps, the same vocabulary—as Corea's "Armando's Rhumba." Sands, however, isn't one to plagiarize, and the propulsive swing roller coaster that follows the theme proves that point. A rush of optimism blotting out the face of hate follows that eye-opening number. "Song Of The Rainbow People" speaks to the need for unity and togetherness, both in name and sound. There are hints of gray skies in the mix, but the sun burns the clouds away.

Those opening invitations expose listeners to the tightly-formed trio that's the backbone of this album—Sands, bassist Yasushi Nakamura, and drummer Marcus Baylor—and the three tracks that immediately follow demonstrate how that group reacts to new voices in the mix. Marcus Strickland first spurs the band on with his tenor saxophone on the driven "Pointing West." Then he puts his tenor and bass clarinet to good use on an electro-dusted chill ride dubbed "Freefall." Both numbers find the core band expanding its outlook and adapting to the presence of their guest. The same thing can be said to happen when percussionist Cristian Rivera drops in to add some Latin sizzle to the festive "¡Óyeme!."

The second half of the album is just as inclusive in all respects. "Bud's Tune" pares things back to a trio configuration as Sands salutes bebop pioneer Bud Powell; "Reaching For The Sun" walks on a pseudo-Brazilian groove, carries hints of Corea and Pat Metheny in its DNA, gives Sands a chance to dazzle with his glistening glances, and brings guitarist Gilad Hekselman into the picture for the first of his three consecutive appearances; a cover of "Use Me" retains its Bill Withers-born soulfulness while taking on a new skulking-turned-swinging-turned-skulking rhythmic shape and opening up some space for Christian McBride to bow the truth; and "Gangstalude" injects a hip-hop attitude and foundation into the program. Then Sands ends with what's, perhaps, the biggest surprise of all: a heartfelt performance of "Somewhere Out There" from An American Tail (Amblin Entertainment/Sullivan Bluth Studios, 1986). It opens lyrically and loyally before taking flight in reflective-cum-resounding fashion. It's the last chapter in this tale of many tones, serving as the final indication of Sands' willingness to embrace diversity in sound and scope. Everything and everyone seems to be within his reach.
By Dan Bilawsky
April 19, 2017
https://www.allaboutjazz.com/reach-christian-sands-mack-avenue-records-review-by-dan-bilawsky.php

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Christian Sands, un sofisticado pianista de jazz, surgió en la década de 2000 mostrando su profundo conocimiento de las tradiciones post-bop y swing. Protegido por el difunto Dr. Billy Taylor, Sands recibió los primeros elogios por sus actuaciones en los premios Grammy de 2006 y 2007, así como por sus apariciones junto a Taylor en el Kennedy Center. Tras sus primeros álbumes en solitario y su trabajo como miembro de la banda de Christian McBride, el pianista se dio a conocer con su debut en Mack Avenue en 2017, Reach, y su continuación en 2018, Facing Dragons.

Sands nació en 1989 en New Haven, Connecticut, donde empezó a tocar el piano a los tres años, y a los cinco ya componía. De adolescente, asistió tanto a la Neighborhood Music School como al Educational Center for the Arts de New Haven. También participó regularmente en el campamento de música Jazz in July de la Universidad de Massachusetts Amherst, donde conoció a su mentor, el pianista Billy Taylor. Después del instituto, Sands siguió perfeccionando sus habilidades en la Manhattan School of Music, donde se graduó con una licenciatura y un máster. Desde que dejó la escuela, ha actuado con un grupo de luminarias, como Lou Donaldson, Kirk Whalum, Phil Woods, James Moody y Wycliffe Gordon.

Como artista en solitario, Sands debutó con Footprints a los 12 años en 2002. Siguió con Harmonia, de 2004, y Risin', de 2008, este último con la participación del trompetista Josh Evans. También tuvo apariciones destacadas en los Grammys de 2006 y 2007, incluyendo un dúo con el legendario pianista Oscar Peterson. Sands obtuvo un mayor reconocimiento actuando como invitado de Taylor en la serie Jazz at Kennedy Center de 2006 y 2007 del pianista. Luego se unió al conjunto del bajista Christian McBride, contribuyendo a álbumes como Out Here y People Music de 2013. También grabó con el bajista Ben Williams, y apareció con la Manhattan School of Music Afro-Cuban Jazz Orchestra, dirigida por Bobby Sanabria, en el disco Kenya Revisited Live, nominado al Grammy.

En 2014, Sands fue finalista en los premios Jazz Fellowship de la American Pianists Association. Tres años después, publicó Reach, su álbum de debut para Mack Avenue Records. En el disco aparecían como invitados el guitarrista Gilad Hekselman, el bajista McBride y el saxofonista Marcus Strickland. Al año siguiente, regresó a Mack Avenue con Facing Dragons, que incluía su sección rítmica principal, formada por el bajista Yasushi Nakamura y el baterista Jerome Jennings, así como contribuciones de Strickland y el trompetista Keyon Harrold. Tras una residencia de dos años en Shanghai, Sands publicó Be Water, en el que se inspiró en el icono de las artes marciales Bruce Lee.
https://www.allmusic.com/artist/christian-sands-mn0002086938/biography


Reseña:
Hay muchas cosas que influyen en el éxito de un artista, y el contenido y la presentación ocupan obviamente un lugar destacado en la lista. Pero, sobre todo, un artista tiene que estar dispuesto a tender la mano si espera que los oyentes hagan lo mismo. Muchos se limitan a alcanzar a las estrellas musicales sin considerar realmente la necesidad de llegar al público potencial a través de la música. El pianista Christian Sands no cae en esa trampa. Su alcance -tanto hacia arriba como hacia afuera- es largo y amplio, ejemplificado en esta fecha tan acertada.

A pesar de las posibles alusiones en el párrafo anterior o el ideal del título, Reach no alcahuetea los gustos populistas ni hace concesiones de ningún tipo. Simplemente tiene material de calidad interpretado a un nivel extremadamente alto que puede atraer a una amplia variedad de oyentes, desde los curiosos del jazz hasta los cognoscentes del jazz. Si has llegado a este sitio y a esta reseña, lo más probable es que haya algo que te atraiga aquí, tanto si te consideras un modernista, un tradicionalista, un adepto del blues, un devoto del neo-soul, un fanático del post-bop, un amante del jazz latino o algo totalmente distinto. Sands se las arregla para elaborar declaraciones únicas que tocan todos los temas mencionados, a menudo mezclando o contrarrestando unos con otros dentro de una misma canción, y una vez que tu oído se engancha, eso es todo.

Reach se abre con "Armando's Song", un guiño al gran Chick Corea que parece estar cortado de la misma tela -o, quizás, del mismo vocabulario- que "Armando's Rhumba" de Corea. Sin embargo, Sands no es de los que plagian, y la propulsiva montaña rusa de swing que sigue al tema lo demuestra. Un torrente de optimismo que borra la cara del odio sigue a ese número revelador. "Song Of The Rainbow People" habla de la necesidad de unidad y unión, tanto en el nombre como en el sonido. Hay indicios de cielos grises en la mezcla, pero el sol quema las nubes.

Esas invitaciones iniciales exponen a los oyentes al trío estrechamente formado que es la columna vertebral de este álbum -Sands, el bajista Yasushi Nakamura, y el baterista Marcus Baylor- y las tres pistas que siguen inmediatamente demuestran cómo ese grupo reacciona a las nuevas voces en la mezcla. Marcus Strickland espolea primero a la banda con su saxo tenor en la impulsiva "Pointing West". A continuación, pone su clarinete tenor y bajo a buen uso en un paseo chill electro-descongelado apodado "Freefall". En ambos números, la banda principal amplía su perspectiva y se adapta a la presencia de su invitado. Lo mismo puede decirse cuando el percusionista Cristian Rivera entra para añadir un poco de chispa latina a la festiva "¡Óyeme!".

La segunda mitad del álbum es igual de inclusiva en todos los sentidos. "Bud's Tune" se reduce a una configuración de trío mientras Sands saluda al pionero del bebop Bud Powell; "Reaching For The Sun" camina sobre un groove pseudo-brasileño, lleva en su ADN toques de Corea y Pat Metheny, da a Sands la oportunidad de deslumbrar con sus relucientes miradas, y trae al guitarrista Gilad Hekselman en la primera de sus tres apariciones consecutivas; una versión de "Use Me" conserva su soulfulness nacido de Bill Withers al tiempo que adquiere una nueva forma rítmica que se convierte en un balanceo que se convierte en un balanceo y que abre un poco de espacio para que Christian McBride incline la verdad; y "Gangstalude" inyecta una actitud y una base de hip-hop en el programa. Luego Sands termina con la que es, quizás, la mayor sorpresa de todas: una sentida interpretación de "Somewhere Out There" de An American Tail (Amblin Entertainment/Sullivan Bluth Studios, 1986). Se abre de forma lírica y leal antes de alzar el vuelo de forma reflexiva y sonora. Es el último capítulo de esta historia de muchos tonos, que sirve como indicación final de la voluntad de Sands de abrazar la diversidad en el sonido y el alcance. Todo y todos parecen estar a su alcance.
Por Dan Bilawsky
19 de abril de 2017
https://www.allaboutjazz.com/reach-christian-sands-mack-avenue-records-review-by-dan-bilawsky.php


www.christiansandsjazz.com ...

Ornnamental Borders, Scrolls and Cartouches in Historic Decorative Styles

Lazy Lester • Lester's Stomp! The Lazy Lester Singles Collection

 

Paul Desmond & Jim Hall • Bossa Antigua

Ercüment Vural & Önder Focan ‎Project • Kırmızıya Çalıyor│Like Red

 

focanjazz.com ...


Colaborador / Contributor:  Michel

Sleepy John Estes • Goin' To Brownsville

 

Review by Cub Koda
Sleepy John Estes never really changed or altered his style during the 50-year period he recorded. The records he made for Victor in the 1920s didn't sound much different than the ones he made in the late 1960s and 1970s for various collector's labels. This collection features 21 previously unissued solo performances from 1962 capped with a lengthy interview with Sleepy John conducted by producer Pete Welding. Estes is in fine form throughout, particularly effective on "Lost My Eyesight," "Run Around," "Floating Bridge," "Vernita's Blues" and Big Bill Broonzy's "It Was a Dream." In the 18-minute interview that closes this disc, Estes discusses making records for Decca, Victor and other labels, coming to Chicago and losing his eyesight. Compelling music and even more compelling conversation, all of it loaded with realism and ambience galore.
https://www.allmusic.com/album/goin-to-brownsville-mw0000034276


Biography by Barry Lee Pearson
Big Bill Broonzy called John Estes' style of singing "crying" the blues because of its overt emotional quality. Actually, his vocal style harks back to his tenure as a work-gang leader for a railroad maintenance crew, where his vocal improvisations and keen, cutting voice set the pace for work activities. Nicknamed "Sleepy" John Estes, supposedly because of his ability to sleep standing up, he teamed with mandolinist Yank Rachell and harmonica player Hammie Nixon to play the house party circuit in and around Brownsville in the early '20s. The same team reunited 40 years later to record for Delmark and play the festival circuit. Never an outstanding guitarist, Estes relied on his expressive voice to carry his music, and the recordings he made from 1929 on have enormous appeal and remain remarkably accessible today.

Despite the fact that he performed for mixed black and white audiences in string band, jug band, and medicine show formats, his music retains a distinct ethnicity and has a particularly plaintive sound. Astonishingly, he recorded during six decades for Victor, Decca, Bluebird, Ora Nelle, Sun, Delmark, and others. Over the course of his career, his music remained simple yet powerful, and despite his sojourns to Memphis and Chicago he retained a traditional down-home sound. Some of his songs are deeply personal statements about his community and life, such as "Lawyer Clark" and "Floating Bridge." Other compositions have universal appeal ("Drop Down Mama" and "Someday Baby") and went on to become mainstays in the repertoires of countless musicians. One of the true masters of his idiom, he lived in poverty, yet was somehow capable of turning his experiences and the conditions of his life into compelling art.
https://www.allmusic.com/artist/sleepy-john-estes-mn0000022845/biography

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Reseña de Cub Koda
Sleepy John Estes nunca cambió o alteró realmente su estilo durante el período de 50 años que grabó. Los discos que grabó para Victor en los años 20 no son muy diferentes de los que hizo a finales de los 60 y los 70 para varios sellos de coleccionistas. Esta colección incluye 21 actuaciones en solitario de 1962 no publicadas anteriormente y una larga entrevista con Sleepy John realizada por el productor Pete Welding. Estes está en buena forma en todo momento, especialmente eficaz en "Lost My Eyesight", "Run Around", "Floating Bridge", "Vernita's Blues" y "It Was a Dream" de Big Bill Broonzy. En la entrevista de 18 minutos que cierra este disco, Estes habla de grabar discos para Decca, Victor y otros sellos, de su llegada a Chicago y de la pérdida de la vista. Una música convincente y una conversación aún más convincente, todo ello cargado de realismo y ambiente en abundancia.
https://www.allmusic.com/album/goin-to-brownsville-mw0000034276


Biografía de Barry Lee Pearson
Big Bill Broonzy llamó al estilo de canto de John Estes "llorar" el blues por su evidente calidad emocional. En realidad, su estilo vocal se remonta a su época de líder de una cuadrilla de mantenimiento del ferrocarril, donde sus improvisaciones vocales y su voz aguda y cortante marcaban el ritmo de las actividades laborales. Apodado "Sleepy" John Estes, supuestamente por su capacidad para dormir de pie, se asoció con el mandolinista Yank Rachell y el armonicista Hammie Nixon para tocar en el circuito de fiestas domésticas en Brownsville y sus alrededores a principios de los años 20. El mismo equipo se reunió 40 años después para grabar para Delmark y tocar en el circuito de festivales. Estes nunca fue un guitarrista destacado, sino que se apoyó en su expresiva voz para llevar su música, y las grabaciones que hizo a partir de 1929 tienen un enorme atractivo y siguen siendo notablemente accesibles hoy en día.

A pesar de que actuó para un público mixto de blancos y negros en formatos de banda de cuerda, banda de jarra y espectáculo de medicina, su música conserva un marcado carácter étnico y tiene un sonido especialmente lastimero. Sorprendentemente, grabó durante seis décadas para Victor, Decca, Bluebird, Ora Nelle, Sun, Delmark y otros. A lo largo de su carrera, su música siguió siendo sencilla pero poderosa y, a pesar de sus estancias en Memphis y Chicago, conservó un sonido tradicional y casero. Algunas de sus canciones son declaraciones profundamente personales sobre su comunidad y su vida, como "Lawyer Clark" y "Floating Bridge". Otras composiciones tienen un atractivo universal ("Drop Down Mama" y "Someday Baby") y se convirtieron en pilares del repertorio de innumerables músicos. Uno de los verdaderos maestros de su lenguaje, vivió en la pobreza, pero fue capaz de convertir sus experiencias y las condiciones de su vida en un arte convincente.
https://www.allmusic.com/artist/sleepy-john-estes-mn0000022845/biography

The Uncrowned King of Swing Fletcher Henderson and Big Band Jazz

 

If Benny Goodman was the "King of Swing," then Fletcher Henderson was the power behind the throne. Now Jeffrey Magee offers a fascinating account of Henderson's musical career, throwing new light on the emergence of modern jazz and the world that created it.
Drawing on an unprecedented combination of sources, including sound recordings and hundreds of scores that have been available only since Goodman's death, Magee illuminates Henderson's musical output, from his early work as a New York bandleader, to his pivotal role in building the Kingdom of Swing. He shows how Henderson, standing at the forefront of the New York jazz scene during the 1920s and '30s, assembled the era's best musicians, simultaneously preserving jazz's distinctiveness and performing popular dance music that reached a wide audience. Magee reveals how, in Henderson's largely segregated musical world, black and white musicians worked together to establish jazz, how Henderson's style rose out of collaborations with many key players, how these players deftly combined improvised and written music, and how their work negotiated artistic and commercial impulses.
Whether placing Henderson's life in the context of the Harlem Renaissance or describing how the savvy use of network radio made the Henderson-Goodman style a national standard, Jeffrey Magee brings to life a monumental musician who helped to shape an era. 

 

Willie Dixon Preacher of the Blues

 

One of the greats of blues music, Willie Dixon was a recording artist whose abilities extended beyond that of bass player. A singer, songwriter, arranger, and producer, Dixon's work influenced countless artists across the music spectrum. In Willie Dixon: Preacher of the Blues, Mitsutoshi Inaba examines Dixon's career, from his earliest recordings with the Five Breezes through his major work with Chess Records and Cobra Records.

Focusing on Dixon's work on the Chicago blues from the 1940s to the early 1970s, this book details the development of Dixon's songwriting techniques from his early professional career to his mature period and compares the compositions he provided for different artists. This volume also explores Dixon's philosophy of songwriting and its social, historical, and cultural background. This is the first study to discuss his compositions in an African American cultural context, drawing upon interviews with his family and former band members. This volume also includes a detailed list of Dixon's session work, in which his compositions are chronologically organized.

 

www.amazon.com/Willie-Dixon-Preacher ...

 

Breve Historia de la Musica

 

El autor nos propone un viaje apasionante a través de los siglos por los diferentes estilos musicales que se han creado a lo largo de la historia, enseñándonos cuales han sido sus principales características y sobre todo haciéndonos distinguir de manera amena cuales son y cómo influyen unas en otras.

www.amazon.es/Breve-historia ...

 

Rhoda Scott • Organ Masters

 

rhoda-scott.com ...

 

Michael Longo • Funkia

 

Mike Longo is best-known as a reliable and versatile player who was the pianist with Dizzy Gillespie during 1966-1973. Longo was born in Cincinnati and began playing piano at age three thanks to his church organist mother and part-time professional jazz bass-playing father. The family moved to Florida, where Mike, at age 15, began working with his father’s band on weekends. Cannonball Adderly heard Mike and soon they were playing the Southern “chittlin’ circuit” together. Longo earned his Bachelor of Music degree in classical piano at Western Kentucky State University.

During those years, he went on the road with the Hal McIntyre Orchestra one summer and also played with legendary guitarist Hank Garland in Nashville. Longo toured for two years with the Salt City Six. After the group played at New York’s Metropole Cafe, the band left, but Mike stayed on as the house pianist playing with such jazz notables as Coleman Hawkins, Henry Red Allen, George Wettling, Gene Krupa and many others.

After the Chicago stint studying with Peterson, Longo moved permanently to New York City which led to opportunities to work with many great singers — Nancy Wilson, Gloria Lynn, Jimmy Witherspoon, Joe Williams, Jimmy Rushing and others. Longo did an extended stay at Embers West with bassist Paul Chambers accompanying acts such as Frank Foster, Lee Konitz, Frank Wess, Clark Terry, Zoot Sims and Roy Eldridge. In addition, over the years Mike has performed on albums by Dizzy Gillespie, Astrud Gilberto, James Moody, Buddy Rich, Lee Konitiz and numerous others.

While Mike was with Dizzy, the band recorded many tunes penned by Longo such as “Frisco,” “Let Me Out,” “Soul Kiss” and “The Truth.” Longo started his own recording career in the early Sixties and now has 19 albums to his credit (three of them with his big band, the New York State of the Art Jazz Ensemble). Mike Longo also is a renowned music teacher, has helped many jazz players with private instruction, and has written nine music textbooks, primarily on jazz improvisation.

But this jazz master has never stopped his own studies, constantly searching and learning, open to new ideas, and freely exploring deeper into the subtleties and nuances found in the world of jazz. When the floating butterfly spreads its wings, it’s a thing of beauty.
https://musicians.allaboutjazz.com/mikelongo

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Mike Longo es conocido sobre todo como un pianista fiable y versátil que fue pianista de Dizzy Gillespie entre 1966 y 1973. Longo nació en Cincinnati y empezó a tocar el piano a los tres años gracias a su madre, organista de iglesia, y a su padre, bajista profesional de jazz a tiempo parcial. La familia se trasladó a Florida, donde Mike, a los 15 años, empezó a trabajar con la banda de su padre los fines de semana. Cannonball Adderly escuchó a Mike y pronto estuvieron tocando juntos en el circuito sureño de "chittlin'". Longo se licenció en piano clásico en la Western Kentucky State University.

Durante esos años, salió de gira con la Hal McIntyre Orchestra un verano y también tocó con el legendario guitarrista Hank Garland en Nashville. Longo estuvo de gira durante dos años con los Salt City Six. Después de que el grupo tocara en el Metropole Cafe de Nueva York, la banda se marchó, pero Mike se quedó como pianista de la casa tocando con notables del jazz como Coleman Hawkins, Henry Red Allen, George Wettling, Gene Krupa y muchos otros.

Después de su estancia en Chicago estudiando con Peterson, Longo se trasladó permanentemente a la ciudad de Nueva York, lo que le llevó a trabajar con muchos grandes cantantes: Nancy Wilson, Gloria Lynn, Jimmy Witherspoon, Joe Williams, Jimmy Rushing y otros. Longo hizo una larga estancia en Embers West con el bajista Paul Chambers acompañando a artistas como Frank Foster, Lee Konitz, Frank Wess, Clark Terry, Zoot Sims y Roy Eldridge. Además, a lo largo de los años Mike ha actuado en álbumes de Dizzy Gillespie, Astrud Gilberto, James Moody, Buddy Rich, Lee Konitiz y muchos otros.

Mientras Mike estuvo con Dizzy, la banda grabó muchos temas escritos por Longo como "Frisco", "Let Me Out", "Soul Kiss" y "The Truth". Longo comenzó su propia carrera discográfica a principios de los años sesenta y ahora cuenta con 19 álbumes en su haber (tres de ellos con su big band, el New York State of the Art Jazz Ensemble). Mike Longo también es un reputado profesor de música, ha ayudado a muchos jazzistas con clases particulares y ha escrito nueve libros de texto de música, principalmente sobre improvisación de jazz.

Pero este maestro del jazz nunca ha dejado de estudiar por su cuenta, buscando y aprendiendo constantemente, abierto a nuevas ideas, y explorando libremente en las sutilezas y matices que se encuentran en el mundo del jazz. Cuando la mariposa flotante despliega sus alas, es una cosa de belleza.
https://musicians.allaboutjazz.com/mikelongo

Debashish Bhattacharya • Calcutta Chronicles Indian Slide Guitar Odyssey

 

Review by Chris Nickson
Every so often albums like this come along, serving as timely reminders that it's the musicians, not the instruments, that make different styles of music. Debashish Bhattacharya has long been an iconoclast and innovator, using not only slide guitar in his unique take on Indian music, but also here a slide ukulele (you can hear it on "Sufi Bhakti," which crosses Indian and Sufi music in a thrilling and seamless manner). That he's a master of his art is a given by now, but his genius isn't just in technique, but also in feel. He's as much at home on "Rasika," which conjures up Bengali music as he is with a raga on "Maya." Perhaps the greatest triumph here, however, is "Gypsy Anandi," where you can hear Hawaii -- the home of slide guitar -- along with Andalusia and even Gypsy overtones, apt since they originated in Rajasthan. The Indian classical tradition suffuses this disc, both Hindustani and Carnatic (the two come together on "Kolkata to Kanyakumari"). The playing throughout bathes you in warmth, lulling and delicious, quite spare but never seeming empty. It's a testament to Bhattacharya's art that he brings such brilliance to bear.
https://www.allmusic.com/album/calcutta-chronicles-indian-slide-guitar-mw0000782792

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Reseña de Chris Nickson
De vez en cuando aparecen álbumes como éste, que sirven para recordar que son los músicos, y no los instrumentos, los que hacen los diferentes estilos de música. Debashish Bhattacharya ha sido durante mucho tiempo un iconoclasta e innovador, utilizando no sólo la guitarra slide en su singular versión de la música india, sino también aquí un ukelele slide (se puede escuchar en "Sufi Bhakti", que cruza la música india y la sufí de una manera emocionante y sin fisuras). Que es un maestro de su arte es un hecho, pero su genio no está sólo en la técnica, sino también en el sentimiento. Se siente tan a gusto en "Rasika", que evoca la música bengalí, como con una raga en "Maya". Sin embargo, quizá el mayor triunfo sea "Gypsy Anandi", donde se puede escuchar a Hawaii -el hogar de la guitarra slide- junto con matices andaluces e incluso gitanos, apropiados ya que se originaron en Rajastán. La tradición clásica india impregna este disco, tanto la indostánica como la carnática (ambas se unen en "Kolkata to Kanyakumari"). La interpretación es cálida, relajante y deliciosa, y no parece vacía. Es un testimonio del arte de Bhattacharya el hecho de que aporte tanta brillantez.
https://www.allmusic.com/album/calcutta-chronicles-indian-slide-guitar-mw0000782792

www.debashishbhattacharya.com ...

Bob Brookmeyer • Sweet

 

Bob Brookmeyer was long considered one of the top valve trombonists in jazz and a very advanced arranger whose writing was influenced by modern classical music. He started out as a pianist in dance bands but played valve trombone with Stan Getz (1953). He gained fame as a member of the Gerry Mulligan quartet (1954-1957), was part of the unusual Jimmy Giuffre Three of 1957-1958 (which consisted of Giuffre's reeds, Brookmeyer's valve trombone, and Jim Hall's guitar), and then re-joined Mulligan as arranger and occasional player with his Concert Jazz Band. Brookmeyer, who was a strong enough pianist to hold his own on a two-piano date with Bill Evans, occasionally switched to piano with Mulligan. He co-led a part-time quintet with Clark Terry (1961-1966), was an original member of the Thad Jones/Mel Lewis orchestra (1965-1967), and became a busy studio musician. Brookmeyer was fairly inactive during much of the '70s, but made a comeback in the late '70s with some very advanced arrangements for the Mel Lewis band (of which he became musical director for a time). Brookmeyer moved to Europe, where he continually wrote and occasionally recorded on his distinctive valve trombone, issuing Old Friends in 1998. New Works Celebration appeared a year later, and in 2000 he issued Together. Brookmeyer continued to perform and release albums through the next decade, often working with his European big band The New Art Orchestra including 2002's Waltzing with Zoe, 2004's Get Well Soon, and 2007's Spirit Music. In 2008, he explored his deep interest in classical music with Music for String Quartet and Orchestra. He wrote innovative big-band compositions and was highly regarded as a teacher: his classes at the New England Conservatory of Music are the stuff of legend. On December 15, 2011, Brookmeyer died in his sleep at a hospital near his home in Grantham, New Hampshire; the cause was congestive heart failure. He passed just a month after releasing the album Standards via the ArtistShare website, and only three days shy of his 82nd birthday.
Scott Yanow

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Bob Brookmeyer fue considerado durante mucho tiempo uno de los mejores trombonistas de válvulas del jazz y un arreglista muy avanzado cuya escritura estaba influenciada por la música clásica moderna. Empezó como pianista en bandas de baile, pero tocó el trombón de válvulas con Stan Getz (1953). Ganó fama como miembro del cuarteto de Gerry Mulligan (1954-1957), formó parte del inusual Jimmy Giuffre Three de 1957-1958 (que estaba formado por las cañas de Giuffre, el trombón de válvulas de Brookmeyer y la guitarra de Jim Hall), y luego volvió a unirse a Mulligan como arreglista y músico ocasional de su Concert Jazz Band. Brookmeyer, que era un pianista lo suficientemente fuerte como para mantenerse en una cita de dos pianos con Bill Evans, ocasionalmente cambiaba al piano con Mulligan. Codirigió un quinteto a tiempo parcial con Clark Terry (1961-1966), fue miembro original de la orquesta de Thad Jones/Mel Lewis (1965-1967) y se convirtió en un ocupado músico de estudio. Brookmeyer estuvo bastante inactivo durante gran parte de los años 70, pero regresó a finales de esa década con algunos arreglos muy avanzados para la banda de Mel Lewis (de la que llegó a ser director musical durante un tiempo). Brookmeyer se trasladó a Europa, donde escribió continuamente y grabó ocasionalmente con su característico trombón de válvulas, publicando Old Friends en 1998. Un año después apareció New Works Celebration, y en 2000 publicó Together. Brookmeyer continuó actuando y publicando álbumes durante la siguiente década, a menudo trabajando con su gran banda europea The New Art Orchestra, incluyendo Waltzing with Zoe de 2002, Get Well Soon de 2004 y Spirit Music de 2007. En 2008, exploró su profundo interés por la música clásica con Music for String Quartet and Orchestra. Escribió innovadoras composiciones para big band y fue muy apreciado como profesor: sus clases en el Conservatorio de Música de Nueva Inglaterra son materia de leyenda. El 15 de diciembre de 2011, Brookmeyer murió mientras dormía en un hospital cercano a su casa en Grantham, New Hampshire; la causa fue una insuficiencia cardíaca congestiva. Falleció apenas un mes después de publicar el álbum Standards a través del sitio web ArtistShare, y a sólo tres días de cumplir 82 años.
Scott Yanow

Cory Weeds Quartet • Big Weeds

 

Seriously swinging, seriously straight-ahead jazz! A backing trio of three of the most well known jazz musicians on the scene today on an album rife with crafty originals. Full radio campaign by Lisa Reedy Promotions. Full media campaign by Cellar Live. Ads with All About Jazz and Coda.
"Alto saxophonist Cory Weeds, the show's star, took a wild ride on the band's rhythm as if it would carry him off the stage." -- Toronto Star

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Un jazz con mucho swing y muy directo. Un trío de acompañamiento formado por tres de los músicos de jazz más conocidos de la escena actual en un álbum repleto de originales ingeniosos. Campaña de radio completa por Lisa Reedy Promotions. Campaña completa en los medios de comunicación por Cellar Live. Anuncios en All About Jazz y Coda.
"El saxofonista alto Cory Weeds, la estrella del espectáculo, se dejó llevar por el ritmo de la banda como si fuera a sacarlo del escenario". -- Toronto Star


coryweeds.com ...

 

Wayne Carter And Organ Twisters • Wayne Carter And Organ Twisters

 

Wayne Carter was born 1936 where he was raised in Carol County, Tennessee he first started playing music when his family bought a piano where he would teach himself songs he heard off of the radio and by the time he was 15 he was playing and touring in various bands. by the 1960s Wayne and family moved to Illinois where he bought an A-100 Hammond Organ and started up his own band Wayne Carter & The Organ Twisters.
Only putting out a couple of 45s before being forgotten Wayne Carter & The Organ Twisters.

After a trip back from Sioux Falls, South Dakota, Wayne Carter picked up a phone book and called a local studio to arrange a cooking session of funk music. This session was at Mootrey’s studio which was a studio that made custom recordings that was owned and operated by Chet Mootrey. These recordings were Peter In Or Out, Let’s Run Away From The World, and presumably, That’s Cancer and Trock-Rock but he would later record the songs Wahoo, Wahoo, Wahoo, and Mad Mouth Woman sometime in the 70s.

The Album opens up with the song Wahoo, Wahoo, Wahoo an organ and sax funk filled song about a man who came home from work and found his wife cheating on him with another man so he sits down and cries and says they have to part. This song is filled with a fantastic saxophone and organ solo which really shines the playing of Wayne Carter and his band.

The next song Mad Mouth Woman is one of my favorites of the EP which is about a woman who won’t talk to her man anymore and keeps saying bad things about him to other people like the neighbors as stated in the song. The song has this dirty sounding guitar being played through a wah-wah pedal, a nice drum beat with matching bass playing and a nice organ solo from Wayne which really adds to the song itself.

Let’s Run Away From the World is also another favorite of mine off the EP a song about feeling free without having to worry about anything or problems that they have faced and have had in the past where they can start anew in a new place. This song really shows how great they were during this recording with excellent Organ playing, funky drums, guitar, bass and a killer backing from a brass section.

Peter In or Out is one of the recordings done with a similar fashion as Let’s Run Away From the World that highlights the sessions funkiness with all of the instruments really showing on the track but with a more gritty song which fits the tone of the track as it matches up with the lyrics to the song which is about people facing their problems and showing that they’re wrong.

That’s Cancer is a laid back type track where the people in this session were just jamming around and making it up as they were going with this track though it is not as great as the other tracks it’s really laid back and groovy which makes up for the lack of playing on it overall a good song to listen to.

The last and final song Trock Rock also just a laid back song where he is really jamming on the organ soloing throughout the whole song as the backing rhythm just plays along with it and keeps the track going along not really doing anything different throughout the song.

After the making of this session, Wayne Carter would continue playing in his band but was barred from selling his albums as he would work in supper clubs which would not allow funk music to be played as it did not fit the mood of the club making it fall into the obscure with him never selling any copies and just giving it to friends and family. He remained in the music business playing with many other acts and bands where today he plays with a group called the Dan Rivero Band.
https://lankybastards.com/2019/02/13/who-is-wayne-carter-the-organ-twisters/

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Wayne Carter nació en 1936 y se crió en el condado de Carol, Tennessee. Empezó a tocar música cuando su familia compró un piano y le enseñó las canciones que escuchaba en la radio y a los 15 años ya tocaba y hacía giras con varias bandas. En los años 60, Wayne y su familia se mudaron a Illinois, donde compró un órgano Hammond A-100 y creó su propia banda Wayne Carter & The Organ Twisters.
Solo sacaron un par de 45s antes de ser olvidados Wayne Carter & The Organ Twisters.

Después de un viaje de vuelta de Sioux Falls, Dakota del Sur, Wayne Carter cogió una guía telefónica y llamó a un estudio local para organizar una sesión de música funk. Esta sesión fue en el estudio de Mootrey, que era un estudio que hacía grabaciones a medida y que era propiedad de Chet Mootrey. Estas grabaciones fueron Peter In Or Out, Let's Run Away From The World, y presumiblemente, That's Cancer y Trock-Rock pero más tarde grabaría las canciones Wahoo, Wahoo, Wahoo, y Mad Mouth Woman en algún momento de los años 70.

El álbum se abre con la canción Wahoo, Wahoo, Wahoo, una canción llena de órgano y saxo funk sobre un hombre que llega a casa del trabajo y encuentra a su mujer engañándole con otro hombre, así que se sienta y llora y dice que tienen que separarse. Esta canción está llena de un fantástico solo de saxofón y órgano que realmente hace brillar la interpretación de Wayne Carter y su banda.

La siguiente canción Mad Mouth Woman es una de mis favoritas del EP y trata de una mujer que no quiere hablar más con su hombre y sigue diciendo cosas malas sobre él a otras personas, como los vecinos, como se dice en la canción. La canción tiene un sonido sucio de guitarra que se toca con un pedal wah-wah, un buen ritmo de batería con un bajo a juego y un buen solo de órgano de Wayne que realmente se suma a la canción.

Let's Run Away From the World es también otra de mis favoritas del EP, una canción que habla de sentirse libre sin tener que preocuparse de nada o de los problemas que han tenido en el pasado y de poder empezar de nuevo en un lugar nuevo. Esta canción muestra realmente lo bien que estaban durante esta grabación con un excelente órgano, una batería funky, una guitarra, un bajo y una sección de vientos que les da un gran apoyo.

Peter In or Out es una de las grabaciones realizadas de forma similar a Let's Run Away From the World que resalta el funk de las sesiones con todos los instrumentos que se muestran en el tema, pero con una canción más dura que encaja con el tono del tema, ya que coincide con la letra de la canción, que trata de la gente que se enfrenta a sus problemas y demuestra que están equivocados.

That's Cancer es un tema relajado en el que la gente de la sesión se dedicó a improvisar e inventar sobre la marcha. Aunque no es tan bueno como los otros temas, es realmente relajado y con mucho ritmo, lo que compensa la falta de interpretación, y en general es una buena canción para escuchar.

La última canción, Trock Rock, también es una canción relajada en la que el músico improvisa un solo de órgano a lo largo de toda la canción, mientras que el ritmo de acompañamiento se limita a seguir la pista sin hacer nada diferente a lo largo de la canción.

Después de esta sesión, Wayne Carter continuó tocando con su banda, pero no pudo vender sus álbumes porque trabajaba en clubes nocturnos que no permitían que se tocara música funk, ya que no encajaba en el ambiente del club. Siguió en el negocio de la música tocando con muchos otros actos y bandas donde hoy toca con un grupo llamado Dan Rivero Band.
https://lankybastards.com/2019/02/13/who-is-wayne-carter-the-organ-twisters/

Montefiori Cocktail • Raccolta Nº 1

Montefiori Cocktail • Raccolta N° 2

Montefiori Cocktail • Raccolta Nº 3

The duo is formed by a couple of twins who play different musical instruments: Francesco (Kekko) at keyboards and Federico (Kikko) at sax, flute and voice. The two brothers, sons of sax player Germano Montefiori, a talented 60’s and 70’s musician, before becoming Montefiori Cocktail, have worked separately. Francesco was a producer of house and breakbeat music, while Federico played sax in many bands, such as Ladri di Biciclette and Good Fellas.

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El dúo está formado por un par de gemelos que tocan diferentes instrumentos musicales: Francesco (Kekko) en los teclados y Federico (Kikko) en el saxo, flauta y voz. Los dos hermanos, hijos del saxofonista Germano Montefiori, un talentoso músico de los años 60 y 70, antes de convertirse en el cóctel Montefiori, han trabajado por separado. Francesco era productor de música house y breakbeat, mientras que Federico tocaba saxofón en muchas bandas, como Ladri di Biciclette y Good Fellas.
 

 

Antonio Carlos Jobim • Inédito

Grabado e/mayo y agosto del '87, en su propia casa.

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Recorded in May and August of '87, in his own house.

Wilf Todd And His Music, ThePeter Balding Players ‎• Colours In Rhythm Vol.1

Peter Balding:
Real Name: John Thomas Fox
Profile:
Peter Balding (born 30 April 1924, Sutton, Surrey, England - died 10 February 2015, Banstead, Surrey, England) was a pseudonym used by John Fox (2), a British composer and conductor of light music. He was a regular conductor and arranger for the BBC Symphony Orchestra on Radio 2. In 1971 he founded the John Fox Orchestra for a concert given to the 75th anniversary of George Gershwin. He also composed several pieces for piano or orchestras (often performing with his second wife, Joy Devon) and was a prolific producer of library music.

Wilf Todd:
Real Name: Wilfred Ivan Todd
Profile: ?????
Born May 16, 1928.
Died July 2017

JV's Boogaloo Squad • Squad Goals

 

 

Toronto-based keyboardist and composer Joel Visentin is a proud Winnipeg export with a passion for the Hammond B3 organ. Originally a pianist, the organ first grabbed him while studying music at Humber College. In 2015 he joined up with the unparalleled guitarist Adam Beer-Colacino and veteran Toronto drummer Jeff Halischuk to form the group of his dreams, JV’s Boogaloo Squad.  The musical connection was electric, and all three musicians immediately recognized that they had stumbled on something greater than the sum of its parts.  They have since worked their way up through the national club circuit, recently headlining at major jazz festivals throughout Ontario and Québec including Toronto's International Jazz Festival in 2018. In the short time since the release of their 2019 album, "Going to Market", JV's Boogaloo Squad has reached #6 on US Campus Jazz Radio charts as well as number #29 on JazzWeek's chart for US commercial Radio. Brad Barker of Jazz FM 91 has even named this project one of three "new jazz albums from 2019 that you need to hear".  This group has truly crafted a unique and soulful sound that is both thrilling on impact and deeply evocative of a timeless musical nostalgia.  With an extensive repertoire combining original music and soul hits, along with a palatable energy on stage, a show with JV's Boogaloo squad is guaranteed to have audiences dancing on their feet and calling out for more. 

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Joel Visentin, teclista y compositor afincado en Toronto, es un orgulloso exportador de Winnipeg apasionado por el órgano Hammond B3. Originalmente pianista, el órgano le atrajo por primera vez mientras estudiaba música en el Humber College. En 2015 se unió al inigualable guitarrista Adam Beer-Colacino y al veterano baterista de Toronto Jeff Halischuk para formar el grupo de sus sueños, JV's Boogaloo Squad.  La conexión musical fue eléctrica, y los tres músicos reconocieron inmediatamente que habían tropezado con algo más grande que la suma de sus partes.  Desde entonces, se han abierto camino en el circuito nacional de clubes, siendo recientemente cabezas de cartel en los principales festivales de jazz de Ontario y Québec, incluido el Festival Internacional de Jazz de Toronto en 2018. En el poco tiempo transcurrido desde el lanzamiento de su álbum de 2019, "Going to Market", JV's Boogaloo Squad ha alcanzado el número 6 en las listas de US Campus Jazz Radio, así como el número 29 en la lista de JazzWeek para la radio comercial estadounidense. Brad Barker de Jazz FM 91 incluso ha nombrado este proyecto como uno de los tres "nuevos álbumes de jazz de 2019 que tienes que escuchar".  Este grupo ha creado realmente un sonido único y conmovedor que es a la vez emocionante en el impacto y profundamente evocador de una nostalgia musical atemporal.  Con un amplio repertorio que combina música original y éxitos del soul, junto con una energía palpable en el escenario, un espectáculo con JV's Boogaloo squad garantiza que el público bailará de pie y pedirá más. 

 

www.jvsboogaloo.com ...

Giant Steps Bebop and the Creators of Modern Jazz, 1945-65

 

Giant Steps examines the most important figures in the creation of modern jazz, detailing the emergence of bebop through the likes of Dizzy Gillespie, Charlie Parker, Fats Navarro, Bud Powell, and Thelonious Monk. Using this as its starting point, the book subsequently delves into the developments of jazz composition, modal jazz, and free jazz. The music of each of these great masters is examined in detail and will provide both a fine introduction for the large audience newly attracted to the music but unsure of their direction through it, as well as an entertaining and informative read for those with a more substantial background.

 

www.amazon.com ...

 

Japanese emblems and designs • Walter Amstutz

Plas Johnson & Red Holloway • Keep That Groove Going

 

Plas Johnson's playing has a place on almost every American's mental hard drive, even if you don't know his name (he was the piccolo player on Bobby Day's "Rockin' Robin," the tenor sax on The Pink Panther and The Odd Couple themes, etc.). Red Holloway has a higher profile in the jazz world, but like Johnson, chose to confine himself mostly to Los Angeles. Together, in their seventies, they journeyed out to Rudy Van Gelder's studio in New Jersey to match wits on another Bob Porter-produced soul-jazz cooker, effortlessly suggesting tenor battles of the past. They are a most compatible duo, with Johnson displaying a slightly lighter, more overt rhythm & blues tinge, and their sure-footed note selection makes them a pleasure to hear. The battle royal reaches a peak on Arnett Cobb's fortuitously titled "Go Red Go," fading on one ecstatic, repeated, unison, A flat note. There are also solo ballad tracks for each player, where Holloway reaches deep down into warm, majestic Illinois Jacquet/Gene Ammons territory in "Serenade in Blue" and Johnson opens up his lower-register timbre on "Cry Me a River." The rhythm section virtually defines this idiom, with down-home veterans like guitarist Melvin Sparks (who offers killer obbligatos in "Pass the Gravy"), Hammond organist Gene Ludwig, and drummer Kenny Washington keeping the pot boiling. Also, the 24-bit sound that Van Gelder was getting in 2001 projects everything with an oomph and clarity that is astounding even for this master engineer.

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La forma de tocar de Plas Johnson ocupa un lugar en el disco duro mental de casi todos los estadounidenses, aunque no se conozca su nombre (fue el flautín de "Rockin' Robin" de Bobby Day, el saxo tenor de los temas de La Pantera Rosa y La extraña pareja, etc.). Red Holloway tiene un perfil más alto en el mundo del jazz, pero al igual que Johnson, optó por limitarse principalmente a Los Ángeles. Juntos, a sus setenta años, viajaron al estudio de Rudy Van Gelder en Nueva Jersey para coincidir en otra cocina de soul-jazz producida por Bob Porter, sugiriendo sin esfuerzo las batallas de tenores del pasado. Son un dúo muy compatible, con Johnson mostrando un tinte ligeramente más ligero y más evidente de rhythm & blues, y su segura selección de notas hace que sea un placer escucharlos. La batalla real alcanza su punto álgido en "Go Red Go", de Arnett Cobb, titulada fortuitamente, y que se desvanece con una nota de La bemol, repetida y extática. También hay temas de baladas en solitario para cada intérprete, en los que Holloway se adentra en el cálido y majestuoso territorio de Illinois Jacquet/Gene Ammons en "Serenade in Blue" y Johnson abre su timbre de registro inferior en "Cry Me a River". La sección rítmica prácticamente define este lenguaje, con veteranos como el guitarrista Melvin Sparks (que ofrece obbligatos asesinos en "Pass the Gravy"), el organista Hammond Gene Ludwig y el baterista Kenny Washington manteniendo la olla en ebullición. Además, el sonido de 24 bits que Van Gelder conseguía en 2001 lo proyecta todo con una oomph y una claridad que resulta asombrosa incluso para este maestro de la ingeniería.