Suggested video: Thelonious Monk - Live in Amiens 1966

 

A great footage, despite some audio wow and flutter:
00:00 Blue Monk - 12:10 Crepuscule With Nellie - 14:44 Rhythm-A-Ning - 25:31 Hackensack - 36:08 Epistrophy - 38:20 Evidence - 51:51 I'm Getting Sentimental Over You - 1:08:18 Round Midnight - 1:13:45 Epistrophy

Personnel:
Thelonious Monk (p) Charlie Rouse (ts) Larry Gales (b) Ben Riley (d), Maison de la Culture, Amiens, France, March 23, 1966

YT:    Eifila

Red Garland • Satin Doll

Howard Rumsey's Lighthouse All-Stars • Music For Lighthousekeeping

 

Biography
by Scott Yanow
Although a good enough bassist to play with Stan Kenton's big band, Howard Rumsey's main importance was as the organizer of the Lighthouse All-Stars and manager of the Lighthouse. Originally a drummer, Rumsey switched to bass while at college. He played with Vido Musso in the late '30s, and when Stan Kenton formed his first band in 1941, Rumsey became its bassist. A year later he started freelancing in the Los Angeles area. In 1949 Rumsey brought jazz into the Lighthouse in Hermosa Beach, CA. Within a few years the jam sessions featured some of the top jazz-oriented studio players in the area and the bassist was heading "the Lighthouse All-Stars," which recorded frequently for Contemporary in the 1950s, starring such players as Shorty Rogers, Jimmy Giuffre, Bob Cooper, Bud Shank, and Bill Perkins. In the 1960s, Rumsey quit playing to devote full-time to running the Lighthouse and, after he sold the establishment, for a time he ran the nearby club Concerts by the Sea.
https://www.allmusic.com/artist/howard-rumsey-mn0000277201/biography

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Biografía
por Scott Yanow
Aunque era un bajista lo suficientemente bueno como para tocar con la big band de Stan Kenton, la principal importancia de Howard Rumsey fue la de organizador de los Lighthouse All-Stars y gerente del Lighthouse. Originalmente un baterista, Rumsey se cambió al bajo mientras estaba en la universidad. Tocó con Vido Musso a finales de los años 30, y cuando Stan Kenton formó su primera banda en 1941, Rumsey se convirtió en su bajista. Un año más tarde empezó a trabajar por libre en la zona de Los Ángeles. En 1949 Rumsey llevó el jazz al Lighthouse de Hermosa Beach, California. En pocos años, las sesiones de improvisación contaban con algunos de los mejores músicos de estudio orientados al jazz de la zona y el bajista dirigía "los Lighthouse All-Stars", que grabaron con frecuencia para Contemporary en la década de 1950, con músicos como Shorty Rogers, Jimmy Giuffre, Bob Cooper, Bud Shank y Bill Perkins. En la década de 1960, Rumsey dejó de tocar para dedicarse a tiempo completo a dirigir el Lighthouse y, tras vender el establecimiento, durante un tiempo dirigió el club cercano Concerts by the Sea.
https://www.allmusic.com/artist/howard-rumsey-mn0000277201/biography

The Mike Cotton Sound • The Mike Cotton Sound

 

Biography
by Bruce Eder
In more than decade of activity from 1960 until 1971, the Mike Cotton Sound transformed themselves and their sound several times, starting out playing trad jazz (i.e., Dixieland jazz), switching to rock & roll and blues, then remaking themselves in the vein of Stax/Volt type soul, and finally ending up as a progressive soul band backing R&B/jazz veteran Zoot Money. In all of that time, ironically, the group only enjoyed one hit, "Swing That Hammer," a minor chart entry in England during 1963. That small statistic, however, is deceptive as a measure of the Mike Cotton Sound's influence and success. They were, for much of the '60s, one of the busiest bands in England, playing club dates of their own and also backing such visiting American performers as Solomon Burke, Stevie Wonder, the Four Tops, and Gene Pitney, and playing sessions behind other popular performers -- and more than a decade after the group's one hit, they were playing sessions with the Kinks. Additionally, members of the Mike Cotton Sound went on to play key roles in such outfits as the Animals and Argent.

Mike Cotton had played trumpet in various trad jazz bands in the late '50s, and in 1960 he formed a group of his own with members of the Peter Ridge Band, who broke up that year. Their sound was pure Dixieland, with John Beecham playing trombone, Gerry Williams on the clarinet, Stu Morrison on banjo, Jeff King playing bass, Jimmy Garforth at the drums, and Maureen Parfitt (known as Little Mo) singing. Parfitt exited the Mike Cotton Jazzmen, as they were then known, after a one-month series of gigs at Germany's Storyville club and was succeeded by Jeanie Lambe, who lasted a year. The group lucked out by inheriting a recording contract originally signed by the Pete Ridge band with producer Dennis Preston and his Lansdowne studio which, in turn, had a licensing agreement with EMI-Columbia.

The group got an amazing amount of work, playing as many as 300 gigs a year, primarily in clubs in the north of England, where they were best known. They also became veritable fixtures in live appearances on the radio and did their share of television performances as well. And they were sufficiently respected and successful to rate a performance onscreen in the 1962 dramatic film The Wild and the Willing, shot in the spring of that year.

The group also saw the first of a dizzying series of lineup changes in 1962, so they were a very different band by the time the movie opened in October of that year. Gerry Williams exited in early 1962 to be replaced by Nottingham-born John Crocker, and Derek Tearle took over on bass soon after, although he was replaced by Conway Smith following a serious road accident. Dave Rowberry was added to the lineup on piano in the summer of 1962.

The group's sound evolved gradually during this period, as the audience for trad jazz gradually disappeared. By 1963, it was becoming plain that they needed something to boost their audience. The number 30 status of "Swing That Hammer" was a last gasp for trad jazz in a musical environment that was shifting radically. The arrival of the Beatles at the top of the charts with "Please Please Me" spearheaded an explosion of chart activity by rock & roll groups of all stripes, and heralded the end of the trad jazz boom. In response, the Mike Cotton Jazzmen shifted their sound and emphasis, adding more rock & roll and R&B in their repertory. They also changed their name, first to the Mike Cotton Band and then to the Mike Cotton Sound.

They got their first chance to show off their new sound in the wake of "Swing That Hammer" with their self-titled debut LP, which included covers of material by Bo Diddley and the Bill Black Combo. It was only a transitional work, being a little too jazzy for the rock audience that the group hoped might hear it, and didn't sell in serious numbers, but it opened up new musical territory and venues for the group. The result was a series of shows and tours backing the likes of Stevie Wonder, the Four Tops, Solomon Burke, Sugar Pie DeSanto, Sonny Boy Williamson II, and Gene Pitney, among others, and the group performed on bills alongside Tom Jones and Dusty Springfield, even participating in informal jams and performances with them.

The group parted company with Preston in an effort to completely reinvent their sound, abandoning their jazz roots in favor of a headfirst plunge into R&B. By 1964, concerts by the group featured their versions of songs by Jimmy Reed, Muddy Waters, and Howlin' Wolf, a repertory at which they came to excell. More lineup changes accompanied this transformation, as Stu Morrison (who later joined Chris Barber's jazz band) gave up the banjo for the bass and, with Cotton, handled the vocals; Dave Rowberry switched from the piano to the Vox organ, and exited the group in 1965 to join the Animals as the successor to Alan Price; among the musicians who auditioned (and were rejected) for his spot were Reginald Dwight (aka Elton John) and Joe Cocker, before Eric Delaney, later of the progressive jazz/rock outfit Sky, became their keyboard player. Jimmy Garforth left the music business in 1966 and was succeeded by Bernie Byrnes, late of the Mindbenders, and Morrison was later succeeded by Jim Rodford.

The Mike Cotton Sound were signed to Polydor in 1965 and cut a very respectable single of "Harlem Shuffle," which was as clear a sign as any of the changes that had taken place. By then, they'd transformed their sound once more, away from Chicago-style blues and R&B into more of a Stax/Volt vein, facilitated in part by the arrival in the group's lineup of an American vocalist. Lucas (aka Bruce MacPherson Lucas), born in Cleveland, OH, was a former GI living in England. His presence helped boost the band's credibility as a soul-based performing unit.

They were also lucky enough to sign with Pye Records and find a producer in Mike Raven, who could help them come up with a commercial sound on their records. "Soul Serenade" b/w "We've Got a Thing Going, Baby" rose to the Top 30 on the British R&B charts, but they were never able to follow it up properly. Meanwhile, ex-Cheynes and future Camel leader Pete Bardens passed through the lineup, as did Derek Griffiths, formerly of the Artwoods, on guitar, and Rodford exited in 1969 to link up with Rod Argent, a relative, in the formation of Argent.

The group held together long enough, however, to be engaged by Apple Records as the backing band on Mary Hopkin's Postcard album. Music was continuing to change with the roster of musicians, and another name change seemed in order. The Mike Cotton Sound became Satisfaction, and got to record an album in a more progressive vein for England's Decca Records, which attracted little notice. By 1971, after a brief hookup with Zoot Money, the group finally split up, although Mike Cotton and his fellow brassmen from the band were recruited by the Kinks for some notable mid-'70s recording sessions.

In the years since, most of the members have remained active in music in some respect. Cotton has remained active as a session musician, and in the '90s played with the 100 Club All-Stars, while Rodford and Griffiths continued to play soul music, and Mick Moody, of one of the last lineups, moved into heavy metal and has been involved with the group Whitesnake. The Mike Cotton Sound's name periodically surfaces in more thorough histories of the British trad jazz and beat booms, and is often mentioned obliquely in histories of the Animals, thanks to Dave Rowberry's presence in both groups and his continued musical activity.
https://www.allmusic.com/artist/the-mike-cotton-sound-mn0000112415

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Biografía
por Bruce Eder
En más de una década de actividad, desde 1960 hasta 1971, Mike Cotton Sound se transformó a sí mismo y a su sonido varias veces, comenzando a tocar jazz tradicional (es decir, jazz Dixieland), pasando por el rock & roll y el blues, luego rehaciéndose en la vena del soul tipo Stax/Volt, y finalmente terminando como una banda de soul progresivo que respaldaba al veterano del R&B/jazz Zoot Money. En todo ese tiempo, irónicamente, el grupo sólo tuvo un éxito, "Swing That Hammer", una entrada menor en las listas de Inglaterra durante 1963. Esta pequeña estadística, sin embargo, es engañosa como medida de la influencia y el éxito del Mike Cotton Sound. Durante gran parte de los años 60, fueron una de las bandas más activas de Inglaterra, tocando en sus propios clubes y acompañando a artistas estadounidenses como Solomon Burke, Stevie Wonder, los Four Tops y Gene Pitney, y tocando en sesiones con otros artistas populares, y más de una década después del único éxito del grupo, estaban tocando en sesiones con los Kinks. Además, los miembros del Mike Cotton Sound llegaron a desempeñar papeles clave en grupos como los Animals y Argent.

Mike Cotton había tocado la trompeta en varias bandas de jazz tradicional a finales de los 50, y en 1960 formó un grupo propio con miembros de la Peter Ridge Band, que se disolvió ese mismo año. Su sonido era puro Dixieland, con John Beecham tocando el trombón, Gerry Williams en el clarinete, Stu Morrison en el banjo, Jeff King tocando el bajo, Jimmy Garforth en la batería y Maureen Parfitt (conocida como Little Mo) cantando. Parfitt abandonó a los Mike Cotton Jazzmen, como se les conocía entonces, tras una serie de actuaciones de un mes en el club Storyville de Alemania, y le sucedió Jeanie Lambe, que duró un año. El grupo tuvo suerte al heredar un contrato de grabación firmado originalmente por la banda de Pete Ridge con el productor Dennis Preston y su estudio Lansdowne que, a su vez, tenía un acuerdo de licencia con EMI-Columbia.

El grupo consiguió una cantidad asombrosa de trabajo, tocando hasta 300 conciertos al año, principalmente en clubes del norte de Inglaterra, donde eran más conocidos. También se convirtieron en auténticos fijos en las apariciones en directo en la radio y también hicieron su parte de actuaciones en televisión. Y fueron lo suficientemente respetados y exitosos como para que se les incluyera en la pantalla en la película dramática de 1962 The Wild and the Willing, rodada en la primavera de ese año.

El grupo también experimentó el primero de una vertiginosa serie de cambios de formación en 1962, por lo que eran una banda muy diferente cuando se estrenó la película en octubre de ese año. Gerry Williams salió a principios de 1962 para ser sustituido por John Crocker, nacido en Nottingham, y Derek Tearle tomó el relevo en el bajo poco después, aunque fue sustituido por Conway Smith tras un grave accidente de tráfico. Dave Rowberry se incorporó a la formación al piano en el verano de 1962.

El sonido del grupo evolucionó gradualmente durante este periodo, ya que el público del jazz tradicional fue desapareciendo. En 1963, era evidente que necesitaban algo para aumentar su audiencia. El número 30 de "Swing That Hammer" fue el último aliento para el jazz tradicional en un entorno musical que estaba cambiando radicalmente. La llegada de los Beatles a la cima de las listas con "Please Please Me" encabezó una explosión de actividad en las listas de grupos de rock & roll de todo tipo, y anunció el fin del boom del jazz tradicional. En respuesta, los Mike Cotton Jazzmen cambiaron su sonido y énfasis, añadiendo más rock & roll y R&B en su repertorio. También cambiaron su nombre, primero a Mike Cotton Band y luego a Mike Cotton Sound.

Tuvieron la primera oportunidad de mostrar su nuevo sonido a raíz de "Swing That Hammer" con su primer LP autotitulado, que incluía versiones de material de Bo Diddley y del Bill Black Combo. Sólo fue un trabajo de transición, un poco demasiado jazzístico para el público rockero que el grupo esperaba que lo escuchara, y no se vendió en cantidades importantes, pero abrió un nuevo territorio musical y lugares para el grupo. El resultado fue una serie de espectáculos y giras en las que acompañaron a artistas de la talla de Stevie Wonder, los Four Tops, Solomon Burke, Sugar Pie DeSanto, Sonny Boy Williamson II y Gene Pitney, entre otros, y el grupo actuó en proyectos junto a Tom Jones y Dusty Springfield, participando incluso en jams y actuaciones informales con ellos.

El grupo se separó de Preston en un esfuerzo por reinventar por completo su sonido, abandonando sus raíces jazzísticas para sumergirse de lleno en el R&B. En 1964, los conciertos del grupo incluían sus versiones de canciones de Jimmy Reed, Muddy Waters y Howlin' Wolf, un repertorio en el que llegaron a destacar. Esta transformación fue acompañada de más cambios en la formación, ya que Stu Morrison (que luego se unió a la banda de jazz de Chris Barber) dejó el banjo por el bajo y, junto con Cotton, se encargó de la voz; Dave Rowberry cambió el piano por el órgano Vox, y salió del grupo en 1965 para unirse a los Animals como sucesor de Alan Price; entre los músicos que hicieron una prueba (y fueron rechazados) para su puesto estaban Reginald Dwight (alias Elton John) y Joe Cocker, antes de que Eric Delaney, más tarde del conjunto de jazz/rock progresivo Sky, se convirtiera en su teclista. Jimmy Garforth dejó el negocio de la música en 1966 y fue sucedido por Bernie Byrnes, último de los Mindbenders, y Morrison fue sucedido más tarde por Jim Rodford.

Los Mike Cotton Sound firmaron con Polydor en 1965 y grabaron un single muy respetable, "Harlem Shuffle", que era una señal tan clara como cualquier otra de los cambios que se habían producido. Para entonces, habían transformado su sonido una vez más, alejándose del blues y el R&B al estilo de Chicago y acercándose más a la vena Stax/Volt, facilitado en parte por la llegada a la formación del grupo de un vocalista estadounidense. Lucas (alias Bruce MacPherson Lucas), nacido en Cleveland, OH, era un antiguo soldado que vivía en Inglaterra. Su presencia contribuyó a aumentar la credibilidad de la banda como unidad de actuación basada en el soul.

También tuvieron la suerte de firmar con Pye Records y encontrar un productor en Mike Raven, que les ayudó a conseguir un sonido comercial en sus discos. "Soul Serenade" b/w "We've Got a Thing Going, Baby" llegó al Top 30 de las listas británicas de R&B, pero nunca fueron capaces de seguirlo adecuadamente. Mientras tanto, el ex-Cheynes y futuro líder de Camel, Pete Bardens, pasó por la formación, al igual que Derek Griffiths, anteriormente de los Artwood, a la guitarra, y Rodford salió en 1969 para unirse a Rod Argent, un pariente, en la formación de Argent.

Sin embargo, el grupo aguantó lo suficiente como para que Apple Records lo contratara como banda de acompañamiento en el álbum Postcard de Mary Hopkin. La música seguía cambiando con la lista de músicos, y parecía necesario otro cambio de nombre. The Mike Cotton Sound se convirtió en Satisfaction, y llegó a grabar un álbum en una vena más progresiva para la inglesa Decca Records, que atrajo poca atención. En 1971, tras una breve colaboración con Zoot Money, el grupo se separó finalmente, aunque Mike Cotton y sus compañeros de la banda fueron reclutados por los Kinks para algunas sesiones de grabación notables a mediados de los 70.

Desde entonces, la mayoría de los miembros han seguido activos en la música en algún aspecto. Cotton se ha mantenido activo como músico de sesión, y en los 90 tocó con los 100 Club All-Stars, mientras que Rodford y Griffiths siguieron tocando música soul, y Mick Moody, de una de las últimas formaciones, se pasó al heavy metal y ha participado en el grupo Whitesnake. El nombre de Mike Cotton Sound aflora periódicamente en historias más minuciosas de los booms británicos del trad jazz y el beat, y a menudo se menciona de forma oblicua en las historias de los Animals, gracias a la presencia de Dave Rowberry en ambos grupos y a su continua actividad musical.
https://www.allmusic.com/artist/the-mike-cotton-sound-mn0000112415

Nigel Price Organ Trio • Wes Reimagined

 

 

nigethejazzer.com ...

Colaborador / Contributor:  Mich58

Earl Grant • Ebb Tide And Other Instrumental Favorites

Buddy DeFranco & Oscar Peterson • Play George Gershwin

Barry White • Ultimate Collection

 

www.barrywhiteofficial.com ...

 

 

Los Admiradores • Bongos, Flutes, Guitars

 

Easy Listening combo from New York, directed by Enoch Light.

Lars Gullin • Lars Gullin - 1955-56 with Chet Baker, Vol 1

Saxo barítono de origen sueco, nos brinda uno de sus discos asociado en un par de temas con Chet Baker.

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Swedish-born baritone sax, gives us one of his records associated in a couple of songs with Chet Baker.

Review by Scott Yanow
Improving upon the original LP in Dragon's Lars Gullin series by adding an additional four-song session, this CD features the legendary Swedish baritonist with four different groups from the 1955-1956 period, ranging from a quartet to an octet and featuring trumpeter Chet Baker on four numbers. Throughout, Gullin is heard in prime form, stretching out on his most famous original ("Danny's Dream"), featuring the cool-toned clarinet of Arne Domnerus on "Ma," and holding his own with Baker's quartet. Highly recommended. 

 

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Reseña de Scott Yanow
Mejorando el LP original de la serie Lars Gullin de Dragon añadiendo una sesión adicional de cuatro canciones, este CD presenta al legendario baritonista sueco con cuatro grupos diferentes del período 1955-1956, que van desde un cuarteto a un octeto y que incluyen al trompetista Chet Baker en cuatro números. En todo momento, se escucha a Gullin en plena forma, estirándose en su original más famoso ("Danny's Dream"), con el clarinete de tono fresco de Arne Domnerus en "Ma", y manteniéndose con el cuarteto de Baker. Muy recomendable.
 

Baden Powell • A Vontade

Brazilian guitarist and composer Baden Powell successfully radicalised and revolutionised Brazilian music when his album 'Baden Powell A Vontade' was first released in 1964.

Powell and his songwriting partner, the celebrated Brazilian poet and diplomat Vinicius de Moraes launched with this album a new style known as Afro-Bossa, which connected Bossa Nova, Jazz and the heavyweight Afro-Brazilian rhythms of north-east Brazil to stunning effect.
After succeeding in launching the bossa nova movement with his fellow composer Tom Jobim and singer Joao Gilberto, the poet and diplomat, Vinicius de Moraes, this time in partnership with the genius young guitarist Powell, looked deep into Afro-Brazilian culture for his inspiration.
This resulted in a set of classic new songs such as Berimbau, Candomblé and Consoloçao all of which featured on the album Baden Powell a Vontade for the first time.

These songs became standards in Brazilian music almost overnight (and remain so today) having been covered by everyone from Elis Regina, Edu Lobo, Nara Leao, Sergio Mendes and many 100s more.

This album was the debut Baden Powell release on the super cool Elenco Records, an independent label in Rio de Janeiro set by Aloysio de Oliveira,  that was at the forefront of the Bossa Nova scene throughout the early 1960s. Elenco Records released many stunning albums by Powell, Sergio Mendes, Tom Jobim, Nara Leao, Vinicius de Moraes and other legends of Brazilian music.

Baden Powell A Vontade features the iconic, stark and stunning artwork of the designer Cesar G Villesa, whose classic minimal black, white and red designs helped define the style of Bossa Nova throughout the world and for generations to come.

https://soundsoftheuniverse.com/sjr/product/baden-powell-a-vontade-1964

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Traducción Automática:

 El guitarrista y compositor brasileño Baden Powell radicalizó y revolucionó exitosamente la música brasileña cuando su álbum 'Baden Powell A Vontade' fue lanzado por primera vez en 1964.Powell y su compañero compositor, el célebre poeta y diplomático brasileño Vinicius de Moraes, lanzaron con este álbum un nuevo estilo conocido como Afro-Bossa, que conectó Bossa Nova, Jazz y los ritmos pesados ​​afro-brasileños del noreste de Brasil con un efecto sorprendente.Después de haber logrado lanzar el movimiento bossa nova con su compañero compositor Tom Jobim y la cantante Joao Gilberto, el poeta y diplomático Vinicius de Moraes, esta vez en asociación con el genio joven guitarrista Powell, buscó profundamente en la cultura afrobrasileña para su inspiración.Esto dio lugar a un conjunto de nuevas canciones clásicas como Berimbau, Candomblé y Consoloçao, todas las cuales aparecieron en el álbum Baden Powell a Vontade por primera vez.Estas canciones se convirtieron en estándares en la música brasileña casi de la noche a la mañana (y siguen siéndolo hoy) al haber sido cubiertas por todos, desde Elis Regina, Edu Lobo, Nara Leao, Sergio Mendes y muchos más.Este álbum fue el lanzamiento debut de Baden Powell en el super cool Elenco Records, un sello independiente en Río de Janeiro establecido por Aloysio de Oliveira, que estuvo a la vanguardia de la escena Bossa Nova a principios de los años sesenta. Elenco Records lanzó muchos álbumes impresionantes de Powell, Sergio Mendes, Tom Jobim, Nara Leao, Vinicius de Moraes y otras leyendas de la música brasileña.Baden Powell A Vontade presenta la icónica, austera e impresionante obra de arte del diseñador Cesar G Villesa, cuyos diseños clásicos en negro, blanco y rojo minimalistas ayudaron a definir el estilo de Bossa Nova en todo el mundo y para las generaciones futuras.

https://soundsoftheuniverse.com/sjr/product/baden-powell-a-vontade-1964

Arthur Lyman • Today's Greatest Hits

Dave Stephens • Organ Fascination

 

While sitting at his Grandmother’s piano at the tender age of nine, Dave began running his fingers up and down the keyboard.  At that time his favorite tune was “Heart and Soul”.  Soon he realized he could pick out that song on the piano.  To his delight, he began to play other favorites.  Then, by adding chords and tempo, he could make songs sound like they should.  Thus began a lifetime love affair with music.  In High School he formed a Rock-n-Roll band, named it “The Teen Beats”, and became its arranger.  When college came along he was an announcer for St. Louis University’s radio station, KBIL (Voice of the Billikens).  He’d play music whenever and wherever he could.  Among his hobbies of music, motorcycles, classic cars, boating, and piloting aircraft, music was always his first love.  Today his self-trained musical ability has landed him positions as organist at the Wurlitzers of the Fabulous Fox Theatre in St. Louis, Missouri, and organist at the Lincoln theatre in Belleville, Illinois. 

http://sltos.org/artists/dave-stephens/

 

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Mientras estaba sentado al piano de su abuela, a la tierna edad de nueve años, Dave empezó a pasar sus dedos por el teclado.  En ese momento su melodía favorita era "Heart and Soul".  Pronto se dio cuenta de que podía tocar esa canción en el piano.  Para su deleite, empezó a tocar otras favoritas.  Entonces, añadiendo acordes y tempo, pudo hacer que las canciones sonaran como debían.  Así comenzó una historia de amor con la música que duró toda la vida.  En el instituto formó un grupo de Rock-n-Roll, al que llamó "The Teen Beats", y se convirtió en su arreglista.  Cuando llegó la universidad fue locutor de la emisora de radio de la Universidad de San Luis, KBIL (Voz de los Billikens).  Ponía música cuando y donde podía.  Entre sus aficiones musicales, las motos, los coches clásicos, la navegación y el pilotaje de aviones, la música fue siempre su primer amor.  En la actualidad, su habilidad musical autodidacta le ha valido puestos como organista de los Wurlitzers del Fabuloso Teatro Fox de St. Louis, Missouri, y organista del teatro Lincoln de Belleville, Illinois.

http://sltos.org/artists/dave-stephens/

Suggested video: Sonny Rollins live 65' 68' - Jazz Icons

 

Live in Denmark, from the Jazz Icons DVD series

Denmark 1965
00:00 There will never be another you
11:27 St. Thomas
23:58 I Can’t Get Started (intro) / Oleo / Sonnymoon for two
45:08 Darn that dream
47:31 Three Little Words
.
Denmark 1968
54:55 On green dolphin street
1:06:09 St. Thomas
1:16:35 Four

1965 set:
Sonny Rollins - sax
Niels Henning Ørsted Pedersen - bass
Alan Dawson - drums

1968 set:
Sonny Rollins - sax
Niels Henning Ørsted Pedersen - bass
Kenny Drew - piano
Tootie Heath  - drums

YT:   Terminal Passage

Jonah Jones • Jazz Bonus

 

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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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 Capitol 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

Sonny Boy Williamson • The Blues Of Sonny Boy Williamson

 

Sonny Boy Williamson represented a powerful and direct link to the source of the blues. His wildly expressive harmonica playing echoed the hollers, shouts, howls and whispers of the slaves who so often had little more than their own voices with which to express their responses to being in captivity. The welcome reissue of this album offers a rich example of Sonny Boy’s range of musical emotion, from rage through tenderness to sometimes unexpected humour.

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Sonny Boy Williamson representaba un vínculo poderoso y directo con el origen del blues. Su expresiva forma de tocar la armónica se hacía eco de los gritos, chillidos, aullidos y susurros de los esclavos, que a menudo no tenían más que sus propias voces para expresar sus reacciones ante el cautiverio. La reedición de este álbum ofrece un rico ejemplo de la gama de emociones musicales de Sonny Boy, desde la rabia, pasando por la ternura, hasta un humor a veces inesperado.


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Vinnie Burke's String Jazz Quartet • Vinnie Burke's String Jazz Quartet

 

Burke played violin and guitar early in life, but he lost the use of his little finger in a munitions factory accident and switched to double bass. In the second half of the 1940s he played with Joe Mooney, Tony Scott, and Cy Coleman. Later, he played with the Sauter-Finegan Orchestra, Tal Farlow, Marian McPartland, Don Elliott, Vic Dickenson, Gil Mellé, Bucky Pizzarelli, John Mehegan, Chris Connor, Eddie Costa, and Bobby Hackett. He led his own band in 1956 and led small combos into the 1980s.
https://en.wikipedia.org/wiki/Vinnie_Burke

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Burke tocaba el violín y la guitarra al principio de su vida, pero perdió el uso del dedo meñique en un accidente en una fábrica de municiones y se pasó al contrabajo. En la segunda mitad de la década de 1940 tocó con Joe Mooney, Tony Scott y Cy Coleman. Más tarde, tocó con la Orquesta Sauter-Finegan, Tal Farlow, Marian McPartland, Don Elliott, Vic Dickenson, Gil Mellé, Bucky Pizzarelli, John Mehegan, Chris Connor, Eddie Costa y Bobby Hackett. Dirigió su propia banda en 1956 y dirigió pequeños combos hasta la década de 1980.
https://en.wikipedia.org/wiki/Vinnie_Burke

Zoot Sims • Recorded Live At E.J's

 

The music on this CD (69 min./10 tunes) has never been released before. The music was recorded live in a nightclub in Atlanta, Ga., in 1981, and features Zoot Sims with a top local rhythm section lead by pianist Yancey Korosi; local tenor sax-player Rick Bell sits in on the last three numbers Sims plays in an easy-swinging, mainstream jazz style, heavily influenced by Lester Young. The repertoire consists of tasty and tasteful standards, including tunes by Dizzy Gillespie, Duke Ellington, Fats Waller and Harold Arlen. As always, Zoot Sims uses his beautiful tone and lots of melody to tell his story, rather than firing off endless notes and runs. Mostly known for his tenor sax-playing, Sims also shows his fluency and warmth on soprano sax, for example on an up-tempo version of ”Softly, As in a Morning Sunrise”. Zoot Sims beautiful, warm tone and perfect phrasing stem from his major influence, Lester Young.

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La música de este CD (69 min./10 temas) no se ha publicado nunca antes. La música se grabó en directo en un club nocturno de Atlanta, Georgia, en 1981, y presenta a Zoot Sims con una sección rítmica local de primer orden, liderada por el pianista Yancey Korosi; el saxo tenor local Rick Bell interviene en los tres últimos números que Sims interpreta en un estilo de jazz fácil y corriente, muy influenciado por Lester Young. El repertorio se compone de sabrosos estándares, incluyendo temas de Dizzy Gillespie, Duke Ellington, Fats Waller y Harold Arlen. Como siempre, Zoot Sims utiliza su hermoso tono y mucha melodía para contar su historia, en lugar de disparar interminables notas y carreras. Conocido sobre todo por su forma de tocar el saxo tenor, Sims también muestra su fluidez y calidez con el saxo soprano, por ejemplo en una versión a ritmo de "Softly, As in a Morning Sunrise". El bello y cálido tono de Zoot Sims y su perfecto fraseo provienen de su mayor influencia, Lester Young.


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John Graas • Jazz Studio Two

 

Biography
by Scott Yanow
Along with Julius Watkins, John Graas was one of the first jazz French horn soloists. After playing some classical music, in 1942 he became a member of the Claude Thornhill Orchestra. A period in the Army (1942-1945) and stints with the Cleveland Orchestra and Tex Beneke's big band preceded Graas' first high-profile gig, playing with Stan Kenton's Innovations Orchestra (1950-1951). After leaving Kenton, he settled in Los Angeles and worked as a studio musician in addition to being used on West Coast jazz dates by Shorty Rogers and others. Graas, an excellent composer who sought to combine together jazz and classical music (predating the third stream movement), recorded fairly regularly as a leader during 1953-1958, sessions that (with the exception of one V.S.O.P. release) have not been reissued. He died of a heart attack at the age of 45.
https://www.allmusic.com/artist/john-graas-mn0000219637/biography

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Biografía
por Scott Yanow
Junto con Julius Watkins, John Graas fue uno de los primeros solistas de trompa de jazz. Tras tocar algo de música clásica, en 1942 pasó a formar parte de la Orquesta de Claude Thornhill. Tras un periodo en el ejército (1942-1945) y una serie de colaboraciones con la Orquesta de Cleveland y la big band de Tex Beneke, Graas tuvo su primera actuación destacada en la Innovations Orchestra de Stan Kenton (1950-1951). Tras dejar a Kenton, se instaló en Los Ángeles y trabajó como músico de estudio, además de ser utilizado en fechas de jazz de la Costa Oeste por Shorty Rogers y otros. Graas, un excelente compositor que buscaba combinar el jazz y la música clásica (antes del movimiento de la tercera corriente), grabó con bastante regularidad como líder durante 1953-1958, sesiones que (con la excepción de un lanzamiento de V.S.O.P.) no han sido reeditadas. Murió de un ataque al corazón a la edad de 45 años.
https://www.allmusic.com/artist/john-graas-mn0000219637/biography

Peter Almqvist • My Sound

 

Editorial Review:

Here Peter Almqvist plays solo jazz guitar, accompanying himself on some tracks with over-dubbed rhythm guitar and over-dubbed solos. The tunes are basically classic jazz standards. many of which are played with a Brazilian/Latin feeling Peter Almqvist has for many years been one of Sweden's top jazz guitarists. His playing is very fluid and tasteful. His technical mastery of the guitar here is impressive, and his deep feeling for and understanding of — both jazz and Brazilian music is truly a joy to hear. This is a session which is very relaxed, and at the same time intense!



Peter Almqvist (July 17, 1957 – April 2015) was a Swedish jazz guitarist who started the duo Guitars Unlimited with Ulf Wakenius.

Almqvist started playing guitar after hearing the Beatles. His introduction to jazz came from his father's record collection. A native of Sweden, he took lessons in London from guitarist Ike Isaacs.

Almqvist and guitarist Ulf Wakenius founded the acoustic jazz duo Guitars Unlimited. From 1982–'83, Almqvist worked with violinist Svend Asmussen.
In the 1990s, he started a trio that toured with Art Farmer and made an album with pianist Horace Parlan.

Almqvist died at the age of 57 in early April 2015 during Easter weekend.

https://en.wikipedia.org/wiki/Peter_Almqvist

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Reseña editorial:

Aquí Peter Almqvist toca la guitarra de jazz en solitario, acompañándose a sí mismo en algunos temas con guitarra rítmica sobredimensionada y solos sobredimensionados. Peter Almqvist ha sido durante muchos años uno de los mejores guitarristas de jazz de Suecia. Su forma de tocar es muy fluida y de buen gusto. Su dominio técnico de la guitarra es impresionante, y su profundo sentimiento y comprensión de la música brasileña y del jazz es un verdadero placer. Se trata de una sesión muy relajada y, al mismo tiempo, intensa.


Peter Almqvist (17 de julio de 1957 - abril de 2015) fue un guitarrista de jazz sueco que creó el dúo Guitars Unlimited con Ulf Wakenius.

Almqvist empezó a tocar la guitarra tras escuchar a los Beatles. Su introducción al jazz provino de la colección de discos de su padre. Nacido en Suecia, tomó clases en Londres con el guitarrista Ike Isaacs.

Almqvist y el guitarrista Ulf Wakenius fundaron el dúo de jazz acústico Guitars Unlimited. Entre 1982 y 1983, Almqvist trabajó con el violinista Svend Asmussen.
En la década de 1990, creó un trío que realizó giras con Art Farmer y grabó un álbum con el pianista Horace Parlan.

Almqvist falleció a la edad de 57 años a principios de abril de 2015 durante el fin de semana de Pascua.

https://en.wikipedia.org/wiki/Peter_Almqvist

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Continental Jazz Octette • Modern Jazz Greats Vol. 2

 

Sonny Stitt • Blows the Blues & The Hard Swing

The Blues and Sonny Stitt always had a smooth and engrossing partnership. These performances live up to their full potential, with Stitt in excellent form, at his most sparkling: quick fingers, a nimble musical mind, a well-developed ear, fine sense of time, attractive sound, and good intonation. He was a swinger full of energy, with unusual technical facility. But even when he was a lot closer to Charlie Parker, he always had things of his own to say: such a lyrical player could never be accurately labeled just a Parker clone or a hard swinger. Either way, he always injected much life into his playing, displaying his considerable virtuosity, blues feeling, and controlled emotion.

 

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El blues y Sonny Stitt siempre han tenido una asociación fluida y absorbente. Estas interpretaciones están a la altura de su potencial, con Stitt en excelente forma, en su momento más brillante: dedos rápidos, una mente musical ágil, un oído bien desarrollado, un fino sentido del tiempo, un sonido atractivo y una buena entonación. Era un músico lleno de energía, con una facilidad técnica inusual. Pero incluso cuando estaba mucho más cerca de Charlie Parker, siempre tenía cosas propias que decir: un intérprete tan lírico nunca podría ser etiquetado con exactitud como un simple clon de Parker o un swinger duro. En cualquier caso, siempre inyectó mucha vida en su forma de tocar, mostrando su considerable virtuosismo, su sentimiento de blues y su emoción controlada. 

Bill Doggett • The EP Collection

Bill Doggett, born in Philadelphia, became a pianist in Jimmy Gorham's Band in 1935, and the band's leader in 1938. He soon relinquished the position to Lucky Millinder, though remaining with the band until 1949 when he suc-ceeded Bill Davis in Louis Jordan's Tympani 5. In 1952 he began fronting his own combo, recording prolifically for King over some nine years, the peak of which came in 1956 with 'Honky Took', a jogging instrumental featuring Clifford Scott's sax and Billy Butler's deft guitar. A succession of smaller hits followed before Doggett moved to Warner in 1961. He has subsequently recorded for Columbia, Sue, ABC and Roulette. 

 

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Bill Doggett, nacido en Filadelfia, se convirtió en pianista de la Jimmy Gorham's Band en 1935, y en líder de la banda en 1938. Pronto cedió el puesto a Lucky Millinder, aunque permaneció en la banda hasta 1949, cuando sucedió a Bill Davis en el Tympani 5 de Louis Jordan. En 1952 comenzó a liderar su propio combo, grabando prolíficamente para King durante unos nueve años, cuyo punto álgido llegó en 1956 con 'Honky Took', un instrumental de jogging con el saxo de Clifford Scott y la hábil guitarra de Billy Butler. Le siguieron una serie de éxitos menores antes de que Doggett se trasladara a Warner en 1961. Posteriormente grabó para Columbia, Sue, ABC y Roulette. 

Bootsie Barnes & Larry McKenna • The More I See You

Album Description

What defines the sound of a city? Ask three Philadelphians and get four opinions, as the joke goes. The people, their collective spirit both past and present, is a good place to start. Philadelphia, a city overflowing with history is home to a proud, passionate, willful, and fiercely loyal people. The city’s jazz legacy is no different and has always been a leading voice. Shirley Scott, McCoy Tyner, Benny Golson, Trudy Pitts, Lee Morgan, the Heath Brothers, Stan Getz, Philly Joe Jones and countless other Philadelphia jazz masters are bound together by the same thread. These giants played in their own way, without concern for style or labels. They had an attitude; an intention to their playing that gave the music a feeling, a rhythm, a deep pocket. In Philadelphia today, there is no question who preserves that tradition, embodies that spirit and who defines the “Philadelphia sound”: Bootsie Barnes and Larry McKenna. Now elder statesmen of the Philadelphia jazz community, Bootsie Barnes and Larry McKenna were born just a few months apart in 1937. The times in which they lived often dictated their career paths, but no matter where their music took them Philadelphia was always home. Bootsie Barnes credits his musical family as the spark that began his life in music. His father was an accomplished trumpet player and his cousin, Jimmy Hamilton was a member of Duke Ellington’s band for nearly three decades. “Palling around with my stablemates, Tootie Heath, Lee Morgan, Lex Humphries” as he tells it, Barnes began on piano and drums. At age nineteen he was given a saxophone by his grandmother and “knew he had found his niche”. Over the course of his decades long career, Barnes has performed and toured with Philly Joe Jones, Jimmy Smith, Trudy Pitts and countless others, with five recordings under his own name and dozens as a sideman. Mostly self-taught, Larry McKenna was deeply inspired by his older brother’s LP collection. It was a side of Jazz at The Philharmonic 1947 featuring Illinois Jacquet and Flip Fillips that opened his ears to jazz. “When I heard that I immediately said: ‘That’s what I want to play, the saxophone’”, McKenna recalls. Completing high school, McKenna worked around Philadelphia and along the East Coast until the age of twenty-one, when his first big break came with Woody Herman’s Big Band. McKenna has played and recorded with Clark Terry, Frank Sinatra, Rosemary Clooney, Tony Bennett and countless others. He has four recordings under his own name, with extensive credits as a sideman. Their resumes are only a shadow of who these men are. To really know the true Larry McKenna and Bootsie Barnes, you have to meet them. They are as men just as their music sounds: giving, open, genuine and deeply funny. Working nearly every night, Barnes and McKenna are consistent, positive forces on the scene. Deeply admired by younger generations of musicians, they show us that a life in music should be lead with grace, joy and honesty. The first time I heard Barnes and McKenna together was at Ortlieb’s Jazz Haus in the mid 1990s. As an eager but shy young musician of about fourteen, I somehow found my way to the storied club on Third and Poplar Streets. A sign out front proudly stated “Jazz Seven Days” – the only place in the city boasting such a schedule. The bouncer working that night took one look at me and with what I can only imagine was a mix of pity and amusement, hurriedly waved me in. Eyes down and hugging the wall, I made my way along the long bar, past the mounted bison head’s blank stare, towards the music. My go-to spot was an alcove next to the bathroom: a place just far enough from the bartender’s gaze so as not to be noticed, (did I mention I was fourteen?) but close enough to the stage to watch and listen. The house band was the late Sid Simmons on piano, bassist Mike Boone, and drummer Byron Landham. (Anyone who was there will tell you: this was an unstoppable trio.) Barnes and McKenna were setting the pace, dealing on a level only the true masters can. The whole room magically snapped into focus: the band shifted to high gear, the swing intensified and the crowd had no choice but to be swept up in the music. They had a story too incredible to ignore. I sat there in disbelief at the power and beauty of what they were doing. It is a feeling that has never left me. How they played that night at Ortlieb’s those many years ago is exactly the way they play today. In fact, they are probably playing better than ever. The track Three Miles Out is a shining example. Barnes solos first, hitting you with that buttery, round tenor tone with a little edge as he gets going. His ideas are steeped in the hard-bop tradition delivered with a clear voice all his own. There is no ambiguity, no hesitation, just pure, joyful, hard- swinging tenor playing. McKenna follows, with his trademark tenor tone, both beautiful and singing, strong and powerful. He swings with natural ease, a wide beat and always makes the music dance. He has what I can only describe as a deep melodic awareness thanks largely to his mastery of the American Songbook. McKenna is unhurried and speaks fluid bebop language. This is classic Barnes and McKenna. The most challenging thing to describe is the way someone’s music touches your heart. I hope my fellow native Philadelphians will allow me to speak for them when I say we are all forever in the debt of Bootsie and Larry. May we live and create in a way that continues to honors them and their music. https://musicians.allaboutjazz.com/the-more-i-see-you-bootsie-barnes

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Traducción Automática:

Descripción del Album

¿Qué define el sonido de una ciudad? Pregunte a tres habitantes de Filadelfia y obtenga cuatro opiniones, según el chiste. La gente, su espíritu colectivo pasado y presente, es un buen lugar para comenzar. Filadelfia, una ciudad llena de historia es el hogar de personas orgullosas, apasionadas, voluntarias y ferozmente leales. El legado de jazz de la ciudad no es diferente y siempre ha sido una voz líder. Shirley Scott, McCoy Tyner, Benny Golson, Trudy Pitts, Lee Morgan, Heath Brothers, Stan Getz, Philly Joe Jones y muchos otros maestros de jazz de Filadelfia están unidos por el mismo hilo. Estos gigantes jugaban a su manera, sin preocuparse por el estilo o las etiquetas. Tenían una actitud; una intención de tocar que le dio a la música un sentimiento, un ritmo, un bolsillo profundo. Hoy en Filadelfia, no hay duda de quién conserva esa tradición, encarna ese espíritu y quién define el "sonido de Filadelfia": Bootsie Barnes y Larry McKenna. Ahora, los estadistas más viejos de la comunidad de jazz de Filadelfia, Bootsie Barnes y Larry McKenna, nacieron con solo unos meses de diferencia en 1937. Los tiempos en que vivían a menudo dictaban su trayectoria profesional, pero no importaba a donde la música los llevara, Filadelfia siempre estaba en casa. Bootsie Barnes acredita a su familia musical como la chispa que comenzó su vida en la música. Su padre era un trompetista consumado y su primo, Jimmy Hamilton fue miembro de la banda de Duke Ellington durante casi tres décadas. "Dando vueltas con mis compañeros, Tootie Heath, Lee Morgan, Lex Humphries", como él lo dice, Barnes comenzó a tocar el piano y la batería. A los diecinueve años, su abuela le dio un saxofón y "supo que había encontrado su nicho". A lo largo de su larga carrera de décadas, Barnes ha realizado y realizado giras con Philly Joe Jones, Jimmy Smith, Trudy Pitts y muchos otros, con cinco grabaciones bajo su propio nombre y docenas como sideman. En su mayoría autodidacta, Larry McKenna se inspiró profundamente en la colección de LP de su hermano mayor. Fue un lado del Jazz en The Philharmonic 1947 con Illinois Jacquet y Flip Fillips que abrió sus oídos al jazz. "Cuando escuché eso, inmediatamente dije: 'Eso es lo que quiero tocar, el saxofón'", recuerda McKenna. Completando la escuela secundaria, McKenna trabajó en Filadelfia y en la costa este hasta los veintiún años, cuando su primera gran oportunidad llegó con la Big Band de Woody Herman. McKenna ha jugado y grabado con Clark Terry, Frank Sinatra, Rosemary Clooney, Tony Bennett y muchos otros. Tiene cuatro grabaciones bajo su propio nombre, con extensos créditos como sideman. Sus currículos son solo una sombra de quienes son estos hombres. Para conocer realmente al verdadero Larry McKenna y Bootsie Barnes, debes conocerlos. Son tan hombres como suena su música: generosa, abierta, genuina y profundamente divertida. Trabajando casi todas las noches, Barnes y McKenna son fuerzas consistentes y positivas en la escena. Profundamente admirados por las generaciones más jóvenes de músicos, nos muestran que una vida en la música debe ser llevada con gracia, alegría y honestidad. La primera vez que escuché a Barnes y McKenna juntos fue en el Jazz Haus de Ortlieb a mediados de los noventa. Como un joven músico ansioso pero tímido de unos catorce años, de alguna manera encontré mi camino hacia el famoso club en las calles Third y Poplar. Un letrero en el frente declaró con orgullo "Jazz Seven Days", el único lugar en la ciudad que cuenta con un horario de este tipo. El portero que trabajaba esa noche me echó un vistazo y, con lo que solo puedo imaginar era una mezcla de lástima y diversión, me hizo señas rápidamente. Bajé los ojos hacia la pared y me abracé a lo largo de la larga barra, pasando el bisonte montado. La mirada en blanco de la cabeza, hacia la música. Mi lugar de visita era una alcoba al lado del baño: un lugar lo suficientemente alejado de la mirada del camarero para que no se diera cuenta (¿mencioné que tenía catorce años?) Pero lo suficientemente cerca del escenario para mirar y escuchar. La banda de la casa fue el difunto Sid Simmons en el piano, el bajista Mike Boone y el baterista Byron Landham. (Cualquiera que haya estado allí te dirá: este fue un trío imparable). Barnes y McKenna estaban marcando el ritmo, tratando a un nivel que solo los verdaderos maestros pueden. Toda la sala se enfocó mágicamente: la banda cambió a alta velocidad, el swing se intensificó y la multitud no tuvo más remedio que dejarse llevar por la música. Tenían una historia demasiado increíble para ignorarla. Me senté allí con incredulidad ante el poder y la belleza de lo que estaban haciendo. Es un sentimiento que nunca me ha dejado. La forma en que jugaron esa noche en los de Ortlieb hace muchos años es exactamente la forma en que juegan hoy. De hecho, probablemente estén jugando mejor que nunca. La pista Three Miles Out es un ejemplo brillante. Los solos de Barnes primero, te golpean con ese tono tenor redondo y tenor con una pequeña ventaja a medida que avanza. Sus ideas están impregnadas de la tradición de hard bop entregada con una voz clara y propia. No hay ambigüedad, no hay duda, solo el tenor puro, alegre y tenaz. McKenna lo sigue, con su tono tenor característico, hermoso y cantante, fuerte y poderoso. Se balancea con facilidad natural, un ritmo amplio y todo. Él tiene lo que solo puedo describir como una profunda conciencia melódica gracias en gran parte a su dominio del American Songbook. McKenna no tiene prisa y habla lenguaje bebop fluido. Este es el clásico de Barnes y McKenna. Lo más difícil de describir es la forma en que la música de alguien toca tu corazón. Espero que mis compañeros nativos de Filadelfia me permitan hablar por ellos cuando digo que todos estamos para siempre en deuda con Bootsie y Larry. Que vivamos y creamos de una manera que continúe honrándolos a ellos y a su música. https://musicians.allaboutjazz.com/the-more-i-see-you-bootsie-barnes

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Nino Rapicavoli • Variazioni Per Cinque Flauti

Sicilian saxophonist, flutist, composer and arranger Nino Rapicavoli is one of the unsung heroes in the world of Italian soundtracks of the 1970s. A musician with a solid background in jazz as well as a long-time member of Italy's state-owned RAI TV orchestra, Rapicavoli has only a handful of library albums to his name, but each is of the highest quality. This Divagazioni ('Ramblings') is probably the best of the lot, an album that mixes jazz, easy listening and a pinch of prog with that exclusively Italian taste for eccentricity

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Traducción Automática:

El saxofonista, flautista, compositor y arreglista siciliano Nino Rapicavoli es uno de los héroes desconocidos en el mundo de las bandas sonoras italianas de los años setenta. Rapicavoli es un músico con una sólida formación en jazz, así como un miembro de la orquesta estatal de televisión RAI de Italia, y solo tiene un puñado de álbumes de biblioteca a su nombre, pero cada uno es de la más alta calidad. Este Divagazioni ('Ramblings') es probablemente el mejor de todos, un álbum que mezcla jazz, fácil escucha y una pizca de progreso con ese gusto exclusivamente italiano de excentricidad.

Bullet • The Hanged Man

Bullet is the band with the performer credits for 'The Hanged Man' soundtrack. The music for this soundtrack was composed by Alan Tew and all cuts were taken (and re-edited) from two library records from the Themes International imprint Alan Tew - Drama Suite Part I & Alan Tew - Drama Suite Part II .
The members of Bullet were session players (for KPM Music and Themes International Music): Les Hurdle (bass), Barry Morgan (drums), Alan Parker (Guitar), Frank Ricotti (percussion) and Alan Hawkshaw (keyboards) with additional members of the Max Greger Orchestra (brass and reeds). The score for 'The Hanged Man' (their only long player as Bullet) was recorded in Munich, Germany.

Emerson Lake & Palmer • Tarkus

 

Review
by François Couture
Emerson, Lake & Palmer's 1970 eponymous LP was only a rehearsal. It hit hard because of the novelty of the act (allegedly the first supergroup in rock history), but felt more like a collection of individual efforts and ideas than a collective work. All doubts were dissipated by the release of Tarkus in 1971. Side one of the original LP is occupied by the 21-minute title epic track, beating both Genesis' "Supper's Ready" and Yes' "Close to the Edge" by a year. Unlike the latter group's cut-and-paste technique to obtain long suites, "Tarkus" is a thoroughly written, focused piece of music. It remains among the Top Ten classic tracks in progressive rock history. Because of the strength of side one, the material on the album's second half has been quickly forgotten -- with one good reason: it doesn't match the strength of its counterpart -- but "Bitches Crystal" and "A Time and a Place" make two good prog rock tracks, the latter being particularly rocking. "Jeremy Bender" is the first in a series of honky tonk-spiced, Far-West-related songs. This one and the rock & roll closer "Are You Ready Eddy?" are the only two tracks worth throwing away. Otherwise Tarkus makes a very solid album, especially to the ears of prog rock fans -- no Greg Lake acoustic ballads, no lengthy jazz interludes. More accomplished than the trio's first album, but not quite as polished as Brain Salad Surgery, Tarkus is nevertheless a must-have.
https://www.allmusic.com/album/tarkus-mw0000652026

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Reseña
por François Couture
El LP homónimo de Emerson, Lake & Palmer de 1970 fue sólo un ensayo. Pegó fuerte por la novedad del acto (supuestamente el primer supergrupo de la historia del rock), pero se sintió más como una colección de esfuerzos e ideas individuales que como una obra colectiva. Todas las dudas se disiparon con el lanzamiento de Tarkus en 1971. La primera cara del LP original está ocupada por el tema épico del título, de 21 minutos de duración, que supera en un año a "Supper's Ready" de Genesis y a "Close to the Edge" de Yes. A diferencia de la técnica de cortar y pegar de este último grupo para obtener largas suites, "Tarkus" es una pieza musical minuciosamente escrita y centrada. Sigue estando entre los diez mejores temas clásicos de la historia del rock progresivo. Debido a la fuerza de la primera cara, el material de la segunda mitad del álbum ha sido rápidamente olvidado -- con una buena razón: no iguala la fuerza de su contraparte -- pero "Bitches Crystal" y "A Time and a Place" son dos buenos temas de prog rock, este último especialmente rockero. "Jeremy Bender" es la primera de una serie de canciones con sabor a honky tonk y relacionadas con el lejano oeste. Ésta y el cierre de rock & roll "Are You Ready Eddy?" son los únicos dos temas que merecen la pena. Por lo demás, Tarkus es un álbum muy sólido, sobre todo para los oídos de los aficionados al prog rock -- no hay baladas acústicas de Greg Lake, ni largos interludios de jazz. Más logrado que el primer álbum del trío, pero no tan pulido como Brain Salad Surgery, Tarkus es, sin embargo, un disco imprescindible.
https://www.allmusic.com/album/tarkus-mw0000652026

The Oscar Peterson Trio • All That Jazz, Vol. 107 - Oscar Peterson Trio on Tour in Europe

Billy Vaughn ‎• Sail Along Silv'ry Moon

Thelonious Monk The Life and Times of an American Original

 

Thelonious Monk is the critically acclaimed, gripping saga of an artist’s struggle to “make it” without compromising his musical vision. It is a story that, like its subject, reflects the tidal ebbs and flows of American history in the twentieth century. To his fans, he was the ultimate hipster; to his detractors, he was temperamental, eccentric, taciturn, or childlike. His angular melodies and dissonant harmonies shook the jazz world to its foundations, ushering in the birth of “bebop” and establishing Monk as one of America’s greatest com­posers. Elegantly written and rich with humor and pathos, Thelonious Monk is the definitive work on modern jazz’s most original composer.

 

Reggae, Rastafari, and the rhetoric of social control

 

Who changed Bob Marley's famous peace-and-love anthem into ""Come to Jamaica and feel all right""? When did the Rastafarian fighting white colonial power become the smiling Rastaman spreading beach towels for American tourists? Drawing on research in social movement theory and protest music, Reggae, Rastafari, and the Rhetoric of Social Control traces the history and rise of reggae and the story of how an island nation commandeered the music to fashion an image and entice tourists. Visitors to Jamaica are often unaware that reggae was a revolutionary music rooted in the suffering of Jamaica's poor. Rastafarians were once a target of police harassment and public condemnation. Now the music is a marketing tool, and the Rastafarians are no longer a ""violent counterculture"" but an important symbol of Jamaica's new cultural heritage. This book attempts to explain how the Jamaican establishment's strategies of social control influenced the evolutionary direction of both the music and the Rastafarian movement. From 1959 to 1971, Jamaica's popular music became identified with the Rastafarians, a social movement that gave voice to the country's poor black communities. In response to this challenge, the Jamaican government banned politically controversial reggae songs from the airwaves and jailed or deported Rastafarian leaders. Yet when reggae became internationally popular in the 1970s, divisions among Rastafarians grew wider, spawning a number of pseudo-Rastafarians who embraced only the external symbolism of this worldwide religion. Exploiting this opportunity, Jamaica's new Prime Minister, Michael Manley, brought Rastafarian political imagery and themes into the mainstream. Eventually, reggae and Rastafari evolved into Jamaica's chief cultural commodities and tourist attractions. Stephen A. King is associate professor of speech communication at Delta State University. His work has been published in the Howard Journal of Communications, Popular Music and Society, and The Journal of Popular Culture. 

 

With Amusement for All A History of American Popular Culture since 1830

 

Popular culture is a central part of everyday life to many Americans. Personalities such as Elvis Presley, Oprah Winfrey, and Michael Jordan are more recognizable to many people than are most elected officials. With Amusement for All is the first comprehensive history of two centuries of mass entertainment in the United States, covering everything from the penny press to Playboy, the NBA to NASCAR, big band to hip hop, and other topics including film, comics, television, sports, dance, and music. Paying careful attention to matters of race, gender, class, technology, economics, and politics, LeRoy Ashby emphasizes the complex ways in which popular culture simultaneously reflects and transforms American culture, revealing that the world of entertainment constantly evolves as it tries to meet the demands of a diverse audience. Trends in popular entertainment often reveal the tensions between competing ideologies, appetites, and values in American society. For example, in the late nineteenth century, Americans embraced "self-made men" such as John D. Rockefeller and Andrew Carnegie: the celebrities of the day were circus tycoons P.T. Barnum and James A. Bailey, Wild West star "Buffalo Bill" Cody, professional baseball organizer Albert Spalding, and prizefighter John L. Sullivan. At the same time, however, several female performers challenged traditional notions of weak, frail Victorian women. Adah Isaacs Menken astonished crowds by wearing tights that made her appear nude while performing dangerous stunts on horseback, and the shows of the voluptuous burlesque group British Blondes often centered on provocative images of female sexual power and dominance. Ashby describes how history and politics frequently influence mainstream entertainment. When Native Americans, blacks, and other non-whites appeared in the nineteenth-century circuses and Wild West shows, it was often to perpetuate demeaning racial stereotypes-crowds jeered Sitting Bull at Cody's shows. By the early twentieth century, however, black minstrel acts reveled in racial tensions, reinforcing stereotypes while at the same time satirizing them and mocking racist attitudes before a predominantly white audience. Decades later, Red Foxx and Richard Pryor's profane comedy routines changed American entertainment. The raw ethnic material of Pryor's short-lived television show led to a series of African-American sitcoms in the 1980s that presented common American experiences-from family life to college life-with black casts. Mainstream entertainment has often co-opted and sanitized fringe amusements in an ongoing process of redefining the cultural center and its boundaries. Social control and respectability vied with the bold, erotic, sensational, and surprising, as entrepreneurs sought to manipulate the vagaries of the market, control shifting public appetites, and capitalize on campaigns to protect public morals. Rock 'n Roll was one such fringe culture; in the 1950s, Elvis blurred gender norms with his androgynous style and challenged conventions of public decency with his sexually-charged performances. By the end of the 1960s, Bob Dylan introduced the social consciousness of folk music into the rock scene, and The Beatles embraced hippie counter-culture. Don McLean's 1971 anthem "American Pie" served as an epitaph for rock's political core, which had been replaced by the spectacle of hard rock acts such as Kiss and Alice Cooper. While Rock 'n Roll did not lose its ability to shock, in less than three decades it became part of the established order that it had originally sought to challenge. With Amusement for All provides the context to what Americans have done for fun since 1830, showing the reciprocal nature of the relationships between social, political, economic, and cultural forces and the way in which the entertainment world has reflected, refracted, or reinforced the values those forces represent in America.