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
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
Easy Listening combo from New York, directed by Enoch Light.
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
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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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.
storyvillerecords.com ...
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
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
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
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.
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.
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.
Beginning with the African musical heritage and its fusion with European forms in the New World, Marshall Stearns's history of jazz guides the reader through work songs, spirituls, ragtime, and the blues, to the birth of jazz in New Orleans and its adoption by St Louis, Chicago, Kansas City, and New York. From swing and bop to the early days of rock, this lively book introduces us to the great musicians and singers and examines jazz's cultural effects on American and the world.
Setlist:
What's New 00:00
All the Things You Are 10:40
Detour Ahead 25:50
My Melancholy Baby 31:13
Musicians:
Lee Konitz (saxophone), Bill Evans (piano), Niels-Henning Ørsted Pedersen (contrebasse), Alan Dawson (batterie)
Festival de Jazz de Paris, Maison de la Mutualité, 3 Novembre 1965
Enregistré par l'ORTF, archive SONUMA.
YT: ebjazz93
Setlist:
00:00 - TV intro
01:28 - All That Blues
09:50 - Spain (Chick Corea)
20:29 - Stormy Weather Blues
28:37 - Wow
36:32 - Rumpelstilzchen's Bossa
43:12 - end credits
Musicians:
Barbara Dennerlein - Hammond B3 organ
Christof Widmoser - electric guitar
Andreas Witte - drums
1989-08-24, "Ohne Filter Extra", Suedwestfunk-Studio, Baden-Baden, Germany
YT: uvisnigreen
Rockin' tracks with americana visuals.
Setlist:
1. Warren Smith - I got Love If You Want It.
2. Hank Mizzel - Im Ready.
3. Ralph Pruitt - Mr Porter.
4. Bill Browning - Sinful Woman.
5. Tennessee Thompson - Slippin & Slidin.
6. Don Wade - Oh Love.
7. Darrel Felts - Playmates.
8. Benny England - Hey Hey ( Little Girl ).
9. Parker Cunningham - Dry Run.
10. Jimmy Johnson - How about Me.
11. Randell Karber - Back to School.
12. Billy Prager & His Caravans - Do It Bop.
13. Jimmy Kirkland - I Wonder If You Wonder.
14. Jive-A-Tones - Fire Engine Baby.
15. Bill Sherrel - Cool Kat.
16. Unknown Artist - Growl Cat Growl.
17. Cliff Davis & his Kentucky Playboys - Hard Hearted Girl.
18. Elroy Dietzel - Teenage Ball.
19 Johnny McCoy And The Cyclones - Scrub Bucket.
20. Ken Cook - I Fell In Love.
YT: English Dane
Sintiromarus plays gypsy music with its roots in Russia as well as in the Balkans.
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Sintiromarus interpreta música gitana con raíces tanto en Rusia como en los Balcanes.
Review
by Al Campbell
Legendary drummer Art Taylor played on a multitude of classic jazz sessions, but only managed to release a few dates as a leader before he passed away in 1995. His second, Taylor's Tenors, from mid-1959, features two straight-ahead tenor saxophonists, Charlie Rouse and Frank Foster, engaging in an insightful yet swinging hard bop conversation. Rouse would shortly become Thelonious Monk's tenor of choice, while Foster continued his tenure with Count Basie's band for another five years. These six hard bop pieces include two by Monk, Jackie McLean's "Fidel," and originals each from Rouse, pianist Walter Davis, and Taylor.
https://www.allmusic.com/album/taylors-tenors-mw0000173743?1637958377813
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Revisión
por Al Campbell
El legendario baterista Art Taylor tocó en multitud de sesiones de jazz clásico, pero sólo consiguió publicar unas pocas fechas como líder antes de fallecer en 1995. Su segundo disco, Taylor's Tenors, de mediados de 1959, presenta a dos saxofonistas tenores directos, Charlie Rouse y Frank Foster, entablando una conversación de hard bop perspicaz pero con mucho swing. Rouse se convertiría poco después en el tenor preferido de Thelonious Monk, mientras que Foster continuó con la banda de Count Basie durante otros cinco años. Estas seis piezas de hard bop incluyen dos de Monk, "Fidel" de Jackie McLean, y originales de Rouse, el pianista Walter Davis y Taylor.
https://www.allmusic.com/album/taylors-tenors-mw0000173743?1637958377813
