Jamaican jazz guitarist Ernest Ranglin, at 66 years old, is more adventurous than most musicians half his age. Few could travel to Senegal and record with Baaba Maal and his band, Daande Lenol. Fewer still could make such a successful melding of styles. The secret is that Ranglin becomes a part of the band, trading licks with the kora, letting the others speak loudly, then adding his own distinctive voice to the proceedings. This is very definitely an "African" album, highlighted by some wonderful writing (Maal's "Minuit," in particular, is a standout) and marvelous playing. Ranglin is at the top of his form; he doesn't need long solos to make his point. He's taken his music to the roots, and in doing so, has invigorated himself. An unadulterated delight.
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Jamaican jazz guitarist Ernest Ranglin, at 66 years old, is more adventurous than most musicians half his age. Few could travel to Senegal and record with Baaba Maal and his band, Daande Lenol. Fewer still could make such a successful melding of styles. The secret is that Ranglin becomes a part of the band, trading licks with the kora, letting the others speak loudly, then adding his own distinctive voice to the proceedings. This is very definitely an "African" album, highlighted by some wonderful writing (Maal's "Minuit," in particular, is a standout) and marvelous playing. Ranglin is at the top of his form; he doesn't need long solos to make his point. He's taken his music to the roots, and in doing so, has invigorated himself. An unadulterated delight.
The packaging starts you thinking. There's a painting showing what looks like ectoplasm, or perhaps a space alien, playing two musical instruments at the same time, like Roland Kirk used to do. Then the cunning addition of an apostrophe in the Trios of the title, to render it meaningless, or perhaps abstract.
Inside there's a selfie shot from low down of a bearded Thomas Hass looking God-like and grim, alongside text explaining his music: "Trio's & Beyond is a musical concept where I can experience the 'spontaneous combustion' in various musical settings and explore the trio format in various forms."
It gets worse. "On this album I have tried letting a special mood that always has lived inside me unfold through nine different compositions. You could call it ballads or melancholic but I see it more like an inner canvas behind the different musical paintings." BY CHRIS MOSEY October 23, 2014 https://www.allaboutjazz.com/trios-and-beyond-lotus-energy-thomas-hass-storyville-records-review-by-chris-mosey
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El envase te hace pensar. Hay un cuadro que muestra lo que parece un ectoplasma, o quizás un alienígena espacial, tocando dos instrumentos musicales al mismo tiempo, como solía hacer Roland Kirk. Luego, la astuta adición de un apóstrofe en los tríos del título, para quitarle el sentido, o tal vez la abstracción.
En el interior hay una foto de autofoto desde abajo de un Thomas Hass barbudo con aspecto de Dios y sombrío, junto a un texto que explica su música: "Trio's & Beyond es un concepto musical en el que puedo experimentar la "combustión espontánea" en varios escenarios musicales y explorar el formato de trío en varias formas."
La cosa empeora. "En este álbum he intentado dejar que un estado de ánimo especial que siempre ha vivido dentro de mí se despliegue a través de nueve composiciones diferentes. Podrían llamarlo baladas o melancolía, pero yo lo veo más como un lienzo interior detrás de las diferentes pinturas musicales." POR CHRIS MOSEY 23 de octubre de 2014 https://www.allaboutjazz.com/trios-and-beyond-lotus-energy-thomas-hass-storyville-records-review-by-chris-mosey
Review by Steven McDonald Out of the Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet -- which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes' drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan's piano playing is equally light and delicate; Grimes' bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk's sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding. https://www.allmusic.com/album/out-of-the-afternoon-mw0000364994
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Revisar por Steven McDonald Out of the Afternoon es un espléndido disco de 1962 del Roy Haynes Quartet - que, en aquel momento, estaba formado por Haynes, Henry Grimes al bajo, Tommy Flanagan al piano y Roland Kirk a los saxos, manzello, stritch y flautas. El álbum es una deliciosa mezcla de técnicas en los arreglos y la interpretación, con todos los músicos realizando un trabajo estupendo. La batería de Haynes es absolutamente maravillosa aquí, bailando ligeramente alrededor de los otros instrumentos; el piano de Flanagan es igualmente ligero y delicado; el trabajo del bajo de Grimes es sobresaliente (durante "Raoul" tienes la oportunidad de escuchar uno de los pocos solos de bajo con arco en los discos de esa época); y no hay nada más que decir sobre el trabajo de Kirk con el saxo y la flauta que no se haya dicho cientos de veces, aparte del hecho de que los solos de flauta en "Snap Crackle" ayudan a que este corte emerja como particularmente excepcional. https://www.allmusic.com/album/out-of-the-afternoon-mw0000364994
This single CD reissues the two-LP set of the same name. Included are two sessions originally cut for Prestige's subsidiary Moodsville (Nice an' Cool and The Soulful Mood of Gene Ammons), which are purposely relaxed and strictly at ballad tempos. Fortunately, Ammons (who had a distinctive, huge tone) was long a master at interpreting ballads, and although these performances do not quite reach the heights of his greatest recordings, the lyrical music is quite enjoyable. Accompanied by either Richard Wyands or Patti Bown on piano, Doug Watkins or George Duvivier on bass, and J.C. Heard or Ed Shaughnessy on drums, Ammons is tasteful and creative in a subtle way throughout these successful dates.
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Traducción Automática:
Revisión por Scott Yanow
Este único CD vuelve a emitir el conjunto de dos LP del mismo nombre. Se incluyen dos sesiones originalmente cortadas para la subsidiaria de Prestige, Moodsville (Nice and 'Cool and The Soulful Mood of Gene Ammons), que son deliberadamente relajadas y estrictamente a ritmo de balada. Afortunadamente, Ammons (que tenía un tono enorme y distintivo) fue durante mucho tiempo un maestro en la interpretación de baladas, y aunque estas actuaciones no llegan a las alturas de sus mejores grabaciones, la música lírica es bastante agradable. Acompañado por Richard Wyands o Patti Bown en el piano, Doug Watkins o George Duvivier en el bajo, y J.C. Heard o Ed Shaughnessy en la batería, Ammons es de buen gusto y creativo de una manera sutil a lo largo de estas exitosas citas.
As in-the-pocket drummer of his own jump blues combo, the Solid Senders, Roy Milton was in a perfect position to drive his outfit just as hard or soft as he so desired. With his stellar sense of swing, Milton did just that; his steady backbeat on his 1946 single for Art Rupe's fledgling Juke Box imprint, "R.M. Blues," helped steer it to the uppermost reaches of the R&B charts (his assured vocal didn't hurt either).
Milton spent his early years on an Indian reservation in Oklahoma (his maternal grandmother was a Native American) before moving to Tulsa. He sang with Ernie Fields's territory band during the late '20s and began doubling on drums when the band's regular trapsman got arrested one fateful evening. In the mood to leave Fields in 1933, Milton wandered west to Los Angeles and formed the Solid Senders. 1945 was a big year for him -- along with signing with Juke Box (soon to be renamed Specialty), the band filmed three soundies with singer June Richmond.
"R.M. Blues" was such a huge seller that it established Specialty as a viable concern for the long haul. Rupe knew a good thing when he saw it, recording Milton early and often through 1953. He was rewarded with 19 Top Ten R&B hits by the Solid Senders, including "Milton's Boogie," "True Blues," "Hop, Skip and Jump," "Information Blues," "Oh Babe" (a torrid cover of Louis Prima's jivey jump), and "Best Wishes." Milton's resident boogie piano specialist, Camille Howard, also sang on several Milton platters, including the 1947 hit "Thrill Me," concurrently building a solo career on Specialty.
After amassing a voluminous catalog as one of Specialty's early bedrocks, Milton moved on to Dootone, King (there he cut the delectable instrumental "Succotash"), and Warwick (where he eked out a minor R&B hit in 1961, "Red Light") with notably less commercial success. Sadly, even though he helped pioneer the postwar R&B medium, rock & roll had rendered Milton an anachronism.
The drummer remained active nonetheless, thrilling the throng at the 1970 Monterey Jazz Festival as part of Johnny Otis's all-star troupe. It's a safe bet he was swinging until the very end. ~ Bill Dahl, Rovi
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Traducción Automática:
As in-the-pocket drummer of his own jump blues combo, the Solid Senders, Roy Milton was in a perfect position to drive his outfit just as hard or soft as he so desired. With his stellar sense of swing, Milton did just that; his steady backbeat on his 1946 single for Art Rupe's fledgling Juke Box imprint, "R.M. Blues," helped steer it to the uppermost reaches of the R & B charts (his assured vocal did not hurt either).
Milton spent his early years on an Indian reservation in Oklahoma (his maternal grandmother was a Native American) before moving to Tulsa. He sang with Ernie Fields's territory band during the late '20s and began doubling on drums when the band's regular trapsman got arrested one fateful evening. In the mood to leave Fields in 1933, Milton wandered west to Los Angeles and formed the Solid Senders. 1945 was a big year for him - along with signing with Juke Box (soon to be renamed Specialty), the band filmed three soundies with singer June Richmond.
"R.M. Blues" was such a huge seller that it was established as a viable concern for the long haul. Rupe knew a good thing when he saw it, recording Milton early and often through 1953. He was rewarded with 19 Top Ten R & B hits by the Solid Senders, including "Milton's Boogie," "True Blues," "Hop, Skip and Jump, "" Information Blues, "" Oh Babe "(a torrid cover of Louis Prima's jivey jump), and" Best Wishes. " Milton's resident boogie piano specialist, Camille Howard, also sang on several Milton platters, including the 1947 hit "Thrill Me," concurrently building just career on Specialty.
After amassing a voluminous catalog as one of Specialty's early bedrocks, Milton moved on to Dootone, King (there's a cut instrumental delectable "Succotash"), and Warwick (where I eked out a minor R & B hit in 1961, "Red Light") with notably less commercial success. Sadly, even though he helped pioneer the postwar R & B medium, rock & roll had rendered Milton an anachronism.
The drummer remained active nonetheless, thrilling the throng at the 1970 Monterey Jazz Festival as part of Johnny Otis's all-star troupe. It's a safe bet I was swinging until the very end. ~ Bill Dahl, Rovi
Rod Piazza & the Mighty Flyers' guitarist, Rick Holmstrom, takes a sharp left turn on his third solo disc. Instead of churning out the traditional West Coast blues he's schooled in, he dives headfirst into the acid jazz/funk pool. While employing loops and samples may scare away his core audience, Holmstrom and producer Genome (who also contributes keyboards) utilize them to make the music even grittier, raunchier, and more swampy than you'd expect. While the blips, bloops, and brittle percussion that provide the landscape over which Holmstrom lays his fluid guitar lines are a far cry from the straight-ahead blues and boogie he's accustomed to in his full-time job, it shows he's willing to expand boundaries in creative ways. Clearly indebted to the Meters on the bulk of this album's funky groove, Holmstrom samples Rufus Thomas' spoken word to punctuate the percussive and keyboard whirlpool of "Shake It, Pt. 2." There's even more processing on the DJ Logic remix of the cut, one of four bonus tracks tacked onto the disc's final 20 minutes. John Medeski makes an appearance on the closing eight-minute jam, "Hamp's Hump," which further solidifies the acid funk sound. Holmstrom occasionally adds vocals on "These Roads," electronically treating his voice, which further highlights the break from tradition. "Pee Wee's Nightmare"'s spacy effects throw the music into a time warp led by jazzy leads vamping over the synthesized loops. "My Maria" works off the beat of Smokey Robinson & the Miracles' "Going to a Go-Go" and is the disc's most R&B-ish vibe. Depending on your allegiance to roots music, the appropriately titled Hydraulic Groove will either be a forward-looking, genre-exploding work or a misguided attempt to introduce blues to another (younger) audience. In either case, it's never boring and shows that Rick Holmstrom is one of the most challenging of contemporary blues guitarists; one who remains steeped in tradition yet is not afraid to take chances.
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Traducción Automática:
Revisión por Hal Horowitz
El guitarrista de Rod Piazza & the Mighty Flyers, Rick Holmstrom, gira a la izquierda en su tercer disco en solitario. En lugar de producir el blues tradicional de la costa oeste en el que se ha formado, se zambulle de cabeza en la piscina de acid jazz / funk. Si bien el uso de bucles y muestras puede ahuyentar a su público principal, Holmstrom y el productor Genome (que también contribuye con los teclados) los utilizan para hacer que la música sea aún más áspera, más ruda y más pantanosa de lo que cabría esperar. Mientras que los blips, bloops y la frágil percusión que brindan el panorama sobre el cual Holmstrom pone sus líneas de guitarra fluidas están muy lejos de los blues directos y el boogie al que está acostumbrado en su trabajo de tiempo completo, muestra que está dispuesto a expandir los límites. en formas creativas. Holmstrom, claramente endeudado con los Meters en el grueso del ritmo funky de este álbum, muestra la palabra hablada de Rufus Thomas para resaltar el torbellino de percusión y teclado de "Shake It, Pt. 2". Hay aún más procesamiento en el remix de DJ Logic del corte, una de las cuatro pistas adicionales agregadas a los últimos 20 minutos del disco. John Medeski hace una aparición en el atasco final de ocho minutos, "Hamp's Hump", que solidifica aún más el sonido funk ácido. Holmstrom ocasionalmente agrega voces en "These Roads", que tratan electrónicamente su voz, lo que resalta aún más la ruptura con la tradición. Los efectos spacy de "Pee Wee's Nightmare" convierten a la música en una distorsión del tiempo liderada por voces de jazzy sobre los bucles sintetizados. "My Maria" funciona al ritmo de "Going to Go-Go" de Smokey Robinson & the Miracles y es el disco con más R & B-ish. Dependiendo de su lealtad a la música de raíz, Hydraulic Groove, apropiadamente titulada, será un trabajo con visión de futuro y explosión de género o un intento equivocado de introducir el blues a otra audiencia (más joven). En cualquier caso, nunca es aburrido y demuestra que Rick Holmstrom es uno de los guitarristas de blues contemporáneos más desafiantes; Aquel que sigue sumido en la tradición, sin embargo, no teme correr riesgos.
Review: by Matt Collar Trumpeter Donald Byrd's 1957 date Modern Jazz Perspective is a swinging, straight-ahead, bop-infused album featuring pianist Gigi Gryce. Also showcased on the album is vocalist Jackie Paris. Interestingly, Paris is also featured playing banjo on the gospel-inflected opening track, "Medley: Early Morning Blues." https://www.allmusic.com/album/modern-jazz-perspective-mw0002407411
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Reseña: por Matt Collar La fecha de 1957 del trompetista Donald Byrd, Modern Jazz Perspective, es un álbum de swing, directo y con una gran influencia del bop, en el que participa la pianista Gigi Gryce. También aparece en el álbum la vocalista Jackie Paris. Curiosamente, Paris también aparece tocando el banjo en el tema de apertura de influencia gospel, "Medley: Early Morning Blues". https://www.allmusic.com/album/modern-jazz-perspective-mw0002407411
