Daphne Hellman Quartet • Holiday For Harp

 

Review
by Tony Wilds
Daphne Hellman's Holiday for Harp corrects some of the stuffiness of Robert Maxwell's early and only Harmony LP, Harpist's Holiday (HL 7007). This time the emphasis is on tunes that are standards in jazz, if not also pop, such as "Summertime" and "Poinciana." The Quartet includes guitar, bass, and drum; on "Clear Out of This World," there even is whistling. As a small jazz combo, the Daphne Hellman Quartet provides a unique sound and pleasant harp and guitar solos. While Dorothy Ashby and Corky Hale may be the greater jazz harpists, Holiday for Harp is a good, budget-label choice.
https://www.allmusic.com/album/holiday-for-harp-mw0000914116



Biography
by Jason Ankeny
Unconventional jazz harpist Daphne Hellman was born Daphne Van Buren Bayne; the granddaughter of the founder of the Seaboard National Bank, she began playing the harp at age 12 before pursuing a career as an actress, studying in New York and London and even appearing in a walk-on capacity in a Broadway production of Hamlet. Often compared physically to Hollywood legend Katharine Hepburn, she also modeled for photographer Man Ray and Harper's Bazaar magazine before marrying Town & Country editor Harry Bull, with whom she had two children, the noted guitarist Sandy Bull and musician Daisy Paradis. An affair with New Yorker writer Geoffrey T. Hellman was grist for local gossip columnists, and in 1941, just hours after her divorce from Bull was finalized, she wed Hellman in Reno, NV. Taking her new husband's name, Hellman then began playing her harp professionally, making her debut at New York City's Town Hall -- because of her wealth, beauty, and social status, the performance was the subject of much media interest, and even Time magazine covered the event, calling her "as curvesome as a treble clef." In time, Hellman moved away from classical performance to jazz, beginning with an appearance at Le Ruban Bleu; in the years to follow she was a fixture of the Big Apple cabaret circuit, appearing at the Hotel New Yorker with Ving Merlin & His All-Girl Band and at Upstairs at the Downstairs with Blossom Dearie and Imogene Coca. In 1961, after her marriage to Geoffrey dissolved, Hellman married the writer and architect Hsio-Wen Shih, who mysteriously disappeared four years later -- Hellman often toured his native China, but never saw him again. Over the decades her repertoire expanded to included contemporary pop and country songs, and in 1964 she and her trio, Hellman's Angels -- touted as the world's only jazz combo fronted by a harp player -- made their first appearance at the Village Gate, where they played virtually every Tuesday night until the club shut down three decades later, making it one of the longest nightclub runs in New York City history. Hellman also appeared at unconventional venues like the pioneering punk club CBGB's; beginning in the '80s, she regularly played on subway platforms and on city street corners, even collecting spare change from passers-by in spite of her considerable wealth. Hellman maintained an active performing schedule into her eighties, and was appearing at New York's Firebird Café in the summer of 2002 when she was critically injured in a fall at her home; she died weeks later on August 4 in a Manhattan nursing home at the age of 86.
https://www.allmusic.com/artist/daphne-hellman-mn0001247999

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Reseña
por Tony Wilds
Daphne Hellman's Holiday for Harp corrige parte de la rigidez del primer y único LP de Harmony de Robert Maxwell, Harpist's Holiday (HL 7007). Esta vez se hace hincapié en melodías que son estándares del jazz, si no también del pop, como "Summertime" y "Poinciana". El cuarteto incluye guitarra, bajo y batería; en "Clear Out of This World", incluso hay silbidos. Como pequeño combo de jazz, el Daphne Hellman Quartet proporciona un sonido único y agradables solos de arpa y guitarra. Mientras que Dorothy Ashby y Corky Hale pueden ser los mejores arpistas de jazz, Holiday for Harp es una buena opción para un sello económico.
https://www.allmusic.com/album/holiday-for-harp-mw0000914116



Biografía
por Jason Ankeny
La arpista de jazz poco convencional Daphne Hellman nació como Daphne Van Buren Bayne; nieta del fundador del Seaboard National Bank, comenzó a tocar el arpa a los 12 años antes de seguir una carrera como actriz, estudiando en Nueva York y Londres e incluso apareciendo como actriz de reparto en una producción de Broadway de Hamlet. A menudo comparada físicamente con la leyenda de Hollywood Katharine Hepburn, también modeló para el fotógrafo Man Ray y la revista Harper's Bazaar antes de casarse con el editor de Town & Country Harry Bull, con quien tuvo dos hijos, el célebre guitarrista Sandy Bull y la música Daisy Paradis. Un romance con el escritor del New Yorker, Geoffrey T. Hellman, fue motivo de interés para los columnistas locales, y en 1941, apenas unas horas después de finalizar su divorcio con Bull, se casó con Hellman en Reno, NV. Adoptando el nombre de su nuevo marido, Hellman comenzó a tocar el arpa profesionalmente, debutando en el Town Hall de Nueva York - debido a su riqueza, belleza y estatus social, la actuación fue objeto de gran interés por parte de los medios de comunicación, e incluso la revista Time cubrió el evento, llamándola "tan curvilínea como una clave de sol". Con el tiempo, Hellman se alejó de la interpretación clásica para dedicarse al jazz, comenzando por una aparición en Le Ruban Bleu; en los años siguientes fue una fija del circuito de cabaret de la Gran Manzana, apareciendo en el Hotel New Yorker con Ving Merlin & His All-Girl Band y en Upstairs at the Downstairs con Blossom Dearie e Imogene Coca. En 1961, tras disolverse su matrimonio con Geoffrey, Hellman se casó con el escritor y arquitecto Hsio-Wen Shih, que desapareció misteriosamente cuatro años más tarde; Hellman realizó frecuentes giras por su China natal, pero nunca volvió a verlo. Con el paso de las décadas, su repertorio se amplió para incluir canciones pop y country contemporáneas, y en 1964 ella y su trío, Hellman's Angels -conocido como el único combo de jazz del mundo liderado por una intérprete de arpa- hicieron su primera aparición en el Village Gate, donde tocaron prácticamente todos los martes por la noche hasta que el club cerró tres décadas más tarde, convirtiéndose en uno de los clubes nocturnos más largos de la historia de Nueva York. Hellman también actuó en locales poco convencionales, como el pionero club punk CBGB's; a partir de los años 80, tocaba regularmente en los andenes del metro y en las esquinas de las calles de la ciudad, e incluso recogía monedas de los transeúntes a pesar de su considerable riqueza. Hellman siguió actuando hasta los ochenta años, y en el verano de 2002 actuaba en el Firebird Café de Nueva York cuando se lesionó gravemente en una caída en su casa; murió semanas después, el 4 de agosto, en una residencia de ancianos de Manhattan a la edad de 86 años.
https://www.allmusic.com/artist/daphne-hellman-mn0001247999

Grant Green • Remembering [LP]

One of the sad stories of jazz Green was dead by 43.  An admirer of Charlie Parker, Green played the guitar in a minimal way avoiding the clutter of chords.  Like Parker he never strays far from blues inflected playing.  It is a pity that he recorded so much with organ players. The purity of his sound and the clarity of his lines are obscured. In a way this pianoless session with Ware and Harewood fits with his playing. Green enjoys the freedom of the sparse backgrounds and takes off on all the pieces, mainly standards.

This is a relaxed session, no histrionics. If there is a criticism the album is a little one paced. However, the listener gets a chance to appreciate the lucidity and invention of Grant’s lines and to realise that the apparent simplicity is not what it seems.  This is about improvisation in its purest sense, the no place to hide sense, the ‘I am not going to blast you with volume or flashy technique sense’. Beautiful standards where you can follow the line of thought, appreciate the nuances of interpretation and admire the structure.

The two Woody’N’You tracks are extras from a session with pianist Sonny Clark. Apparently this was the only time that the guitarist recorded the Dizzy Gillespie piece.

The music is very well packaged and there are two informative essays.

If I could only have one album by Grant Green this would be it.  It has the essence. If you don’t know the work of Grant Green what a good place to start.

Reviewed by Jack Kenny / http://www.jazzviews.net/grant-green-trio---remembering-grant-green.html

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Traducción Automática:

Una de las tristes historias del jazz Green murió a los 43 años. Como admirador de Charlie Parker, Green tocó la guitarra de una manera mínima, evitando el desorden de los acordes. Al igual que Parker, nunca se aleja del blues. Es una pena que haya grabado tanto con los músicos de órgano. La pureza de su sonido y la claridad de sus líneas están oscurecidas. En cierto modo, esta sesión sin piano con Ware y Harewood encaja con su forma de tocar. Green disfruta de la libertad de los fondos dispersos y despega en todas las piezas, principalmente en los estándares.

Esta es una sesión relajada, sin histrionismo. Si hay una crítica el álbum es un poco de ritmo. Sin embargo, el oyente tiene la oportunidad de apreciar la lucidez y la invención de las líneas de Grant y darse cuenta de que la aparente simplicidad no es lo que parece. Se trata de la improvisación en su sentido más puro, el lugar donde no se puede esconder el sentido, el ‘No te voy a sorprender con el sentido del volumen o la técnica llamativa’. Hermosos estándares donde se puede seguir la línea de pensamiento, apreciar los matices de la interpretación y admirar la estructura.

Las dos pistas de Woody’N’You son extras de una sesión con el pianista Sonny Clark. Aparentemente esta fue la única vez que el guitarrista grabó la pieza de Dizzy Gillespie.

La música está muy bien empaquetada y hay dos ensayos informativos.

Si solo pudiera tener un álbum de Grant Green, sería este. Tiene la esencia. Si no conoce el trabajo de Grant Green, es un buen lugar para comenzar.

Revisado por Jack Kenny / http://www.jazzviews.net/grant-green-trio---remembering-grant-green.html

Las ideas libertarias y la cuestión social en el tango

 

Los tangos saben de suburbios, arrabales, injusticias, hambre, fraternidad e identidades. Pero no hay muchos que hablen de la cuestión social, y muchos menos son los que se podrían denominar anarquistas por su vinculación militante con la detección y la lucha contra las causas de la opresión. Lamentablemente los anarquistas argentinos afincados en Buenos Aires a principios del siglo XX y hasta la década del 30’ no supieron conjugar creativamente sus ideas políticas con los géneros de la canción popular para calar más hondo y dejar una huella más firme en las conciencias de las masas proletarias. Como veremos más adelante los anarquistas más “orgánicos” solo modificaron las letras de tangos conocidos para llamar a la rebelión general. Sin embargo, se pueden detectar algunos rastros que definen rasgos de muchos tangos y les otorgan un lugar en la geografía de las prácticas culturales de protesta. Marcas que quedaron en muchos poetas que crecieron, trabajaron y soñaron en los mismos lugares donde aquellos más involucrados con las ideas libertarias vivían, sentían o transitaban.

 

Phil Porter • Introducing Phil Porter And His Organ

 

Phil began his music career in Boston at the age of 16 as a professional pianist and organist. By the age of 20 he had recorded his first two jazz albums and had performed at the Newport Jazz Festival. As a member of the band “Chase,” he earned a gold record, received a Grammy nomination, and performed on the Johnny Carson Show and at Carnegie Hall. After many years of performing throughout the U.S. and worldwide, he returned to the Boston area and continued his music career locally, including as the organist for the Bruins and Celtics at the Boston Garden. He was a member of Local 535 of the Boston Chapter of the American Federation of Musicians.
https://obituaries.eagletribune.com/obituary/philip-porter-771111311

In 1971, Phil started rehearsing with the jazz-rock band, Chase. Within a few months, the band signed a record deal and moved to Chicago to record Chase, their first album on the Epic label. This album eventually went Gold. “Get It On”, the hit single featuring Phil’s organ solo, was 1971’s “Song of the Year” on WLS in Chicago, the #1 rock radio station in the country. “Get It On” cracked Billboard’s top ten nationally and the band received rave reviews in Rolling Stone, Playboy, Billboard, Downbeat, Cashbox and The New York Times. Chase was nominated for a Grammy Award in 1971 in the “New Artist of the Year” category. Chase performed at such renowned venues as The Hollywood Bowl, Carnegie Hall, The Newport Jazz Festival (2 times), LA’s Whiskey a Go Go and was featured at the first rock concert ever held in New York’s Radio City Music Hall. The band toured Africa and Japan, was featured on their own CBS Television Special as well as the Smothers Brothers and The Tonight Show Starring Johnny Carson. Phil was also a featured soloist on the band’s second album, Ennea. This album included It Won’t Be Long, a soulful ballad written by Phil.
https://hammondorganco.com/artists/organ-and-leslie-artists/phil-porter/

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Phil comenzó su carrera musical en Boston a los 16 años como pianista y organista profesional. A los 20 años ya había grabado sus dos primeros álbumes de jazz y había actuado en el Festival de Jazz de Newport. Como miembro del grupo "Chase", obtuvo un disco de oro, recibió una nominación al Grammy y actuó en el programa de Johnny Carson y en el Carnegie Hall. Tras muchos años de actuaciones por todo Estados Unidos y el mundo, regresó a la zona de Boston y continuó su carrera musical a nivel local, incluso como organista de los Bruins y los Celtics en el Boston Garden. Fue miembro del Local 535 de la sección de Boston de la Federación Americana de Músicos.
https://obituaries.eagletribune.com/obituary/philip-porter-771111311

En 1971, Phil comenzó a ensayar con la banda de jazz-rock, Chase. En pocos meses, la banda firmó un contrato discográfico y se trasladó a Chicago para grabar Chase, su primer álbum con el sello Epic. Este álbum acabó siendo disco de oro. "Get It On", el exitoso sencillo con el solo de órgano de Phil, fue la "Canción del Año" de 1971 en la WLS de Chicago, la emisora de rock número 1 del país. "Get It On" se coló en el top ten de Billboard a nivel nacional y la banda recibió críticas muy favorables en Rolling Stone, Playboy, Billboard, Downbeat, Cashbox y The New York Times. Chase fue nominado a un premio Grammy en 1971 en la categoría de "Nuevo Artista del Año". Chase actuó en lugares de renombre como el Hollywood Bowl, el Carnegie Hall, el Festival de Jazz de Newport (2 veces), el Whiskey a Go Go de Los Ángeles y participó en el primer concierto de rock celebrado en el Radio City Music Hall de Nueva York. La banda realizó una gira por África y Japón, y apareció en su propio especial de televisión de la CBS, así como en el programa de los Smothers Brothers y en The Tonight Show Starring Johnny Carson. Phil también fue un solista destacado en el segundo álbum de la banda, Ennea. Este álbum incluía It Won't Be Long, una conmovedora balada escrita por Phil.
https://hammondorganco.com/artists/organ-and-leslie-artists/phil-porter/

Red Garland • The 1956 Trio

This European compilation, drawn from recordings originally released in the U.S. by Prestige Records, is in essence the Red Garland album A Garland of Red with bonus tracks. After the nine tracks making up that LP, most of them show music and Tin Pan Alley covers recorded in August 1956, the compilers add four tracks by the same performers, Garland and his rhythm section of Paul Chambers (bass) and Art Taylor (drums), from a December 1956 session, two of which originally appeared on the LP Groovy and two on Red Garland's Piano. The CD concludes with "Ahmad's Blues," actually recorded under the rubric of the Miles Davis Quintet for that group's album Workin' in May 1956, even though only Garland, Chambers, and drummer Philly Joe Jones are present on the track. The pianist is assured throughout, and Chambers gets generous space, notably playing some extended arco solos, making this an outstanding collection of 1950s piano trio jazz.

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Traducción Automática:

Esta compilación europea, extraída de grabaciones originalmente lanzadas en los EE. UU. Por Prestige Records, es en esencia el álbum Red Garland A Garland of Red con pistas adicionales. Después de las nueve pistas que componen ese LP, la mayoría de ellas muestran música y las portadas de Tin Pan Alley grabadas en agosto de 1956, los compiladores agregan cuatro canciones de los mismos intérpretes, Garland y su sección de ritmo de Paul Chambers (bajo) y Art Taylor (batería). ), de una sesión de diciembre de 1956, dos de las cuales aparecieron originalmente en el LP Groovy y dos en Red Garland's Piano. El CD concluye con "Ahmad's Blues", en realidad grabado bajo la rúbrica de Miles Davis Quintet para el álbum Workin 'de ese grupo en mayo de 1956, aunque solo Garland, Chambers y el baterista Philly Joe Jones están presentes en la pista. El pianista está asegurado en todo momento, y Chambers obtiene un espacio generoso, especialmente tocando algunos solos de arco extendidos, lo que hace de esta una destacada colección del trío de piano de los años cincuenta.

Popular Music in Eastern Europe Breaking the Cold War Paradigm

 

This book explores popular music in Eastern Europe during the period of state socialism, in countries such as Poland, Hungary, Yugoslavia, Romania, Czechoslovakia, the GDR, Estonia and Albania. It discusses the policy concerning music, the greatest Eastern European stars, such as Karel Gott, Czesław Niemen and Omega, as well as DJs and the music press. By conducting original research, including interviews and examining archival material, the authors take issue with certain assumptions prevailing in the existing studies on popular music in Eastern Europe, namely that it was largely based on imitation of western music and that this music had a distinctly anti-communist flavour. Instead, they argue that self-colonisation was accompanied with creating an original idiom, and that the state not only fought the artists, but also supported them. The collection also draws attention to the foreign successes of Eastern European stars, both within the socialist bloc and outside of it.

 

Ted Heath And His Music • Ted Heath Swings In High Stereo

 

Biography
by Scott Yanow
Ted Heath was one of the most famous big-band leaders in Great Britain of the 1950s. His bands played modernized swing music that was always danceable but occasionally had worthwhile solos played in the tradition. Heath started out playing tenor horn before he switched to trombone when he was 14. He spent a period playing as a street musician and then was discovered by Jack Hylton, who hired him for his band. Heath had long stints as a sideman with a variety of top dance bands, including ensembles led by Bert Firman (1924-1925), Hylton again (1925-1927), Ambrose (1928-1936), Sydney Lipton (1936-1939), and Geraldo (1939-1944). Heath began leading his own big band in 1944 and, through regular appearances on the radio, tours, and concerts, he soon became a household name in England. The innovations of bebop were largely ignored in favor of playing swing-oriented charts, although some of Heath's soloists (particularly Ronnie Scott, Danny Moss, Don Rendell, and Kenny Baker) became notable as jazz players. Heath, whose band was always of high musicianship and used "Listen to the Music" as its theme song, also became well known in the United States, visiting the U.S. several times starting in 1956. His orchestra recorded quite frequently starting in 1944 (mostly for Decca and London), including ten albums in 1959 alone. Even after Ted Heath's death in 1969, the big band continued performing and recording with a live concert cut as late as 1977.
https://www.allmusic.com/artist/ted-heath-mn0000023906/biography

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Biografía
por Scott Yanow
Ted Heath fue uno de los más famosos líderes de big-band en la Gran Bretaña de los años cincuenta. Sus bandas tocaban música swing modernizada que siempre era bailable, pero que de vez en cuando tenía valiosos solos interpretados en la tradición. Heath empezó tocando la trompa tenor antes de cambiar al trombón cuando tenía 14 años. Pasó un tiempo tocando como músico callejero y luego fue descubierto por Jack Hylton, que lo contrató para su banda. Heath pasó largas temporadas como músico de acompañamiento en diversas bandas de baile de primera línea, incluidos los conjuntos dirigidos por Bert Firman (1924-1925), Hylton de nuevo (1925-1927), Ambrose (1928-1936), Sydney Lipton (1936-1939) y Geraldo (1939-1944). Heath comenzó a dirigir su propia big band en 1944 y, a través de apariciones regulares en la radio, giras y conciertos, pronto se convirtió en un nombre muy conocido en Inglaterra. Las innovaciones del bebop fueron ignoradas en gran medida en favor de la interpretación de gráficos orientados al swing, aunque algunos de los solistas de Heath (en particular Ronnie Scott, Danny Moss, Don Rendell y Kenny Baker) se hicieron notables como intérpretes de jazz. Heath, cuya banda era siempre de gran calidad musical y utilizaba "Listen to the Music" como tema principal, también se hizo muy conocido en los Estados Unidos, visitando este país en varias ocasiones a partir de 1956. Su orquesta grabó con bastante frecuencia a partir de 1944 (sobre todo para Decca y London), incluyendo diez álbumes sólo en 1959. Incluso después de la muerte de Ted Heath en 1969, la big band siguió actuando y grabando con un corte de concierto en vivo hasta 1977.
https://www.allmusic.com/artist/ted-heath-mn0000023906/biography

Jay Hoggard • Rain Forest

Jay Hoggard (b. September 24, 1954, Washington, D.C.) is an American jazz vibraphonist.

Jay Hoggard was raised in a religious family. He was born in Washington, D.C. but grew up in Mount Vernon, New York. His mother taught him how to play piano at a young age. At age 15, Jay started to play the vibraphone.

Hoggard first played piano and saxophone before picking up vibraphone. He played with Anthony Davis and Leo Smith in the early 1970s in New England, and after moving to New York City in 1988, he worked again with Davis and with Chico Freeman, Sam Rivers, Cecil Taylor, James Newton, and Kenny Burrell. Since then Jay has performed with famous vibraphonists Lionel Hampton, Milt Jackson, Tito Puente and Bobby Hutcherson. He has collaborated with Kenny Burrell, Billy Taylor, James Newton, Hilton Ruiz and Oliver Lake.

Hoggard has played in venues in Africa, South America, Europe, Asia and the Caribbean. In the United States he has performed at the Kennedy Center in Washington D.C., the Lincoln Center in New York City, and the Schomburg Center for Research in Black Culture also in New York City. Jay has performed at numerous jazz festivals including St. Lucia, Montreux, Mount Fuji, Pori and Hartford, CT. He has appeared on television on CBS Sunday Morning and BET Jazz.

Hoggard has recorded many dates as a leader, including several that have been commercially successful in the U.S. He graduated from and is currently Adjunct Professor at Wesleyan University.

Review by Scott Yanow

Jay Hoggard's lone date for Contemporary (reissued as an OJC CD) was one of the vibraphonist's finest early sets. The music (all six songs are Hoggard originals) falls into the area of advanced hard bop. Chief among the sidemen are Chico Freeman (heard on tenor, soprano and bass clarinet), keyboardist Kenny Kirkland, and colorful percussionist Paulinho Da Costa; two songs utilize three vocalists, and there is a strong African feel to some of the ensembles.

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Traducción Automática:

 Jay Hoggard (nacido el 24 de septiembre de 1954 en Washington, DC) es un vibrafonista de jazz estadounidense.

Jay Hoggard se crió en una familia religiosa. Nació en Washington, DC, pero creció en Mount Vernon, Nueva York. Su madre le enseñó a tocar el piano a una edad temprana. A los 15 años, Jay comenzó a tocar el vibráfono.

Hoggard tocó por primera vez el piano y el saxofón antes de recoger vibráfono. Jugó con Anthony Davis y Leo Smith a principios de la década de 1970 en Nueva Inglaterra, y después de mudarse a la ciudad de Nueva York en 1988, trabajó de nuevo con Davis y con Chico Freeman, Sam Rivers, Cecil Taylor, James Newton y Kenny Burrell. Desde entonces, Jay ha actuado con los famosos vibrafonistas Lionel Hampton, Milt Jackson, Tito Puente y Bobby Hutcherson. Ha colaborado con Kenny Burrell, Billy Taylor, James Newton, Hilton Ruiz y Oliver Lake.

Hoggard ha jugado en lugares de África, América del Sur, Europa, Asia y el Caribe. En los Estados Unidos se ha presentado en el Kennedy Center en Washington DC, el Lincoln Center en la ciudad de Nueva York y el Schomburg Center for Research in Black Culture también en la ciudad de Nueva York. Jay se ha presentado en numerosos festivales de jazz como Santa Lucía, Montreux, Monte Fuji, Pori y Hartford, CT. Ha aparecido en televisión en CBS Sunday Morning y BET Jazz.

Hoggard ha grabado muchas fechas como líder, incluidas varias que han tenido éxito comercial en los EE. UU. Se graduó y actualmente es profesor adjunto en la Universidad de Wesleyan.

 

Reseña por Scott Yanow

La única cita de Jay Hoggard para Contemporary (reeditado como un CD de OJC) fue uno de los mejores sets tempranos del vibrafonista. La música (las seis canciones son originales de Hoggard) cae en el área de hard bop avanzado. El jefe de los sidemen son Chico Freeman (escuchado en el tenor, el soprano y el clarinete bajo), el teclista Kenny Kirkland y el percusionista colorido Paulinho Da Costa; dos canciones utilizan tres vocalistas, y hay un fuerte sentimiento africano en algunos de los conjuntos.

jayhoggard.com ...

Jimmy McGriff • Ive Got A New Woman

Paul McCartney the life

 

Since the age of twenty-one, Paul McCartney has lived one of the ultimate rock-n-roll lives played out on the most public of stages. Now, Paul's story is told by rock music's foremost biographer, with McCartney's consent and access to family members and close friends who have never spoken on the record before. PAUL McCARTNEY reveals the complex character behind the façade and sheds new light on his childhood--blighted by his mother's death but redeemed by the father who introduced him to music.

This is the first definitive account of Paul's often troubled partnership with John Lennon, his personal trauma after the Beatles' breakup, and his subsequent struggle to get back to the top with Wings--which nearly got him murdered in Africa and brought him nine days in a Tokyo jail. Readers will learn about his marriage to Linda, including their much-criticized musical collaboration, and a moving account of her death. Packed with new information and critical insights, PAUL MCCARTNEY will be the definitive biography of a musical legend. 

 

Set in Stone: The Face in Medieval Sculpture • The Metropolitan Museum Of Art New York, pdf / English language

Faces in medieval sculpture are explorations of human identity, marked not only by evolving nuances of style but also by ongoing drama of European history. The eighty-one sculpted heads featured in this beautifully illustrated volume provide a sweeping view of the Middle Ages, from the waning days of the Roman Empire to the Renaissance. Each masterful sculpture bears eloquent witness to its own history, whether it was removed from its original context for ideological reasons or because of changing tastes.

As a work of art, the sculpted head is a particularly moving and vivid fragment; it often seems to retain some part of its past, becoming not unlike a living remnant of an age. In antiquity and throughout the Middle Ages it was generally believed that the soul resided in the head, as articulated by Plato in the Timaeus. The head was thus understood to be a center of power, the core of individual identity, and the primary vehicle for human expression, emotion, and character.

Many medieval sculpted heads became separated from their settings—often churches or ecclesiastical monuments—by the seemingly endless destruction and displacement of art works in Europe during and after the Middle Ages. Political and religious ferment, neglect, shifts in taste, and simply time itself: all exacted a heavy toll. During the French Revolution, in particular, legions of stone figures lost their heads in a course of mutilation that paralleled the infamous guillotine. In many cases the artistic or aesthetic merits of a given fragment are all that remain of the original work's context, meaning, and significance. Some heads survived precisely because of their innate beauty, or perhaps out of reverence for the grand monuments to which they once belonged.

Seven thematic sections retrace the history of these heads using both traditional art-historical methods, such as connoisseurship and archaeology, as well as the latest scientific technologies. In his introduction to the volume, Charles T. Little provides an overview of these general themes, which include Iconoclasm, The Stone Bible, and Portraiture. An essay by distinguished scholar Willibald Sauerländer discusses the complex and fascinating issue of physiognomy in medieval art, from menacing or carnivalesque grotesques to the beatific visages of saints and apostles. Sauerländer presciently observes, "To learn about 'the fate of the face' in the Middle Ages—a period torn by strife, faith, and fear—may prove today to be more than a mere art-historical concern."

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Traducción Automática:

Los rostros en la escultura medieval son exploraciones de la identidad humana, marcadas no solo por matices de estilo en evolución, sino también por el drama en curso de la historia europea. Las ochenta y una cabezas esculpidas que aparecen en este volumen bellamente ilustrado brindan una vista panorámica de la Edad Media, desde los últimos días del Imperio Romano hasta el Renacimiento. Cada escultura magistral es testigo elocuente de su propia historia, ya sea que haya sido eliminada de su contexto original por razones ideológicas o por cambios en los gustos.

Como una obra de arte, la cabeza esculpida es un fragmento particularmente conmovedor y vivo; a menudo parece conservar una parte de su pasado, convirtiéndose en algo que no se parece a un remanente viviente de una época. En la antigüedad y durante la Edad Media, en general se creía que el alma residía en la cabeza, como lo expresó Platón en el Timeo. Por lo tanto, se entendía que la cabeza era un centro de poder, el núcleo de la identidad individual y el vehículo principal para la expresión humana, la emoción y el carácter.

Muchas cabezas esculpidas medievales se separaron de sus entornos, a menudo iglesias o monumentos eclesiásticos, por la destrucción y el desplazamiento aparentemente infinitos de obras de arte en Europa durante y después de la Edad Media. Fermento político y religioso, abandono, cambios en el gusto y, simplemente, el tiempo mismo: todos cobraron un alto precio. Durante la Revolución Francesa, en particular, legiones de figuras de piedra perdieron la cabeza en un proceso de mutilación que fue paralelo a la infame guillotina. En muchos casos, los méritos artísticos o estéticos de un fragmento dado son todo lo que queda del contexto, significado y significado de la obra original. Algunas cabezas sobrevivieron precisamente por su belleza innata, o quizás por respeto a los grandes monumentos a los que alguna vez pertenecieron.

Siete secciones temáticas recorren la historia de estas cabezas utilizando tanto los métodos tradicionales de historia del arte, como el conocimiento y la arqueología, así como las últimas tecnologías científicas. En su introducción al volumen, Charles T. Little ofrece una descripción general de estos temas generales, que incluyen Iconoclasm, The Stone Bible y Portraiture. Un ensayo del distinguido erudito Willibald Sauerländer discute el complejo y fascinante tema de la fisonomía en el arte medieval, desde los grotescos amenazantes o carnavalescos hasta los aspectos beatíficos de santos y apóstoles. Sauerländer observa de manera concienzuda: "Aprender sobre 'el destino del rostro' en la Edad Media, un período desgarrado por la lucha, la fe y el miedo, puede demostrar que hoy es más que una mera preocupación artística-histórica".

Mike Mainieri • Journey Thru An Electric Tube

 

Review
by Tony Wilds
Journey Through an Electric Tube is not likely to be high on anyone's list, just as Mainieri is an obscure vibist. Journey may well be a cash-in on Dave Pike's success with The Doors of Perception and similar works. Journey features excellent ideas and playing and of course Sonny Lester's top direction. You have female vocals on two tracks, bossa nova on one, some fuzztone here, and "Allow Your Mind to Wander" is a 14-minute jam. It is all low-volume, pleasant, and never-abrasive, however. Call it gently experimental, forward-looking without being too forward or pretentious.
https://www.allmusic.com/album/journey-through-an-electric-tube-mw0000901101?1643220381605



Biography:
Primarily recognized as an award-winning, jazz vibraphonist, Mike Mainieri’s equally remarkable talents as producer, arranger, and composer have contributed to shaping the cutting-edge in music. Throughout his fruitful career—now spanning almost five decades—Mike has collaborated with the world’s most formidable jazz player’s produced numerous albums, and discovered a host of innovative, young talent.

Raised in a family of performers and musicians, Mike’s training began early. At the age of 14, his own jazz trio was touring with the PAUL WHITEMAN ORCHESTRA, and by 17 he was playing and arranging for Buddy Rich’s sextet- -a tenure which continued up until 1962. During this period, he also played with such legendary artists as Billie Holiday, Dizzy Gillespie, Coleman Hawkins and Wes Montgomery, and at the age of 18 he won the International Jazz Critic’s Award.

As a solo artist, Mike has created and contributed to countless, visionary artistic endeavors. In 1962, he joined the ground-breaking jazz/rock group JEREMY & THE SATYRS led by flutist Jeremy Steig. Along with Warren Bernhardt, Donald MacDonald, Adrian Guilery, and Eddie Gomez, THE SATYRS jammed at New York’s Club Go Go, and performed with such monumental figures as Frank Zappa, Richie Havens and Jimi Hendrix. During the late 60’s, this small circle of performers grew into what became known as the WHITE ELEPHANT ORCHESTRA, a 20-piece, all- star, experimental ensemble. The group featured George Young, Frank Vacari, Michael Brecker, and Ronny Cuber —saxes; Jon Faddis, Lew Soloff, and Randy Brecker—trumpets; Barry Rogers, Jon Pierson—trombones; as well as, Steve Gadd, Tony Levin, Donald MacDonald, Warren Bernhardt, Joe Beck, David Spinozza, and Hugh McCraken in the rhythm section. Under Mike’s direction, this jazz/rock big band evolved into a laboratory for experimentation with various musical forms, ideas, and philosophies. From 1969-1972, the WHITE ELEPHANT clan of New York’s finest musicians jammed, and recorded at studios throughout the city, and its energy spawned many musical directions for the decades to follow, including DREAMS, ARS NOVA, BRECKER BROTHERS, L’IMAGES, etc.

During the late 70’s, Mike founded the pioneering jazz/ fusion groups STEPS AHEAD, which included previous cohorts Michael Brecker, Eddie Gomez, Steve Gadd and Don Grolnick. Delving into contemporary sounds while maintaining experimentation and compositional integrity, STEPS AHEAD was, and is, a launching-pad for young talent and new musical ideas. STEPS Alumni include Peter Erskine, Eliane Elias, Rachel Z., Victor Bailey, Warren Bernhardt, Chuck Loeb, Daryl Jones, Mike Stern and Jimi Tunnel. Other noteworthy collaborations have included recordings with Joe Henderson, Marcus Miller, Joe Lovano, Larry Coryell, and Jim Hall, just to name a few.

As a composer, arranger, and performer, Mike has contributed to over 100 gold and platinum albums. An active participant in the rock and pop scenes, he’s worked with Paul Simon, Linda Ronstadt, Aerosmith, Billy Joel, Janis Ian, James Taylor, Dire Staits, and Bonnie Raitt. He’s Produced albums for George Benson and Andy Summers, and STEPS AHEAD Alumni, Norweigan saxophonist Bendik, and pianist Rachel Z.

In 1992, Mike brought to bear his vast experience with the creation of NYC RECORDS. An extension of himself, the independent label is a vehicle for exposing new ideas grounded in the jazz idiom. With the hip, fresh sounds of Zachary Breaux and Rachel Z; saxophonists George Garzone and Myron Walden; the eclectic, musical cacophony of Philip DeGruy's solo guitar; and Mike’s own projects Mike Mainieri, AN AMERICAN DIARY series—featuring Joe Lovano, George Garzone, Eddie Gomez, and Peter Erskine—and the ever evolving STEPS AHEAD group.
https://www.allaboutjazz.com/musicians/mike-mainieri

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Reseña
por Tony Wilds
Journey Through an Electric Tube no es probable que esté en la lista de nadie, al igual que Mainieri es un vibrante oscuro. Journey bien puede ser un efectivo en el éxito de Dave Pike con The Doors of Perception y trabajos similares. Journey cuenta con excelentes ideas y toques y, por supuesto, con la dirección superior de Sonny Lester. Tienes voces femeninas en dos temas, bossa nova en uno, algo de fuzztone aquí, y "Allow Your Mind to Wander" es una jam de 14 minutos. Sin embargo, todo es de bajo volumen, agradable y nunca abrasivo. Llámalo suavemente experimental, orientado hacia el futuro sin ser demasiado avanzado o pretencioso.
https://www.allmusic.com/album/journey-through-an-electric-tube-mw0000901101?1643220381605



Biografía:
Reconocido principalmente como galardonado vibrafonista de jazz, el talento igualmente notable de Mike Mainieri como productor, arreglista y compositor ha contribuido a dar forma a la vanguardia de la música. A lo largo de su fructífera carrera -que ya abarca casi cinco décadas-, Mike ha colaborado con los más formidables músicos de jazz del mundo, ha producido numerosos álbumes y ha descubierto una gran cantidad de jóvenes talentos innovadores.

Criado en una familia de intérpretes y músicos, la formación de Mike comenzó pronto. A la edad de 14 años, su propio trío de jazz estaba de gira con la PAUL WHITEMAN ORCHESTRA, y a los 17 años ya tocaba y hacía arreglos para el sexteto de Buddy Rich, una labor que continuó hasta 1962. Durante este período, también tocó con artistas legendarios como Billie Holiday, Dizzy Gillespie, Coleman Hawkins y Wes Montgomery, y a los 18 años ganó el Premio Internacional de la Crítica de Jazz.

Como artista en solitario, Mike ha creado y contribuido a innumerables y visionarios esfuerzos artísticos. En 1962, se unió al innovador grupo de jazz/rock JEREMY & THE SATYRS dirigido por el flautista Jeremy Steig. Junto con Warren Bernhardt, Donald MacDonald, Adrian Guilery y Eddie Gómez, THE SATYRS tocó en el Club Go Go de Nueva York y actuó con figuras monumentales como Frank Zappa, Richie Havens y Jimi Hendrix. A finales de los años 60, este pequeño círculo de intérpretes se convirtió en lo que se conoció como la WHITE ELEPHANT ORCHESTRA, un conjunto experimental de 20 músicos. El grupo contaba con George Young, Frank Vacari, Michael Brecker y Ronny Cuber (saxos); Jon Faddis, Lew Soloff y Randy Brecker (trompetas); Barry Rogers y Jon Pierson (trombones); así como Steve Gadd, Tony Levin, Donald MacDonald, Warren Bernhardt, Joe Beck, David Spinozza y Hugh McCraken en la sección rítmica. Bajo la dirección de Mike, esta big band de jazz/rock evolucionó hasta convertirse en un laboratorio de experimentación con diversas formas musicales, ideas y filosofías. Entre 1969 y 1972, el clan WHITE ELEPHANT, formado por los mejores músicos de Nueva York, se reunió y grabó en estudios de toda la ciudad, y su energía dio lugar a muchas direcciones musicales en las décadas siguientes, como DREAMS, ARS NOVA, BRECKER BROTHERS, L'IMAGES, etc.

A finales de los 70, Mike fundó el grupo pionero de jazz/fusión STEPS AHEAD, que incluía a sus anteriores compañeros Michael Brecker, Eddie Gómez, Steve Gadd y Don Grolnick. Al adentrarse en los sonidos contemporáneos, manteniendo la experimentación y la integridad compositiva, STEPS AHEAD fue, y es, una plataforma de lanzamiento para jóvenes talentos y nuevas ideas musicales. Entre los ex alumnos de STEPS se encuentran Peter Erskine, Eliane Elias, Rachel Z., Victor Bailey, Warren Bernhardt, Chuck Loeb, Daryl Jones, Mike Stern y Jimi Tunnel. Otras colaboraciones dignas de mención incluyen grabaciones con Joe Henderson, Marcus Miller, Joe Lovano, Larry Coryell y Jim Hall, por nombrar algunos.

Como compositor, arreglista e intérprete, Mike ha contribuido a más de 100 álbumes de oro y platino. Participante activo en la escena del rock y el pop, ha trabajado con Paul Simon, Linda Ronstadt, Aerosmith, Billy Joel, Janis Ian, James Taylor, Dire Staits y Bonnie Raitt. Ha producido discos para George Benson y Andy Summers, y para los ex alumnos de STEPS AHEAD, el saxofonista noruego Bendik y la pianista Rachel Z.

En 1992, Mike puso en práctica su amplia experiencia con la creación de NYC RECORDS. Este sello independiente, que es una extensión de sí mismo, es un vehículo para exponer nuevas ideas basadas en el lenguaje del jazz. Con los sonidos modernos y frescos de Zachary Breaux y Rachel Z; los saxofonistas George Garzone y Myron Walden; la cacofonía musical ecléctica de la guitarra solista de Philip DeGruy; y los proyectos propios de Mike, Mike Mainieri, la serie AN AMERICAN DIARY -con Joe Lovano, George Garzone, Eddie Gomez y Peter Erskine- y el grupo STEPS AHEAD, en constante evolución.
https://www.allaboutjazz.com/musicians/mike-mainieri


nycrecords.com ...

Play It Loud An Epic History of the Style, Sound, and Revolution of the Electric Guitar

 

"Every guitar player will want to read this book twice. And even the casual music fan will find a thrilling narrative that weaves together cultural history, musical history, race, politics, business case studies, advertising, and technological discovery." —Daniel Levitin, Wall Street Journal

For generations the electric guitar has been an international symbol of freedom, danger, rebellion, and hedonism. In Play It Loud, veteran music journalists Brad Tolinski and Alan di Perna bring the history of this iconic instrument to roaring life. It's a story of inventors and iconoclasts, of scam artists, prodigies, and mythologizers as varied and original as the instruments they spawned.

Play It Loud uses twelve landmark guitars—each of them artistic milestones in their own right—to illustrate the conflict and passion the instruments have inspired. It introduces Leo Fender, a man who couldn't play a note but whose innovations helped transform the guitar into the explosive sound machine it is today. Some of the most significant social movements of the twentieth century are indebted to the guitar: It was an essential element in the fight for racial equality in the entertainment industry; a mirror to the rise of the teenager as social force; a linchpin of punk's sound and ethos. And today the guitar has come full circle, with contemporary titans such as Jack White of The White Stripes, Annie Clark (aka St. Vincent), and Dan Auerbach of The Black Keys bringing some of the earliest electric guitar forms back to the limelight.

Featuring interviews with Les Paul, Keith Richards, Carlos Santana, Eddie Van Halen, Steve Vai, and dozens more players and creators, Play It Loud is the story of how a band of innovators transformed an idea into a revolution. 

 

Lightnin' Hopkins • Last Night Blues

 


Review
by AllMusic
Outside of Blind Lemon Jefferson, Lightnin' Hopkins may be Texas's most distinctive and influential blues export. His easy, fluid fingerpicking and witty, extemporaneous storytelling are always a delight, and his performances on LAST NIGHT BLUES are no exception. The album is spare and acoustic, with Hopkins's voice and guitar accompanied by minimal percussion and Sonny Terry's harmonica.

Terry's contributions really add a lot to these tunes, threading a high, lonesome whine on the downtempo tunes and a chugging, propulsive shuffle on the faster ones. Hopkins is, of course, one of the kings of the blues boogie, but he's equally compelling on the slow blues, and he never missteps throughout this fine set. All told, this dynamite disc represents what the blues should be: stripped-down, soulful, and full of truth.
https://www.allmusic.com/album/last-night-blues-mw0000089123

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Reseña
por AllMusic
Aparte de Blind Lemon Jefferson, Lightnin' Hopkins puede ser la exportación de blues más distintiva e influyente de Texas. Su fácil y fluida forma de tocar con los dedos y su ingeniosa y extemporánea forma de contar historias son siempre una delicia, y sus actuaciones en LAST NIGHT BLUES no son una excepción. El álbum es sobrio y acústico, con la voz y la guitarra de Hopkins acompañadas por una percusión mínima y la armónica de Sonny Terry.

Las contribuciones de Terry aportan mucho a estos temas, enhebrando un quejido agudo y solitario en las melodías de ritmo lento y un shuffle propulsivo en las más rápidas. Hopkins es, por supuesto, uno de los reyes del blues boogie, pero es igualmente convincente en el blues lento, y nunca se equivoca a lo largo de este buen conjunto. En definitiva, este disco representa lo que debería ser el blues: despojado, conmovedor y lleno de verdad.
https://www.allmusic.com/album/last-night-blues-mw0000089123

Pretend You're In A War: The Who and the Sixties

 

Pete Townshend was once asked how he prepared himself for The Who's violent live performances. His answer? 'Pretend you're in a war.' For a band as prone to furious infighting as it was notorious for acts of 'auto-destructive art' this could have served as a motto.

Between 1964 and 1969 The Who released some of the most dramatic and confrontational music of the decade, including 'I Can't Explain', 'My Generation' and 'I Can See For Miles'. This was a body of work driven by bitter rivalry, black humour and dark childhood secrets, but it also held up a mirror to a society in transition. Now, acclaimed rock biographer Mark Blake goes in search of its inspiration to present a unique perspective on both The Who and the sixties.

From their breakthrough as Mod figureheads to the rise and fall of psychedelia, he reveals how The Who, in their explorations of sex, drugs, spirituality and class, refracted the growing turbulence of the time. He also lays bare the colourful but crucial role played by their managers, Kit Lambert and Chris Stamp. And - in the uneasy alliance between art-school experimentation and working-class ambition - he locates the motor of the Swinging Sixties.

As the decade closed, with The Who performing Tommy in front of 500,000 people at the Woodstock Festival, the 'rock opera' was born. In retrospect, it was the crowning achievement of a band who had already embraced pop art and the concept album; who had pioneered the power chord and the guitar smash; and who had embodied - more so than any of their peers - the guiding spirit of the age: war.

 

John Singleton Copley in America

John Singleton Copley was the leading portraitist of the American colonial era. This volume, which accompanies a major exhibition of Copley's work organized by the Metropolitan Museum of Art, New York, and the Museum of Fine Arts, Boston, focuses on the paintings, miniatures and pastels which Copley produced before he moved to London in 1774. In four principal essays, a team of experts places Copley's work in historical and social context, and brings new critical methods to bear upon traditional aspects of the study of portraits and portraiture. Among the conclusions are that Copley's portraits helped to shape pre-Revolutionary culture, and that their content was market-driven in a relentlessly consumerist, anglophile society. Four shorter texts treat Copley's use of costumes in his portraits, his achievement as a miniaturist, his pastels, and the frames he used for his work. Catalogue entries on the color-plates detail the sitters' lives, decode the emblematic language that reflected status in colonial society, and reveal the way Copley contrived to enhance his subjects' status. The exhibition with which the book is timed to coincide opens in June 1995 in Boston and in September 1995 in New York, and travels subsequently to Houston and Milwaukee.

Serge Chaloff and Boots Mussulli featuring Russ Freeman • George Wein Presents

 

Biography
by Jason Ankeny
Serge Chaloff was the premier baritone saxophonist of the bop era, his fiery, dynamic improvisations restoring the instrument to prominence some months prior to the arrival of Gerry Mulligan. Chaloff was born in Boston on November 24, 1923. His father was a pianist with the Boston Symphony Orchestra while his mother, Margaret, taught music at the Boston Conservatory of Music, over time educating an illustrious series of pianists including Keith Jarrett, Herbie Hancock, and Richard Twardzik. Chaloff himself studied piano and clarinet before teaching himself the baritone sax in emulation of Jack Washington and Harry Carney. Charlie Parker was also a monumental influence. Chaloff made his professional debut in support of Boyd Raeburn, followed by a stint behind Georgie Ault. He first earned widespread renown after joining Jimmy Dorsey in 1945, earning the distinction of bebop's first baritone soloist. Chaloff nevertheless remains best known for his stint with Woody Herman's Second Herd, which he joined in late 1946. Alongside tenors Stan Getz, Zoot Sims, and Herbie Stewart he vaulted to jazz immortality the following year via the Jimmy Giuffre composition "Four Brothers," a landmark recording extending each of the saxophonists a solo turn. In mid-1947 Chaloff also led his first recording session, leading trombonist Red Rodney, tenor saxophonist Earl Swope, pianist George Wallington, bassist Curley Russell, and drummer Tiny Kahn on several sides cut for the Savoy label.

However, by this time Chaloff was deep in the throes of heroin addiction, and for years after leaving the Herman band in 1949 he was considered persona non grata throughout much of the jazz community, earning an abysmal reputation for missed gigs and erratic performances. Chaloff settled in New York City, assembling a group featuring the visionary pianist Bud Powell and trombonist Earl Swope that, sadly, never recorded. By early 1952 he returned to Boston, and that spring cut an unissued session with pianist Twardzik, trombonist Sonny Truitt, bassist Jack Lawlor, and drummer Jimmy Weiner. Championed by local disc jockey Bob Martin, Chaloff gradually eased back into the larger consciousness, appearing on television's The Steve Allen Show and leading the house band at the Beantown club Jazzorama. In 1954, he signed to George Wein's Boston-based Storyville to cut The Fable of Mabel, recorded with local luminaries including alto saxophonist Charlie Mariano and trumpeter Herb Pomeroy, and a year later the label also issued his collaboration with altoist Boots Mussulli. After completing work on Boston Blow-Up!, a loose but impassioned Stan Kenton-produced date for Capitol, Chaloff relocated to Los Angeles, where in 1956 he assembled pianist Sonny Clark, bassist Leroy Vinnegar, and drummer Philly Joe Jones to record his masterpiece Blue Serge, a gripping, evocative set that ranks among the finest jazz recordings of its era. But by the time of its release Chaloff was confined to a wheelchair, partially paralyzed as the result of a spinal tumor. The cancer spread, and he died July 16, 1957, at the age of just 33.
https://www.allmusic.com/artist/serge-chaloff-mn0000001163/biography


Biography
by Scott Yanow
Boots Mussulli spent much of his career in the Boston area but he had some notable musical experiences along the way. He started on clarinet when he was 12. After working in Massachusetts with Mal Hallett, his first name job came when he was in his mid-twenties: a year with Teddy Powell's big band (1943-1944). Mussulli gained some fame for his work on alto with Stan Kenton's Orchestra from 1944-1947 and he would rejoin Kenton for tours in 1952 and 1954. Other associations included work with Vido Musso, Gene Krupa (1948), Charlie Ventura's "Bop for the People" band (1949), Serge Chaloff, Toshiko Akiyoshi (with whom he recorded in 1955) and Herb Pomeroy. Mussulli became a part-time player and a full-time educator by the mid-'50s, heading the Milford Youth Band, which played at the Newport Jazz Festival less than three months before his death at age 49 from cancer. Mussulli led two albums, one apiece for Storyville (which has also been released under Serge Chaloff's name) and Capitol, both in 1954.
https://www.allmusic.com/artist/boots-mussulli-mn0000983127/biography

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Biografía
por Jason Ankeny
Serge Chaloff fue el principal saxofonista barítono de la era del bop, sus fogosas y dinámicas improvisaciones devolvieron al instrumento a la fama unos meses antes de la llegada de Gerry Mulligan. Chaloff nació en Boston el 24 de noviembre de 1923. Su padre era pianista de la Orquesta Sinfónica de Boston, mientras que su madre, Margaret, enseñaba música en el Conservatorio de Música de Boston, y con el tiempo educó a una ilustre serie de pianistas, entre los que se encontraban Keith Jarrett, Herbie Hancock y Richard Twardzik. El propio Chaloff estudió piano y clarinete antes de enseñarse a sí mismo el saxo barítono emulando a Jack Washington y Harry Carney. Charlie Parker fue también una influencia monumental. Chaloff debutó profesionalmente como telonero de Boyd Raeburn, y luego estuvo detrás de Georgie Ault. Su fama se extendió por primera vez tras unirse a Jimmy Dorsey en 1945, ganando la distinción de primer barítono solista del bebop. Sin embargo, Chaloff sigue siendo más conocido por su paso por el Second Herd de Woody Herman, al que se unió a finales de 1946. Junto a los tenores Stan Getz, Zoot Sims y Herbie Stewart, alcanzó la inmortalidad del jazz al año siguiente gracias a la composición de Jimmy Giuffre "Four Brothers", una grabación que marcó un hito y que permitió a cada uno de los saxofonistas tocar en solitario. A mediados de 1947, Chaloff también dirigió su primera sesión de grabación, liderando al trombonista Red Rodney, al saxofonista tenor Earl Swope, al pianista George Wallington, al bajista Curley Russell y al baterista Tiny Kahn en varias caras grabadas para el sello Savoy.

Sin embargo, para entonces Chaloff estaba sumido en la adicción a la heroína, y durante años, tras dejar la banda de Herman en 1949, se le consideró persona non grata en gran parte de la comunidad del jazz, ganándose una pésima reputación por no acudir a los conciertos y por sus actuaciones erráticas. Chaloff se instaló en Nueva York y formó un grupo con el visionario pianista Bud Powell y el trombonista Earl Swope que, lamentablemente, nunca llegó a grabar. A principios de 1952 regresó a Boston y esa primavera grabó una sesión no publicada con el pianista Twardzik, el trombonista Sonny Truitt, el bajista Jack Lawlor y el baterista Jimmy Weiner. Apoyado por el disc-jockey local Bob Martin, Chaloff volvió gradualmente a la conciencia general, apareciendo en el programa de televisión The Steve Allen Show y liderando la banda de la casa en el club Jazzorama de Beantown. En 1954, firmó con Storyville, el sello de George Wein, para grabar The Fable of Mabel, junto con luminarias locales como el saxofonista alto Charlie Mariano y el trompetista Herb Pomeroy, y un año más tarde el sello también publicó su colaboración con el contralto Boots Mussulli. Después de completar el trabajo en Boston Blow-Up!, una cita floja pero apasionada producida por Stan Kenton para Capitol, Chaloff se trasladó a Los Ángeles, donde en 1956 reunió al pianista Sonny Clark, al bajista Leroy Vinnegar y al baterista Philly Joe Jones para grabar su obra maestra Blue Serge, un conjunto apasionante y evocador que se encuentra entre las mejores grabaciones de jazz de su época. Pero en el momento de su publicación, Chaloff estaba confinado en una silla de ruedas, parcialmente paralizado a causa de un tumor en la columna vertebral. El cáncer se extendió y murió el 16 de julio de 1957, a la edad de 33 años.
https://www.allmusic.com/artist/serge-chaloff-mn0000001163/biography


Biografía
por Scott Yanow
Boots Mussulli pasó gran parte de su carrera en el área de Boston, pero tuvo algunas experiencias musicales notables en el camino. Empezó a tocar el clarinete a los 12 años. Después de trabajar en Massachusetts con Mal Hallett, su primer trabajo con nombre llegó cuando tenía veintitantos años: un año con la big band de Teddy Powell (1943-1944). Mussulli adquirió cierta fama por su trabajo como contralto con la Orquesta de Stan Kenton entre 1944 y 1947, y volvería a unirse a Kenton para las giras de 1952 y 1954. Otras asociaciones incluyeron trabajos con Vido Musso, Gene Krupa (1948), la banda "Bop for the People" de Charlie Ventura (1949), Serge Chaloff, Toshiko Akiyoshi (con quien grabó en 1955) y Herb Pomeroy. A mediados de los años 50, Mussulli se convirtió en músico a tiempo parcial y en educador a tiempo completo, dirigiendo la Milford Youth Band, que tocó en el Festival de Jazz de Newport menos de tres meses antes de su muerte, a los 49 años, a causa de un cáncer. Mussulli dirigió dos álbumes, uno para Storyville (que también se publicó con el nombre de Serge Chaloff) y otro para Capitol, ambos en 1954.
https://www.allmusic.com/artist/boots-mussulli-mn0000983127/biography

Jaki Byard • Hi-Fly

Following the success of Here's Jaki, the eclectic pianist continued his explorations in a trio format, with Pete La Roca replacing Roy Haynes on the drums. The set mixes standards with some forgotten gems, plus three originals. The "Excerpts from Yamecraw" is an updated version of the nearly forgotten James P. Johnson orchestral suite, which is complimented here by the Byard original "There Are Many Worlds," which was also written for an orchestra. "Tillie Butterball" is a fun blues romp based on a puppy and a bowling alley. Byard's distinctive approach is evident on Randy Weston's title track "Hi-Fly" and George Shearing's "Lullaby of Birdland," while his debt to Thelonious Monk, sprinkled throughout this session, is obvious on "'Round Midnight." What makes this session special, however, is his original "Here to Hear." His multi-influenced compositional style matched by his versatile technique is explored at length. There are certain pieces that can never be interpreted by anyone else but the composer, and that is the case here, for it would be virtually impossible, and futile, to try and duplicate the individual genius of Jaki Byard. This stands as one of his best.

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Traducción Automática:

Tras el éxito de Here Jaki, el ecléctico pianista continuó sus exploraciones en formato de trío, con Pete La Roca reemplazando a Roy Haynes en la batería. El conjunto mezcla estándares con algunas gemas olvidadas, más tres originales. Los "Extractos de Yamecraw" son una versión actualizada de la casi olvidada suite orquestal James P. Johnson, que se complementa aquí con el original de Byard "There Are Many Worlds", que también fue escrito para una orquesta. "Tillie Butterball" es un divertido juego de blues basado en un cachorro y una bolera. El enfoque distintivo de Byard es evidente en la canción "Hi-Fly" de Randy Weston y en "Lullaby of Birdland" de George Shearing, mientras que su deuda con Thelonious Monk, salpicada a lo largo de esta sesión, es evidente en "Round Midnight". Lo que hace que esta sesión sea especial, sin embargo, es su original "Here to Hear". Se explora en profundidad su estilo de composición de múltiples influencias, combinado con su técnica versátil. Hay ciertas piezas que nunca pueden ser interpretadas por nadie más que el compositor, y ese es el caso aquí, ya que sería prácticamente imposible, e inútil, intentar y duplicar el genio individual de Jaki Byard. Esto se mantiene como uno de sus mejores.

People funny boy the genius of Lee Scratch Perry

 

 

Arguably the most influential force in Jamaican music, Lee Perry brought Bob Marley to international stardom and has since collaborated with artists such as Sir Paul McCartney, The Clash and The Beastie Boys. The book delves behind the myth of Perry to give a fuller examination of his life and work through extensive interviews with family members, fellow artists, friends, lovers, enemies, as well as the man himself to present a complex portrait of a unique soul driven by unseen spiritual forces. This revised edition contains new information on Perry's recent years, including his Grammy Award and cessation of herb smoking. The text has been thoroughly revised, making the new edition a more factually accurate and greatly improved read. 

 

Buddy Collette • The Polyhedric

 

During a 1961 trek to Italy to perform at the annual San Remo Jazz Festival, Buddy Collette detoured to Milan long enough to record The Polyhedric, a superb if virtually unknown session that fuses the saxophonist's angular West Coast sensibilities with the more straight-ahead approach then dominant among the postwar European jazz cognoscenti - Paired with trumpeter Dusko Goykovich, pianist Renato Sellani, trombonist Dino Piana, tenorist Gianni Basso, guitarist Franco Cerri, and drummer Jimmy Pratt, Collette turns in a focused, fiery performance; even more impressive, he wrote the vast majority of this music, proving himself a challenging, inventive composer in the process - ~ Jason Ankeny, All Music Guide
https://www.allmusic.com/album/the-polyhedric-mw0001219908

A rare European date from reedman Buddy Collette – and arguably one of his hippest albums ever! The set was recorded in Milan in 1961, and features a great lineup not only of Italian players, but which also includes the legendary Dusko Goykovich on trumpet – bringing in a nicely harder sound next to Buddy's work on flute and alto sax! Tracks have a well-arranged feel – the tighter structures of the Italian jazz scene of the time, but with sharper edges than Buddy's 50s work in LA – and given that Collette wrote nearly every number on the set, the album's a great discovery of his deep talents as a writer - In addition to Goykovich on trumpet, other musicians include Renato Sellani on piano, Dino Piana on trombone, Jimmy Pratt on drums, Gianni Basso on tenor, and Franco Cerri on guitar – and Armshed Shobey plays a bit of bongos on a few tracks, adding in a nicely exotic feel - Titles include "Skater For Mater", "Blues", "A Taste Of Fresh Air", "Pickford Street", "Paddy", and "Blues For Nicola" -  © 1996-2021, Dusty Groove, Inc.
https://www.dustygroove.com/item/749893/Buddy-Collette:Polyhedric

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Durante un viaje a Italia en 1961 para actuar en el Festival de Jazz de San Remo, Buddy Collette se desvió a Milán el tiempo suficiente para grabar The Polyhedric, una sesión magnífica, aunque prácticamente desconocida, que fusiona la angulosa sensibilidad de la Costa Oeste del saxofonista con el enfoque más directo que entonces dominaba entre los entendidos del jazz europeo de la posguerra - Acompañado por el trompetista Dusko Goykovich, el pianista Renato Sellani, el trombonista Dino Piana, el tenorista Gianni Basso, el guitarrista Franco Cerri y el baterista Jimmy Pratt, Collette ofrece una actuación centrada y ardiente; y lo que es más impresionante, escribió la mayor parte de esta música, demostrando ser un compositor desafiante e inventivo en el proceso - ~ Jason Ankeny, All Music Guide
https://www.allmusic.com/album/the-polyhedric-mw0001219908

Una rara cita europea del flautista Buddy Collette, y posiblemente uno de sus álbumes más modernos - El disco se grabó en Milán en 1961, y cuenta con una gran formación no sólo de músicos italianos, sino que también incluye al legendario Dusko Goykovich en la trompeta - ¡aportando un sonido más duro junto al trabajo de Buddy en la flauta y el saxo alto! Los temas están bien organizados, con las estructuras más ajustadas de la escena jazzística italiana de la época, pero con unos bordes más nítidos que los trabajos de Buddy en los años 50 en Los Ángeles, y dado que Collette escribió casi todos los números del conjunto, el álbum es un gran descubrimiento de su profundo talento como escritor - Además de Goykovich en la trompeta, otros músicos incluyen a Renato Sellani en el piano, Dino Piana en el trombón, Jimmy Pratt en la batería, Gianni Basso en el tenor, y Franco Cerri en la guitarra - y Armshed Shobey toca un poco los bongos en algunas pistas, añadiendo un toque exótico - Los títulos incluyen "Skater For Mater", "Blues", "A Taste Of Fresh Air", "Pickford Street", "Paddy" y "Blues For Nicola" -  © 1996-2021, Dusty Groove, Inc.
https://www.dustygroove.com/item/749893/Buddy-Collette:Polyhedric

VA • Surf War- The Battle Of The Surf Groups

Brother Jack McDuff • Getting Our Thing Together

BIO

Eugene McDuffy, conocido como Brother Jack McDuff (Champaign, Illinois, 17 de septiembre de 1916 - Minneapolis, Minnesota, 23 de enero de 2001) fue un organista, pianista y compositor norteamericano de jazz.

Pianista y organista autodidacta, comienza a tocar en diversos clubs de Nueva York, antes de realizar estudios en Cincinnati (Ohio) y recibir clases de Wild Bill Davis. entre 1956 y 1958, toca en el medio oeste y en Chicago, con varios artistas, antes de formar nuevamente su propio trío, en 1959. Realizará grabaciones con Jimmy Forrest, Leo Wright, Red Holloway y otros, tocando además en la big band de Benny Golson (1963), después con Grant Green y, ya en 1964, con George Benson.1 Realiza varias giras por Europa, y actúa frecuentemente en grandes festivales (Antibes, Estocolmo, Newport...) hasta finales de la década de 1970, tanto tocando el órgano como el piano. Realiza, además, un gran número de grabaciones, tanto como líder de su trío, como acompañando a Roland Kirk, Jimmy Witherspoon, King Curtis, Sonny Stitt, Gene Ammons, Kenny Burrell y otros.

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Automatic translation:

BIO

Eugene McDuffy, known as Brother Jack McDuff (Champaign, Illinois, September 17, 1916 - Minneapolis, Minnesota, January 23, 2001) was an American jazz organist, pianist and composer.

Self-taught pianist and organist, he starts playing in various clubs in New York, before studying in Cincinnati (Ohio) and receiving classes from Wild Bill Davis. Between 1956 and 1958, he played in the Midwest and in Chicago, with several artists, before forming his own trio again, in 1959. He will record with Jimmy Forrest, Leo Wright, Red Holloway and others, also playing in the big band of Benny Golson (1963), later with Grant Green and, already in 1964, with George Benson.1 He made several tours around Europe, and frequently performs in major festivals (Antibes, Stockholm, Newport ...) until the end of the 1970s , both playing the organ and the piano. He also made a large number of recordings, both as leader of his trio, and accompanying Roland Kirk, Jimmy Witherspoon, King Curtis, Sonny Stitt, Gene Ammons, Kenny Burrell and others.

Jordan Young • Jazz Jukebox

 

Drummer Jordan Young swings back on the set with a wide array of styles and moods on his latest release for Posi-Tone, aptly entitled "Jazz Jukebox." While presenting a diverse variety of selections to delight, engage and entertain listeners, Young consistently pushes his melodic message to the forefront with skillful leadership and ably displays a tasteful command of his own instrument. The session sings and soars from start to finish with the prodigious B-3 genius of Brian Charette, the sensationally sizzling lines of guitarist Matt Chertkoff, and there is also a special guest appearance by saxophonist Nick Hempton, who lends his soulful sounds to the mix for a few tunes. Listeners will certainly enjoy this flowing and thoughtful program of straight forward musical selections and should agree that "Jazz Jukebox" solidly reinforces that Jordan Young is an insightful tastemaker and an emerging new voice in jazz.

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El baterista Jordan Young vuelve a la carga con una amplia gama de estilos y estados de ánimo en su último lanzamiento para Posi-Tone, acertadamente titulado "Jazz Jukebox". A la vez que presenta una diversa variedad de selecciones para deleitar, involucrar y entretener a los oyentes, Young empuja constantemente su mensaje melódico a la vanguardia con un liderazgo hábil y muestra hábilmente un dominio de su propio instrumento. La sesión canta y se eleva de principio a fin con el prodigioso genio del B-3 de Brian Charette, las sensacionales líneas de chispa del guitarrista Matt Chertkoff, y también hay una aparición especial del saxofonista Nick Hempton, que presta sus sonidos conmovedores a la mezcla para algunas melodías. Los oyentes disfrutarán sin duda de este programa fluido y reflexivo de selecciones musicales directas y estarán de acuerdo en que "Jazz Jukebox" refuerza sólidamente que Jordan Young es un creador de gustos perspicaz y una nueva voz emergente en el jazz.


www.jordanyoung.net .../

Roy Ayers • Daddy Bug

Review by Scott Yanow

During 1967-1969, vibraphonist Roy Ayers (a few years before he turned to disco music) recorded three excellent albums for Atlantic. This 1976 LP has selections from two of the records, plus a pair of selections ("In the Limelight" and "Virgo Vibes" that were previously unreleased. On the fine sampler, Ayers' sidemen include Herbie Hancock, Joe Henderson, Charles Tolliver, and Ron Carter. "Slow Motion," the latest selection (from Dec. 1969), hints at the commercial direction that Ayers would be emphasizing from 1970 on.

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Traducción Automática:

Review by Scott Yanow

During 1967-1969, vibraphonist Roy Ayers (a few years before he turned to disco music) recorded three excellent albums for Atlantic. This 1976 LP has selections from two of the records, plus a pair of selections ("In the Limelight" and "Virgo Vibes" that were previously unreleased. On the fine sampler, Ayers' sidemen include Herbie Hancock, Joe Henderson, Charles Tolliver, and Ron Carter. "Slow Motion," the latest selection (from Dec. 1969), hints at the commercial direction that Ayers would be emphasizing from 1970 on.

Prince Buster • Sister Big Stuff

Born May 24 1938, Kingston, Jamaica. Died September 8, 2016, Miami, Florida, USA. After following original selecter The Great Sebastian he was hired by Clement "Coxsone" Dodd to help on his Down Beat sound system, eventually helping Dodd identify the singles that Duke Reid was importing for his rival system and assisting production of his recordings. His very first recording session in 1960 produced "Oh Carolina", one of the all-time classics of Jamaican music, with vocals by the Folkes Brothers and added musical accompaniment from Count Ossie. Inventive and innovative for the times, the record still sounds every bit as exciting. Soon went on to establish his own own Voice Of The People sound system, record label and shop.

Buster produced countless records featuring either himself or virtually every top act of the time backed by the Prince Buster's All Stars, initially Buster's Group, defining from blues/shuffle origins a huge contribution to the ska era with classic after rousing classic, first on his Wildbells and Buster Wild Bells labels, followed by Voice Of The People, Soulsville Center, Islam, Olive Blossom Records, Prince Buster and Prince Buster Records Shack labels, which were concurrently released in the UK on Blue Beat, Fab and his own name UK label, moving gradually into rocksteady and reggae. Prince Buster also enjoyed repeated success thanks to the undying respect bestowed by generations of ska revivalists that saw him make a comeback virtually every decade, starting with the ska revival craze of 1979-80 when UK groups Madness, The Specials, The Beat, The Selecter and Bad Manners all paid tribute.

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Traducción Automática:

Nacido el 24 de mayo de 1938 en Kingston, Jamaica. Murió el 8 de septiembre de, 2016, Miami, Florida, EE.UU.. Después de seguir al seleccionador original The Great Sebastian, fue contratado por Clement "Coxsone" Dodd para que lo ayudara con su sistema de sonido Down Beat, y finalmente ayudó a Dodd a identificar los singles que Duke Reid importaba para su sistema rival y ayudaba a la producción de sus grabaciones. Su primera sesión de grabación en 1960 produjo "Oh Carolina", uno de los clásicos de todos los tiempos de la música jamaicana, con voces de los hermanos Folkes y acompañamiento musical del conde Ossie. Inventivo e innovador para los tiempos, el disco todavía suena igual de emocionante. Luego pasó a establecer su propio sistema de sonido, sello discográfico y tienda Voice of The People.

Buster produjo innumerables discos con él mismo o virtualmente cada uno de los mejores actos de la época respaldados por All Stars de Prince Buster, inicialmente Buster's Group, definiendo desde los orígenes de blues / shuffle una gran contribución a la era ska con clásico después de despertar clásico, primero en su Wildbells y los sellos Buster Wild Bells, seguidos de Voice Of The People, Soulsville Centre, Islam, Olive Blossom Records, Prince Buster y Prince Buster Records Shack Records, que se lanzaron simultáneamente en el Reino Unido en Blue Beat, Fab y su propio nombre en el Reino Unido. moviéndose gradualmente en rocksteady y reggae. Prince Buster también disfrutó de un éxito repetido gracias al respeto eterno otorgado por generaciones de revivalistas de ska que lo vieron reaparecer virtualmente cada década, comenzando con la moda de ska revival de 1979-80 cuando los grupos del Reino Unido Madness, The Specials, The Beat, The Selecter Y los malos modales todos rinden homenaje.