B3 Kings • A Cellar Live Christmas [With Bruno Hubert Trio]

 

Colaborador / Contributor:  Ketmokin

B.B. King • Live & Well

Biography

Born on a plantation in Itta Bena, Mississippi in 1925, Riley B. King would start from very humble beginnings. His family moved around the area, and the young Riley experienced early a life of constant motion. As a youngster he was a farm laborer, but drawn to music, he took up the guitar; he played on street corners, and would sometimes play in as many as four towns a night. In 1946, he hitchhiked to Memphis, to pursue his music career. Memphis was a large musical community where every style of music could be found, a good place for a young man who wanted to play the blues. Riley stayed with his cousin Bukka White, a celebrated bluesman in his own right, who was able to show him first hand the guitar foundations of the blues.

Playing an acoustic set of rural blues, he kicked around a lot of the clubs in Memphis, getting a break in 1948 when he performed on Sonny Boy Williamson's radio program on KWEM out of West Memphis. This led to steady engagements at the 16th St. Grill in West Memphis, and later to a ten-minute spot on black Memphis radio station WDIA. “King's Spot,” became so popular, it was expanded and became the “Sepia Swing Club.” Becoming a popular local disc jockey, Riley needed a professional sounding name. He was the Beale Street Blues Boy then Blues Boy King, and eventually B.B. King. This led to the studio recording of “Miss Martha King” for the local Bullet label, which didn’t cause much of a stir, but it did stimulate B.B. to pursue a recording contract.

He recorded a couple of singles for Bullet, and then signed with Modern’s RPM where he did “Three O’Clock Blues”, in 1951. This song proved to be a major hit, and he quickly followed that with “Please Love Me”, “You Upset Me Baby”, “Every Day”, (which would become his theme song), “Ten Long Years”, and “Sweet Little Angel”. These are available as “The RPM Hits 1951-1957” (Ace). These recordings rose to the tops of the R&B charts, and he went on the road to promote the songs, thus starting his life of incessant touring. This is how he developed his unique and signature style, every night, playing the blues. By 1955 he had a full time band, and hit the road, where he’s been ever since.

Riding the wave of popularity generated by the RPM records, he churned out a string of hits for their subsidiary Kent label, and stayed with them throughout the ‘50’s. This is the period where he made a name for himself, both in the record charts, and promoting the records by playing live. But by 1961, he had decided to change labels, looking to get a better deal than he was getting at RPM/Kent. He signed with ABC/Paramount records, which had just scored big by signing Ray Charles from Atlantic, they were aware of a bigger market, knew how to market B.B.’s music and were willing to pay for it. B.B. King received a $25,000 signing bonus. The overall environ was much more professional, and though they brought in first class arrangers and musicians, they pretty much gave B.B. a free reign, or so he thought.

There was in this period of the early ‘60’s a change of direction that took away from the blues essence he was known for and the record sales were not what everyone expected. Then producer/arranger Johnny Pate had the idea of recording B.B. on his home turf, a black nightspot, with his own band. The result was “Live at the Regal”, released in January 1965. It blew everyone away, and changed contemporary guitar forever. This album is responsible for the acceptance and adherence of a whole new generation, mostly white, to the blues. The guitar players alone who were influenced by it is staggering, and includes every blues and rock player from then on. It reestablished the way to play electric blues and made B.B. King “King of the Blues”!!

B.B. King has one of the world's most identifiable guitar styles, and his guitar Lucille is probably the most famous. Lucille is a Custom Shop Gibson ES-355. His first guitar back in his early days in Mississippi was a Stella acoustic. He borrowed from Django Reinhardt, Charlie Christian, Lonnie Johnson, of course T-Bone Walker and others, integrating his precise and complex vocal-like string bends and his left hand vibrato, both of which have become indispensable components of guitar vocabulary. Drawing heavily from the sweet single string T-bone style patterns, he plays with a short stinging attack, often in a cluster pattern. Starting with a five note signature, he follows with delicate phrases, sliding into notes, and allowing space for them to build. He listened a lot to jazz horn players, and it is portrayed in his use of dynamics, tension and tone, he is the undisputed master of an economical method of expression.

By 1968, B.B. was playing at the Newport Folk Festival and at Bill Graham's Fillmore West on bills with the hottest rock artists of the day, all which were huge fans. The Rolling Stones chose him to open their ’69 tour, thus gaining even broader exposure. He was able to capitalize on the Blues Revival at the time, but then again he was always around, and perennially on the road. In 1969 he was the premier act on the new ABC label Bluesway where he came out with “The Thrill is Gone”, which is his signature tune, and is his biggest hit to date. This opened up new venues and he was soon playing Las Vegas, in the same clubs where Sinatra played. By 1970 he was on the Tonight Show, and on the Ed Sullivan Show, the blues makes it to prime time America.

The 1970’s saw B.B.King sitting on top of the world, so then he decided to go back to his blues roots and did two excellent albums “Live at the Cook County Jail”, and “Completely Well/Live in Cook County Jail”. These showcase what he does best, playing in front of a live audience. Both for the ABC/MCA label where he continued to record for years to come.

He would go on to record many commercially successful albums, and of course stayed on the road performing around the world, known as the Ambassador of the Blues, as certainly no one has played the blues in so many places. MCA released a four cd box set “B.B.King, King of the Blues”, as a compilation of his recording history up to 1991. B.B. was inducted into the Blues Foundation Hall of Fame in 1984,the Rock and Roll Hall of Fame in 1987, and the Songwriters Hall of Fame in 1990.He received a Lifetime Achievement Grammy Award in 1987, and has received honorary doctorates from several colleges as Yale University in 1977; Berklee College of Music in 1982; Rhodes College of Memphis in 1990 and Mississippi Valley State University in 2002. In 1992, he received the National Award of Distinction from the University of Mississippi. There is also a star on the Hollywood Walk of Fame, and Presidential Medal of Honor.

In 1991, B.B. King's Blues Club opened on Beale Street in Memphis, and in 1994, a second club was launched in Los Angeles. A third club in New York City's Times Square opened in June 2000 and two clubs opened in Connecticut in January 2002. In 1996, the CD-Rom “On the Road with B.B. King: An Interactive Autobiography”, and his book “Blues All Around Me” (Avon Books) was published. “The Arrival of B.B. King” (Doubleday) by Charles Sawyer, a biography was published in 1980. Between 1951 and 1985 he listed an amazing 75 entries in Billboard’s R&B charts. There are multiple Grammy’s (over 15 last count) sitting on his shelf at home, and a wall full of Gold and Platinum Records representing millions in album sales. “Deuces Wild”, an all-star collection of duets, released in 1997, returned B.B. to the limelight. His 1998 album, “Blues on the Bayou”, was well received, and his annual B.B. King Blues Festival Tour is a top attraction. The1999 release of “Let the Good Times Roll—The Music of Louis Jordan” was a musical tribute to one of his heroes. B.B. teamed up with Eric Clapton on the multi-platinum release of “Riding with the King”, (Reprise 2000) which was Clapton’s tribute to him, an excellent record, a master and his pupil so many years later, so many roads traveled both still playing the blues.On the occasion of his 80th birthday in 2005, he recorded a star- studded duets album “80”(Geffen) as a testament to his will as an enduring musician.

B.B. King has released another gem of a album. “One Kind Favor” on Geffen Records.Recorded at The Village Recorder in Los Angeles, CA “OneKind Favor” is meant to sound like an album recorded in the50s. To get this sound producer T-Bone Burnett and King replicated the kind of blues band King had back in the day.Studio conditions of the time were reproduced. The result is a vintage sounding album filled with the songs that influenced King in his early days as an artist. Highly Recommended!

B.B. King was the most fortunate and unusual of bluesmen; a success on his own terms, and in his own time. He was the best known, most recognized bluesman on the planet. He stayed true to himself and his music, and made it on that.

B.B. King passed on May 15, 2015.

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Biografía

Nacido en una plantación en Itta Bena, Mississippi, en 1925, Riley B. King comenzaría desde un principio muy humilde. Su familia se trasladó por la zona, y el joven Riley experimentó a temprana edad una vida de constante movimiento. De joven era obrero agrícola, pero atraído por la música, tomó la guitarra; tocaba en las esquinas de las calles, y a veces tocaba en hasta cuatro pueblos por noche. En 1946, hizo autostop a Memphis, para continuar su carrera musical. Memphis era una gran comunidad musical donde se podían encontrar todos los estilos de música, un buen lugar para un joven que quería tocar blues. Riley se quedó con su primo Bukka White, un famoso bluesista por derecho propio, que pudo mostrarle de primera mano los fundamentos de la guitarra del blues.

Tocando un conjunto acústico de blues rural, dio una patada a muchos de los clubes de Memphis, consiguiendo un descanso en 1948 cuando actuó en el programa de radio de Sonny Boy Williamson en KWEM fuera de Memphis Oeste. Esto condujo a compromisos constantes en el 16th St. Grill en West Memphis, y más tarde a un anuncio de diez minutos en la estación de radio negra de Memphis WDIA. "King's Spot", se hizo tan popular, que se expandió y se convirtió en el "Sepia Swing Club". Convirtiéndose en un popular disc-jockey local, Riley necesitaba un nombre que sonara profesional. Era el Beale Street Blues Boy, luego el Blues Boy King, y finalmente el B.B. King. Esto llevó a la grabación en estudio de "Miss Martha King" para el sello local Bullet, que no causó mucho revuelo, pero sí estimuló a B.B. a buscar un contrato de grabación.

Grabó un par de sencillos para Bullet, y luego firmó con Modern's RPM donde hizo "Three O'Clock Blues", en 1951. Esta canción resultó ser un gran éxito, y rápidamente la siguió con "Please Love Me", "You Upset Me Meter Baby", "Every Day", (que se convertiría en su tema principal), "Ten Long Years", y "Sweet Little Angel". Están disponibles como "The RPM Hits 1951-1957" (Ace). Estas grabaciones llegaron a lo más alto de las listas de éxitos del R&B, y se puso en camino para promocionar las canciones, iniciando así su vida de incesante gira. Así fue como desarrolló su estilo único y característico, cada noche, tocando el blues. Para 1955 tenía una banda de tiempo completo, y se fue de viaje, donde ha estado desde entonces.

Aprovechando la ola de popularidad generada por los discos RPM, produjo una serie de éxitos para su subsidiaria Kent, y permaneció con ellos a lo largo de los años 50. Este es el período en el que se hizo un nombre, tanto en las listas de éxitos como en la promoción de los discos tocando en vivo. Pero para 1961, había decidido cambiar de discográfica, buscando conseguir un mejor precio que el que obtenía en RPM/Kent. Firmó con ABC/Paramount Records, que acababa de obtener una gran puntuación con Ray Charles de Atlantic, conocían un mercado más grande, sabían cómo comercializar la música de B.B. y estaban dispuestos a pagar por ella. B.B. King recibió un bono de 25.000 dólares por la firma. El ambiente en general era mucho más profesional, y aunque trajeron arreglistas y músicos de primera clase, le dieron a B.B. un reinado libre, o eso pensó.

Hubo en este período de principios de los'60 un cambio de dirección que le quitó la esencia del blues por el que era conocido y las ventas de discos no fueron lo que todo el mundo esperaba. Entonces el productor y arreglista Johnny Pate tuvo la idea de grabar a B.B. en su territorio natal, un local nocturno negro, con su propia banda. El resultado fue "Live at the Regal", publicado en enero de 1965. Voló por los aires a todo el mundo y cambió la guitarra contemporánea para siempre. Este álbum es responsable de la aceptación y adhesión de toda una nueva generación, en su mayoría blanca, al blues. Los guitarristas que fueron influenciados por ella son asombrosos, e incluye a todos los guitarristas de blues y rock a partir de entonces. Restableció la forma de tocar blues eléctrico e hizo que B.B. King "King of the Blues"!

B.B. King tiene uno de los estilos de guitarra más conocidos del mundo, y su guitarra Lucille es probablemente la más famosa. Lucille es una tienda personalizada Gibson ES-355. Su primera guitarra en sus primeros días en Mississippi fue una Stella acústica. Tomó prestado de Django Reinhardt, Charlie Christian, Lonnie Johnson, por supuesto T-Bone Walker y otros, integrando sus precisas y complejas curvas de cuerdas vocales y su vibrato de la mano izquierda, que se han convertido en componentes indispensables del vocabulario de la guitarra. Basándose en gran medida en los dulces patrones en forma de T-bone de una sola cuerda, juega con un ataque corto y punzante, a menudo en forma de racimo. Comenzando con una firma de cinco notas, sigue con frases delicadas, deslizándose en notas y dejando espacio para que se construyan. Escuchó mucho a los trompetistas de jazz, y se refleja en su uso de la dinámica, la tensión y el tono, es el maestro indiscutible de un método económico de expresión.

En 1968, B.B. tocaba en el Festival Folklórico de Newport y en Fillmore West de Bill Graham con los artistas de rock más populares del momento, todos los cuales eran grandes fans. Los Rolling Stones lo eligieron para abrir su gira del'69, ganando así una exposición aún más amplia. Fue capaz de sacar provecho del avivamiento del Blues en ese momento, pero luego siempre estaba alrededor, y perennemente en la carretera. En 1969 fue el primer acto del nuevo sello ABC Bluesway, donde salió con "The Thrill is Gone", que es su tema característico, y es su mayor éxito hasta la fecha. Esto abrió nuevos lugares y pronto tocó en Las Vegas, en los mismos clubes donde tocaba Sinatra. Para 1970 estaba en el Tonight Show, y en el Ed Sullivan Show, el blues llega al horario de máxima audiencia en Estados Unidos.

La década de 1970 vio a B.B.King sentado en la cima del mundo, así que decidió volver a sus raíces blues e hizo dos excelentes álbumes "Live at the Cook County Jail", y "Completely Well/Live in Cook County Jail". Éstas muestran lo que él hace mejor, tocando frente a un público en vivo. Tanto para el sello ABC/MCA donde continuó grabando en los próximos años.

Siguió grabando muchos discos de éxito comercial y, por supuesto, se quedó de gira por todo el mundo, conocido como el Embajador de los Blues, ya que ciertamente nadie ha tocado el blues en tantos lugares. MCA lanzó un set de cuatro cd's "B.B.King, King of the Blues", como una compilación de su historia discográfica hasta 1991. B.B. fue admitido en el Salón de la Fama de la Fundación Blues en 1984, en el Salón de la Fama del Rock and Roll en 1987, y en el Salón de la Fama de los Compositores de Canciones en 1990, recibió un premio Grammy en 1987, y ha recibido doctorados honoris causa de varias universidades como la Universidad de Yale en 1977, el Colegio de Música de Berklee en 1982, el Colegio de Música de Rhodes en Memphis en 1990 y la Universidad Estatal del Valle de Mississippi en 2002. En 1992, recibió el Premio Nacional de Distinción de la Universidad de Mississippi. También hay una estrella en el Paseo de la Fama de Hollywood y una Medalla Presidencial de Honor.

En 1991, B.B. King's Blues Club abrió sus puertas en Beale Street en Memphis, y en 1994, se fundó un segundo club en Los Ángeles. Un tercer club en el Times Square de la ciudad de Nueva York abrió en junio de 2000 y dos clubes abrieron en Connecticut en enero de 2002. En 1996, el CD-Rom "On the Road with B.B. King: Una autobiografía interactiva", y su libro "Blues All Around Me" (Avon Books). "The Arrival of B.B. King" (Doubleday) de Charles Sawyer, se publicó una biografía en 1980. Entre 1951 y 1985 enumeró una sorprendente lista de 75 entradas en las listas de R&B de Billboard. Hay varios Grammy's (más de 15 en el último recuento) sentados en su estantería de casa, y una pared llena de discos de oro y platino que representan millones en ventas de álbumes. "Deuces Wild", una colección de dúos de estrellas, lanzada en 1997, volvió a poner a B.B. en el candelero. Su álbum de 1998, "Blues on the Bayou", fue bien recibido, y su gira anual B.B. King Blues Festival Tour es una de las principales atracciones. El lanzamiento en 1999 de "Let the Good Times Roll-The Music of Louis Jordan" fue un tributo musical a uno de sus héroes. B.B. se unió a Eric Clapton en el lanzamiento multi-platino de "Riding with the King", (Reprise 2000) que fue el tributo de Clapton a él, un excelente disco, un maestro y su alumno tantos años más tarde, tantos caminos recorridos por ambos aún tocando el blues, y con motivo de su 80 cumpleaños en 2005 grabó un álbum de dúos "80" (Geffen) como testimonio de su voluntad como músico perdurable.

B.B. King ha lanzado otra joya de un álbum. "Grabado en The Village Recorder en Los Angeles, CA "OneKind Favor" tiene la intención de sonar como un álbum grabado en la década de 1950. Para conseguir este sonido, el productor T-Bone Burnett y King replicaron el tipo de banda de blues que King tenía en su día, reproduciendo las condiciones del estudio de la época. El resultado es un álbum de sonido vintage lleno de las canciones que influenciaron a King en sus primeros días como artista. Altamente Recomendado!

B.B. King fue el más afortunado e inusual de los bluesmen; un éxito en sus propios términos, y en su propio tiempo. Era el bluesista más conocido y reconocido del planeta. Se mantuvo fiel a sí mismo y a su música, y lo hizo con ella.

B.B. King falleció el 15 de mayo de 2015.

 

www.bbking.com ... 

Larry Carlton • Four Hands & A Heart Volume One

www.larrycarlton ...

VA • Rockin' Little Christmas

 

Laurel Canyon: The Inside Story of Rock-and-Roll's Legendary Neighborhood

 

In the late sixties and early seventies, an impromptu collection of musicians colonized a eucalyptus-scented canyon deep in the Hollywood Hills of Los Angeles and melded folk, rock, and savvy American pop into a sound that conquered the world as thoroughly as the songs of the Beatles and the Rolling Stones had before them. Thirty years later, the music made in Laurel Canyon continues to pour from radios, iPods, and concert stages around the world. During the canyon's golden era, the musicians who lived and worked there scored dozens of landmark hits, from "California Dreamin'" to "Suite: Judy Blue Eyes" to "It's Too Late," selling tens of millions of records and resetting the thermostat of pop culture.

In Laurel Canyon, veteran journalist Michael Walker tells the inside story of this unprecedented gathering of some of the baby boomer's leading musical lights―including Joni Mitchell; Jim Morrison; Crosby, Stills, and Nash; John Mayall; the Mamas and the Papas; Carole King; the Eagles; and Frank Zappa, to name just a few―who turned Los Angeles into the music capital of the world and forever changed the way popular music is recorded, marketed, and consumed.

 

Chet Baker-Christopher Mason • Silent Nights. A Christmas Jazz Album

 

Workout: The Music of Hank Mobley

 

Among the great American modern jazz saxophonists, Hank Mobley has been the most unjustly neglected - the truly forgotten man. Yet he played and recorderd prolifically with the greatest legends of his era such as Miles Davis, John Coltrane, Dizzy Gilespie, Lee Morgan, Johnny Griffin and Art Blakey, helping to create some of their finest work. His best recordings are classics, characterized by an instantly identifiable sound and style, and constant musical inventiveness. But his loner personality made him his own worst enemy, many of his records remained unissued in his lifetime, and he died forgotten and destitute. Now, at last, most of his recorded legacy is available on CD and he is increasingly recognized as one of the major figures of modern jazz. In this book, the first to be published about Hank Mobley, Derek Ansell provides a detailed critical introduction to his music and a timely reassessment of his contribution to the jazz art.

 

Brother Jack McDuff • The Concert McDuff

Shelly Manne & His Friends • My Fair Lady

Barney Kessel • Easy Like

Review by Scott Yanow

Other than four songs apiece released by Onyx and Verve, the CD reissue of Easy Like, Vol. 1 has guitarist Barney Kessel's first sessions as a leader, performances which launched his longtime association with the Contemporary label. Augmented by two "new" alternate takes, the set features Kessel in boppish form with quintets in 1953 and 1956 featuring, either Bud Shank or Buddy Collette doubling on flute and alto. Kessel shows off the influence of Charlie Christian throughout the performances, with the highlights including "Easy Like," "Lullaby of Birdland," "North of the Border," and the accurately titled "Salute to Charlie Christian."

https://www.allmusic.com/album/easy-like-vol-1-mw0000197295

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Reseña de Scott Yanow

Además de cuatro canciones editadas por Onyx y Verve, el CD reeditado de Easy Like, Vol. 1 cuenta con las primeras sesiones del guitarrista Barney Kessel como líder, actuaciones que lanzaron su larga asociación con el sello Contemporary. Aumentado por dos "nuevas" tomas alternas, el conjunto presenta a Kessel en forma boppish con quintetos en 1953 y 1956, ya sea Bud Shank o Buddy Collette doblando sobre flauta y contralto. Kessel muestra la influencia de Charlie Christian a lo largo de las actuaciones, con lo más destacado, incluyendo "Easy Like", "Lullaby of Birdland", "North of the Border" y el exactamente titulado "Salute to Charlie Christian".

https://www.allmusic.com/album/easy-like-vol-1-mw0000197295

Colaborador / Contribuitor:  Michel

Grant Green • Live At The Lighthouse

Live album featuring a performance recorded at the Lighthouse Club in Hermosa Beach, California in 1972 and released on the Blue Note label.

Review by Steve Huey

Some of Grant Green's hottest moments as a jazz-funk bandleader came on his live records of the era, which were filled with extended, smoking grooves and gritty ensemble interplay. Live at the Lighthouse makes a fine companion piece to the excellent Alive!, though there are some subtle differences which give the album its own distinct flavor. For starters, the average track length is even greater, with four of the six jams clocking in at over 12 minutes. That makes it easy to get lost in the grooves as the musicians ride and work them over. What's more, the rhythmic foundation of the group is noticeably altered. Live at the Lighthouse is one of the few Green albums of the period not to feature loose-limbed funky drummer Idris Muhammad, and his spare, booming sound and direct James Brown inspiration give way to the busy, bubbling, frequently up-tempo polyrhythms of drummer Greg Williams and extra percussionist Bobbye Porter Hall. They push the rest of the group to cook up a storm on tracks like "Windjammer" (which is taken at a madly up-tempo pace compared to the version on Green Is Beautiful), Donald Byrd's modal piece "Fancy Free" (which features some of Green's best soloing of the date), and organist Shelton Laster's soulful original "Flood in Franklin Park." Laster winds up as probably the most impassioned soloist, breaking out of the pocket for some spiralling, hard-swinging flights. For his part, Green works the grooves with the ease of a soul-jazz veteran used to the concept. The results make Live at the Lighthouse one of his best, most organic jazz-funk outings.

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Álbum en vivo con una actuación grabada en el Lighthouse Club de Hermosa Beach, California en 1972 y publicada en el sello Blue Note.

Reseña de Steve Huey

Algunos de los momentos más calientes de Grant Green como líder de orquesta de jazz-funk salieron en sus discos en vivo de la época, que estaban llenos de ritmos extendidos y humeantes y de una interacción arenosa entre los conjuntos. Live at the Lighthouse es un buen compañero para el excelente Alive, aunque hay algunas diferencias sutiles que le dan al álbum su propio sabor distintivo. Para empezar, la longitud media de la pista es aún mayor, con cuatro de los seis atascos en más de 12 minutos. Eso hace que sea fácil perderse en los surcos a medida que los músicos cabalgan y trabajan sobre ellos. Es más, la base rítmica del grupo está notablemente alterada. Live at the Lighthouse es uno de los pocos álbumes de Green de la época que no cuenta con el baterista Idris Muhammad, de piernas sueltas y funky, y su sonido de repuesto y en auge y su inspiración directa en James Brown dan paso a los polirritmos ocupados, burbujeantes y a menudo a ritmo acelerado del baterista Greg Williams y del percusionista adicional Bobbye Porter Hall. Empujan al resto del grupo a cocinar una tormenta en pistas como "Windjammer" (que se toma a un ritmo muy acelerado en comparación con la versión de Green Is Beautiful), la pieza modal de Donald Byrd "Fancy Free" (que incluye algunos de los mejores solos de Green de la época), y el conmovedor "Flood in Franklin Park" original del organista Shelton Laster. Laster termina siendo probablemente el solista más apasionado, saliendo del bolsillo para hacer unos vuelos en espiral y de giro duro. Por su parte, Green trabaja los surcos con la facilidad de un veterano del soul-jazz acostumbrado al concepto. Los resultados hacen de Live at the Lighthouse una de sus mejores y más orgánicas salidas de jazz-funk.

Richard Groove Holmes • Book Of The Blues Vol. 1

Review by Thom Jurek

This 1964 date pairs organist Richard "Groove" Holmes with an uncredited studio big band for a set of funky steamers. Onzy Matthews arranged and conducted the band that overdoes it in extremis, making it all sound overly dramatic and cheesy. Holmes, however, was in fine form here and his performance is flawless. Readings of "See See Rider," "Your Old Wagon," and "Roll 'Em Pete," would have been stellar if the accompaniment had been fitting. This disc is for Holmes completists only.

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Reseña de Thom Jurek

Esta cita de 1964 combina al organista Richard "Groove" Holmes con una big band de estudio no acreditada para un conjunto de funky steamers. Onzy Matthews arregló y dirigió la banda que se excede en extremismo, haciendo que todo suene demasiado dramático y cursi. Holmes, sin embargo, estaba en buena forma aquí y su actuación es impecable. Las lecturas de "See Rider", "Your Old Wagon" y "Roll 'Em Pete" habrían sido estelares si el acompañamiento hubiera sido adecuado. Este disco es sólo para incondicionales de Holmes.

Gerry Mulligan • Night Lights

 

www.gerrymulligan.com ...

Don Cherry • Where Is Brooklyn ?

 

Biography by Chris Kelsey
Imagination and a passion for exploration made Don Cherry one of the most influential jazz musicians of the late 20th century. A founding member of Ornette Coleman's groundbreaking quartet of the late '50s, Cherry continued to expand his musical vocabulary until his death in 1995. In addition to performing and recording with his own bands, Cherry worked with such top-ranked jazz musicians as Steve Lacy, Sonny Rollins, Archie Shepp, Albert Ayler, John Coltrane, and Gato Barbieri. Cherry's most prolific period came in the late '70s and early '80s when he joined Nana Vasconcelos and Collin Walcott in the worldbeat group Codona, and with former bandmates Charlie Haden and Ed Blackwell, and saxophonist Dewey Redman in the Coleman-inspired group Old and New Dreams. Cherry later worked with Vasconcelos and saxophonist Carlos Ward in the short-lived group Nu.

Born in Oklahoma City in 1936, he first attained prominence with Coleman, with whom he began playing around 1957. At that time Cherry's instrument of choice was a pocket trumpet (or cornet) -- a miniature version of the full-sized model. The smaller instrument -- in Cherry's hands, at least -- got a smaller, slightly more nasal sound than is typical of the larger horn. Though he would play a regular cornet off and on throughout his career, Cherry remained most closely identified with the pocket instrument. Cherry stayed with Coleman through the early '60s, playing on the first seven (and most influential) of the saxophonist's albums. In 1960, he recorded The Avant-Garde with John Coltrane. After leaving Coleman's band, Cherry played with Steve Lacy, Sonny Rollins, Archie Shepp, and Albert Ayler. In 1963-1964, Cherry co-led the New York Contemporary Five with Shepp and John Tchicai. With Gato Barbieri, Cherry led a band in Europe from 1964-1966, recording two of his most highly regarded albums, Complete Communion and Symphony for Improvisers.

Cherry began the '70s by teaching at Dartmouth College in 1970, and recorded with the Jazz Composer's Orchestra in 1973. He lived in Sweden for four years, and used the country as a base for his travels around Europe and the Middle East. Cherry became increasingly interested in other, mostly non-Western styles of music. In the late '70s and early '80s, he performed and recorded with Codona, a cooperative group with percussionist Nana Vasconcelos and multi-instrumentalist Collin Walcott. Codona's sound was a pastiche of African, Asian, and other indigenous musics.

Concurrently, Cherry joined with ex-Coleman associates Charlie Haden, Ed Blackwell, and Dewey Redman to form Old and New Dreams, a band dedicated to playing the compositions of their former employer. After the dissolution of Codona, Cherry formed Nu with Vasconcelos and saxophonist Carlos Ward. In 1988, he made Art Deco, a more traditional album of acoustic jazz, with Haden, Billy Higgins, and saxophonist James Clay.

Until his death in 1995, Cherry continued to combine disparate musical genres; his interest in world music never abated. Cherry learned to play and compose for wood flutes, tambura, gamelan, and various other non-Western instruments. Elements of these musics inevitably found their way into his later compositions and performances, as on 1990's Multi Kulti, a characteristic celebration of musical diversity. As a live performer, Cherry was notoriously uneven. It was not unheard of for him to arrive very late for gigs, and his technique -- never great to begin with -- showed on occasion a considerable, perhaps inexcusable, decline. In his last years, especially, Cherry seemed less self-possessed as a musician. Yet his musical legacy is one of such influence that his personal failings fade in relative significance.
https://www.allmusic.com/artist/don-cherry-mn0000796166/biography

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Biografía por Chris Kelsey
La imaginación y la pasión por la exploración hicieron de Don Cherry uno de los músicos de jazz más influyentes de finales del siglo XX. Miembro fundador del innovador cuarteto de Ornette Coleman de finales de los 50, Cherry siguió ampliando su vocabulario musical hasta su muerte en 1995. Además de actuar y grabar con sus propias bandas, Cherry trabajó con músicos de jazz de primera fila como Steve Lacy, Sonny Rollins, Archie Shepp, Albert Ayler, John Coltrane y Gato Barbieri. El periodo más prolífico de Cherry llegó a finales de los 70 y principios de los 80, cuando se unió a Nana Vasconcelos y Collin Walcott en el grupo de worldbeat Codona, y con sus antiguos compañeros de banda Charlie Haden y Ed Blackwell, y el saxofonista Dewey Redman en el grupo Old and New Dreams, inspirado en Coleman. Más tarde, Cherry trabajó con Vasconcelos y el saxofonista Carlos Ward en el efímero grupo Nu.

Nacido en la ciudad de Oklahoma en 1936, alcanzó la fama por primera vez con Coleman, con quien empezó a tocar hacia 1957. En aquella época, el instrumento elegido por Cherry era una trompeta de bolsillo (o corneta), una versión en miniatura del modelo de tamaño normal. El instrumento más pequeño -en las manos de Cherry, al menos- tenía un sonido más pequeño y ligeramente más nasal que el típico de la trompeta más grande. Aunque a lo largo de su carrera tocó de vez en cuando una corneta normal, Cherry se identificó más con el instrumento de bolsillo. Cherry permaneció con Coleman hasta principios de los años 60, tocando en los siete primeros (y más influyentes) álbumes del saxofonista. En 1960, grabó The Avant-Garde con John Coltrane. Tras dejar la banda de Coleman, Cherry tocó con Steve Lacy, Sonny Rollins, Archie Shepp y Albert Ayler. En 1963-1964, Cherry codirigió el New York Contemporary Five con Shepp y John Tchicai. Con Gato Barbieri, Cherry dirigió una banda en Europa entre 1964 y 1966, grabando dos de sus álbumes más apreciados, Complete Communion y Symphony for Improvisers.

Cherry comenzó los años 70 dando clases en el Dartmouth College en 1970, y grabó con la Jazz Composer's Orchestra en 1973. Vivió en Suecia durante cuatro años, y utilizó el país como base para sus viajes por Europa y Oriente Medio. Cherry se interesó cada vez más por otros estilos musicales, sobre todo no occidentales. A finales de los 70 y principios de los 80, actuó y grabó con Codona, un grupo cooperativo con la percusionista Nana Vasconcelos y el multiinstrumentista Collin Walcott. El sonido de Codona era un pastiche de músicas africanas, asiáticas y otras autóctonas.

Al mismo tiempo, Cherry se unió a sus ex socios de Codona Charlie Haden, Ed Blackwell y Dewey Redman para formar Old and New Dreams, una banda dedicada a tocar las composiciones de su antiguo empleador. Tras la disolución de Codona, Cherry formó Nu con Vasconcelos y el saxofonista Carlos Ward. En 1988, hizo Art Deco, un álbum más tradicional de jazz acústico, con Haden, Billy Higgins y el saxofonista James Clay.

Hasta su muerte en 1995, Cherry siguió combinando géneros musicales dispares; su interés por la música del mundo nunca disminuyó. Cherry aprendió a tocar y componer para flautas de madera, tambura, gamelán y otros instrumentos no occidentales. Elementos de estas músicas se introdujeron inevitablemente en sus composiciones y actuaciones posteriores, como en Multi Kulti, de 1990, una celebración característica de la diversidad musical. Como intérprete en directo, Cherry era notoriamente irregular. No era raro que llegara muy tarde a los conciertos, y su técnica, que nunca fue excelente, mostraba en ocasiones un declive considerable, quizá inexcusable. En sus últimos años, especialmente, Cherry parecía menos dueño de sí mismo como músico. Sin embargo, su legado musical es tan influyente que sus defectos personales pierden importancia relativa.
https://www.allmusic.com/artist/don-cherry-mn0000796166/biography

Milt Buckner & André Persiani • Pianistically Yours

Milton Brent Buckner was born in St. Louis on July 19, 1915. His little brother Ted, who should not be confused with their distant relative, Texas born trumpeter Teddy Buckner, was destined to become a saxophonist with the Jimmie Lunceford Orchestra (where he actually recorded with Teddy in 1939) and an R&B and Motown sessionman. Milt's parents, who encouraged him to learn to play piano, both died when he was nine years old. The two orphans were sent to Detroit where they were adopted by members of the Earl Walton Orchestra; Milt studied piano from age ten to thirteen with his uncle John Tobias (Walton's trombonist), and began writing arrangements for the band at the age of fifteen. While studying at the Detroit Institute of Arts he performed with Mose Burke & the Dixie Whangdoodles and the Harlem Aristocrats. After drummer and bandleader Don Cox hired him in 1932, Buckner began to develop a uniquely percussive technique employing parallel tonal patterns, later referred to as "block chords," a style now associated with Oscar Peterson and George Shearing. During the '30s Buckner also worked in groups led by Jimmy Raschelle, Lanky Bowman, and Howard Bunts. His first big break came in 1941 when he became Lionel Hampton's staff arranger and assistant director. His predilection for rocking rhythms and boogie-woogie fit nicely with Hamp's approach to entertainment. Buckner worked with Hampton during the years 1941-1948 and 1950-1952.

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Milton Brent Buckner nació en St. Louis el 19 de julio de 1915. Su hermano pequeño Ted, que no debe confundirse con su pariente lejano, el trompetista Teddy Buckner, nacido en Texas, estaba destinado a convertirse en saxofonista de la Jimmie Lunceford Orchestra (donde grabó con Teddy en 1939) y en un músico de R&B y Motown. Los padres de Milt, que lo alentaron a aprender a tocar el piano, murieron cuando él tenía nueve años. Los dos huérfanos fueron enviados a Detroit donde fueron adoptados por miembros de la Earl Walton Orchestra; Milt estudió piano desde los diez hasta los trece años con su tío John Tobias (trombonista de Walton), y comenzó a escribir arreglos para la banda a los quince años. Mientras estudiaba en el Detroit Institute of Arts actuó con Mose Burke & the Dixie Whangdoodles y los Harlem Aristocrats. Después de que el baterista y director de orquesta Don Cox lo contratara en 1932, Buckner comenzó a desarrollar una técnica de percusión única empleando patrones tonales paralelos, más tarde conocidos como "acordes de bloque", un estilo ahora asociado con Oscar Peterson y George Shearing. Durante los años 30 Buckner también trabajó en grupos dirigidos por Jimmy Raschelle, Lanky Bowman y Howard Bunts. Su primera gran oportunidad llegó en 1941 cuando se convirtió en el arreglador de personal y asistente de dirección de Lionel Hampton. Su predilección por los ritmos rockeros y el boogie-woogie encajan perfectamente con el enfoque de Hamp hacia el entretenimiento. Buckner trabajó con Hampton durante los años 1941-1948 y 1950-1952.

 

Salvador Dalí • Confidential Concepts

pdf / 256 páginas / Idioma: francés

Pdf / 256 pages / Language: French

The Cambridge History of World Music

 

 

The first comprehensive history of music on a global basis, laying the foundations for a sweeping history of all music.

 

The Rock Cover Song: Culture, History, Politics

 

Cover songs operate as a form of cultural discourse across various musical genres and different societal, historical and political conditions. Case studies include a comparative analysis of Jimi Hendrix's and Whitney Houston's versions of "The Star-Spangled Banner" as well as a mapping of the trajectory of "(I Can't Get No) Satisfaction" from the original version by the Rolling Stones through cover versions by Otis Redding, Devo, and Britney Spears. The radical deconstruction of pop and rock songs by the Residents and Laibach is also examined, with additional studies of cover songs by such as Van Halen, Kim Wilde, Rufus Harley, the Four Tops, Pat Boone and Johnny Cash. Rather than questions of quality or how a cover song measures up as "better or worse" than other versions, this book focuses on the ideological implications and social stakes of the "same old songs" as they are reconfigured to consider, comment on and confront political issues of gender, sexuality, race, the nation-state and the generation gap.

 

Mars by 1980: The Story of Electronic Music

 

 

 

 

Electronic music is now ubiquitous, from mainstream pop hits to the furthest reaches of the avant-garde. The future, a long time coming, finally arrived. But how did we get here? In Mars by 1980, David Stubbs charts the evolution of electronic music from the earliest mechanical experiments in the late nineteenth century to the pre-World War 1 inventions of the Futurist Luigi Russolo, author of the 'Art Of Noises' manifesto. He takes us through the musique concrete of radical composers such as Edgard Varese, Pierre Schaeffer, and Karlheinz Stockhausen, to the gradual absorption of electronic instrumentation into the mainstream: be it through the BBC Radiophonic Workshop and the work of pioneers like Delia Derbyshire, grandiose prog rock, or the more DIY approach of electronica, house, and techno. It's a tale of mavericks and future dreamers overcoming Luddite resistance, malfunctioning devices, and sonic mayhem. Its beginnings are in the world of avant-classical composition, but the book also encompasses the cosmic funk of Stevie Wonder, Giorgio Moroder, and unforgettable 80s electronic pop from the likes of Depeche Mode, the Pet Shop Boys, and Laurie Anderson - right up to present day innovators on the underground scene. But above all, it's an essential story of authenticity: is this music? Is it legitimate? What drew its creators to make it? Where does it stand, in relation to rock and pop, classical and jazz music, to the modern society that generated it? And why does it resonate more strongly than ever in our own postmodern, seemingly post-futurist times? Mars by 1980 is the definitive account that answers these questions.

 

 

More Important Than the Music: A History of Jazz Discography

 

Today, jazz is considered high art, America’s national music, and the catalog of its recordings—its discography—is often taken for granted. But behind jazz discography is a fraught and highly colorful history of research, fanaticism, and the intense desire to know who played what, where, and when. This history gets its first full-length treatment in Bruce D. Epperson’s More Important Than the Music. Following the dedicated few who sought to keep jazz’s legacy organized, Epperson tells a fascinating story of archival pursuit in the face of negligence and deception, a tale that saw curses and threats regularly employed, with fisticuffs and lawsuits only slightly rarer.

Epperson examines the documentation of recorded jazz from its casual origins as a novelty in the 1920s and ’30s, through the overwhelming deluge of 12-inch vinyl records in the middle of the twentieth century, to the use of computers by today’s discographers. Though he focuses much of his attention on comprehensive discographies, he also examines the development of a variety of related listings, such as buyer’s guides and library catalogs, and he closes with a look toward discography’s future. From the little black book to the full-featured online database, More Important Than the Music offers a history not just of jazz discography but of the profoundly human desire to preserve history itself.

 

Psychedelic Popular Music: A History through Musical Topic Theory

 

 

Recognized for its distinctive musical features and its connection to periods of social innovation and ferment, the genre of psychedelia has exerted long-term influence in many areas of cultural production, including music, visual art, graphic design, film, and literature. William Echard explores the historical development of psychedelic music and its various stylistic incarnations as a genre unique for its fusion of rock, soul, funk, folk, and electronic music. Through the theory of musical topics―highly conventional musical figures that signify broad cultural concepts―and musical meaning, Echard traces the stylistic evolution of psychedelia from its inception in the early 1960s, with the Beatles' Rubber Soul and Revolver and the Kinks and Pink Floyd, to the German experimental bands and psychedelic funk of the 1970s, with a special emphasis on Parliament/Funkadelic. He concludes with a look at the 1980s and early 1990s, touching on the free festival scene, rave culture, and neo–jam bands. Set against the cultural backdrop of these decades, Echard's study of psychedelia lays the groundwork and offers lessons for analyzing the topic of popular music in the twentieth and twenty-first centuries.

 

Stray Cats • ''Live'' Struttin'

  straycats.com ...

New York Jazz Trio • Christmas Songs & Classics

 

Gilbert Sigrist • Tribute to Hammond Organ

Compositeur, arrangeur, pianiste et chef d’orchestre. Gilbert a accompagné comme pianiste Gilbert Becaud, Barbara, Aznavour, Leo Ferré. Il a composé un mystère sacré « La Plus Belle Histoire » avec Georges Auric du groupe des six et collaboré avec Jean-Jacques Perrey qui a par ailleurs composé quelques titres pour Pennybank Tunes. Gilbert a ensuite créé le Gilbert Sigrist trio en compagnie de son Fils Laurent Sigrist bassite et Francis Wininger à la batterie. Le trio a remporté de nombreux succès avec Les « Comptines françaises » qu’il fut le premier à jazzifier.

 

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Composer, arranger , pianist and conductor,Gilbert Sigrist has accompanied as pianist Gilbert Bécaud, Barbara, Aznavour, Léo Ferré. He composed a sacred mystery » La Plus Belle Histoire » with Georges Auric from the Group of Six and worked with Jean-Jacques Perrey on the album « Dynamoog » in 1978 & on « Circus Of Life » 2000(album), Koka Media. JJ Perrey has also composed some songs for Pennybank Tunes.

Gilbert then created the Gilbert Sigrist Trio with his son Laurent Sigrist on bass and Francis Wininger on drums. The trio encountered a large successe with the » Les Jazz Comptines » French Jazz Rhymes « , he was the first to jazzify.

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Compositor, arreglista, pianista y director. Gilbert acompañó como pianista a Gilbert Becaud, Barbara, Aznavour, Leo Ferré. Compuso un misterio sagrado "La Plus Belle Histoire" con Georges Auric del grupo de los seis y colaboró con Jean-Jacques Perrey que también compuso algunas canciones para Pennybank Tunes. Gilbert creó entonces el trío Gilbert Sigrist con su hijo Laurent Sigrist bassite y Francis Wininger a la batería. El trío ha ganado muchos éxitos con Les "Comptines françaises", que fueron los primeros en jazzizar. 

The Words and Music of Paul Simon

 

Paul Simon is commonly acknowledged to be one of the most successful singer-songwriters of the pop-rock era. His work has flourished in the context of Simon and Garfunkel as well as in his own solo career. Starting with the folk-rock style that marked his earliest significant success, he has drawn on a wide variety of influences, including many American traditions and, later, many international ones as well. He has won multiple Grammy awards in both the duo and the solo phases of his career. His songwriting has also provided the impetus for brief forays into film and musical theatre. After providing a brief biographical overview, this work examines Simon's songwriting work in depth, providing a critical discussion of each song as a fusion of text and music so as to help the reader to identify elements that enhance appreciation.

A particularly valuable contribution in this context is the discussion of the wide variety of musical elements that contribute significantly to the value of Simon's work. These include such easily-understandable issues as verse-chorus structure, melodic variation, selection of particular instruments and even performers, variation of musical style within a song, general harmonic characteristics, relationships among keys, rhythm and pacing of text, etc. While the book proceeds chronologically through Simon's recorded output, specific threads are developed throughout, and the discussion of individual songs takes place in the context of these threads, both drawing on them and developing them further. The diversity of Paul Simon's work reflects his very American background, and no discussion of American music is complete without accounting for his influence.

 

Kansas City Jazz: From Ragtime to Bebop--A History

 

There were four major galaxies in the early jazz universe, and three of them--New Orleans, Chicago, and New York--have been well documented in print. But there has never been a serious history of the fourth, Kansas City, until now.
In this colorful history, Frank Driggs and Chuck Haddix capture the golden age of Kansas City jazz, and bring us a colorful portrait of old Kaycee itself, back then a neon riot of bars, bambling dens, and taxi dance halls, all ruled over by Boss Tom Pendergast, who had transformed a dusty cowtown into the Paris of the Plains. The authors show how this wide-open, gin-soaked town gave birth to a music that was more basic and more viscerally exciting than other styles of jazz, its singers belting out a rough-and-tumble urban style of blues, its piano players pounding out a style later known as "boogie-woogie." We visit the great landmarks, like the Reno Club, the "Biggest Little Club in the World," where Lester Young and Count Basie made jazz history, and Charlie Parker began his musical education in the alley out back. The lives of the great musicians who made Kansas City swing are illuminated, with colorful profiles of jazz figures such as Mary Lou Williams, Big Joe Turner, Jimmy
Rushing, and Andy Kirk and his "Clouds of Joy."
Kansas City Jazz is the definitive account of the raw, hard-driving style that put Kansas City on the musical map. It is a must read for everyone who loves jazz or American music history.

 

Billy Taylor • One For Fun

Billy Taylor encompassed that rare combination of creativity, intelligence, vision, commitment and leadership, qualities that made him one of our most cherished national treasures.

The distinguished ambassador of the jazz community to the world-at-large, Dr. Billy Taylor's recording career spans nearly six decades. He has also composed over three hundred and fifty songs, including “I Wish I Knew How It Would Feel To Be Free,” as well as works for theatre, dance and symphony orchestras.

Playing the piano professionally since 1944, he got his start with Ben Webster's Quartet on New York's famed 52nd Street. He then served as the house pianist at Birdland, the legendary jazz club where he performed with such celebrated masters as Charlie Parker, Dizzy Gillespie and Miles Davis. Since the 1950s, Billy Taylor has been leading his own Trio, as well as performing with the most influential jazz musicians of the twentieth century.

Dr. Taylor has not only been an influential musician, but a highly regarded teacher as well, receiving his Masters and Doctorate in Music Education from the University of Massachusetts at Amherst and serving as a Duke Ellington Fellow at Yale University.

He has also hosted and programmed such radio stations WLIB and WNEW in New York, and award winning series for National Public Radio. In the early 1980s, Taylor became the arts correspondent for CBS Sunday Morning.

Dr. Billy Taylor is one of only three jazz musicians appointed to the National Council of the Arts, and also serves as the Artistic Advisor for Jazz to the Kennedy Center for the Performing Arts, where he has developed one acclaimed concert series after another including the Louis Armstrong Legacy series, and the annual Mary Lou Williams Women in Jazz Festival.

With over twenty three honorary doctoral degrees, Dr. Billy Taylor is also the recipient of two Peabody Awards, an Emmy, a Grammy and a host of prestigious and highly coveted prizes, such as the National Medal of Arts, the Tiffany Award, a Lifetime achievement Award from Downbeat Magazine, and, election to the Hall of Fame for the International Association for Jazz Education.

Dr. Billy Taylor passed on Dec. 28, 2010.

https://musicians.allaboutjazz.com/billytaylor

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Billy Taylor comprendía esa rara combinación de creatividad, inteligencia, visión, compromiso y liderazgo, cualidades que lo convirtieron en uno de nuestros tesoros nacionales más preciados.

El distinguido embajador de la comunidad de jazz ante el mundo en general, la carrera discográfica del Dr. Billy Taylor abarca casi seis décadas. También ha compuesto más de trescientas cincuenta canciones, entre ellas "I Wish I Knew How It Would Feel To Be Free", así como obras para teatro, danza y orquestas sinfónicas.

Tocando el piano profesionalmente desde 1944, comenzó con Ben Webster's Quartet en la famosa calle 52 de Nueva York. Luego se desempeñó como pianista en Birdland, el legendario club de jazz donde tocó con maestros tan famosos como Charlie Parker, Dizzy Gillespie y Miles Davis. Desde los años 50, Billy Taylor ha estado dirigiendo su propio trío, así como tocando con los músicos de jazz más influyentes del siglo XX.

El Dr. Taylor no sólo ha sido un músico influyente, sino también un profesor muy respetado, recibiendo su Maestría y Doctorado en Educación Musical de la Universidad de Massachusetts en Amherst y sirviendo como Duke Ellington Fellow en la Universidad de Yale.

También ha sido anfitrión y programador de las estaciones de radio WLIB y WNEW en Nueva York, y de series premiadas para la Radio Pública Nacional. A principios de la década de 1980, Taylor se convirtió en corresponsal de arte de CBS Sunday Morning.

El Dr. Billy Taylor es uno de sólo tres músicos de jazz nombrados para el Consejo Nacional de las Artes, y también sirve como Asesor Artístico de Jazz para el Kennedy Center for the Performing Arts, donde ha desarrollado una aclamada serie de conciertos tras otra, incluyendo la serie Louis Armstrong Legacy, y el Festival anual Mary Lou Williams Women in Jazz.

Con más de veintitrés doctorados honorarios, el Dr. Billy Taylor también ha recibido dos premios Peabody, un Emmy, un Grammy y una serie de prestigiosos y muy codiciados premios, como la Medalla Nacional de las Artes, el Premio Tiffany, un premio de logros de toda una vida de la revista Downbeat y la elección al Salón de la Fama de la Asociación Internacional para la Educación en Jazz.

El Dr. Billy Taylor falleció el 28 de diciembre de 2010.

https://musicians.allaboutjazz.com/billytaylor

Jerry Weldon • Head to Head

Tenor saxophonists Jerry Weldon and Michael Karn share many of the same influences including Dexter Gordon, Sonny Stitt, Sonny Rollins, Hank Mobley and Joe Henderson. Karn has a slightly harder tone but the two tenors are quite complementary and of equal talent. For this hard bop outing from Criss Cross, Weldon and Karn are joined by pianist Bruce Barth, bassist Peter Washington and drummer Billy Drummond. Although the co-leaders contribute two originals apiece, the newer pieces are in the same basic chordal-oriented style as the six vintage tunes (which include a long and blazing tenor tradeoff on "Ko-Ko," "Ow," the Sonny Rollins-associated "If Ever I Would Leave You" and ballad features for Karn ("Who Can I Turn To") and Weldon ("All the Way"). Fun music easily recommended to straight-ahead jazz collectors. ~ Scott Yanow

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Los saxofonistas Jerry Weldon y Michael Karn comparten muchas de las mismas influencias, incluyendo a Dexter Gordon, Sonny Stitt, Sonny Rollins, Hank Mobley y Joe Henderson. Karn tiene un tono ligeramente más duro pero los dos tenores son bastante complementarios y de igual talento. Para esta dura salida de Criss Cross, Weldon y Karn están acompañados por el pianista Bruce Barth, el bajista Peter Washington y el baterista Billy Drummond. Aunque los co-líderes aportan dos originales cada uno, las piezas más nuevas tienen el mismo estilo básico orientado a los acordes que los seis temas vintage (que incluyen un largo y ardiente intercambio de tenor en "Ko-Ko", "Ow", "If Ever I Would Leave You", asociado con Sonny Rollin, y baladas para Karn ("Who Can I Turn To") y Weldon ("All the Way"). La música divertida se recomienda fácilmente a los coleccionistas de jazz. ~ Scott Yanow

jerryweldon.net ...

Guitar Encyclopedia

 

From renowned guitarist and multi-Emmy-award winning composer, Brian Tarquin, comes a display-quality, full-color reference guide to guitars. The Guitar Encyclopedia begins with the history of guitars spanning back to the birth of Epiphone by a Greek immigrant and the great inventions of Les Paul, to the boom of the Rock-‘n-Roll-shredder days with Ibanez guitars and the futuristic designs of the Gibson Moderne and the Randy Rhodes Polka Dot Flying V. The book also contains interviews from guitar designers such as Fender and Eastwood, as well as boutique companies such as Gander and Specimen.

A far cry from other dry schematic encyclopedias, this book details the connections between different guitars and the monumental recordings that they produced. With introductions by Gary Hoey, Chris Poland (Megadeth), and Eric Shoaf (Vintage Guitar magazine), this book provides a rich and unique account of iconic guitars throughout history.

Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.