Biography by Ron Wynn
Lou Bennett began as a bop pianist, then switched to organ and became a solid player in the late '50s. With Jimmy Smith's virtuostic approach as inspiration, Bennett left piano behind in 1956, and toured the East and Midwest with his organ trio from 1957 through 1959. Bennett left America for Paris in 1960. He recorded there, played at the city's Blue Note club with Jimmy Gourley and fellow expatriate Kenny Clarke, who became one of his regulars alongside Rene Thomas. Bennett made only one return visit to America, appearing at the 1964 Newport Jazz Festival. He led his own group during the '80s.
https://www.allmusic.com/artist/lou-bennett-mn0000213312#biography
Lou Bennett, born in Philadelphia on May 18, 1926. At the beginning of his musical career, he left the United States with his Hammond organ, bound for France, and took Paris by storm, becoming an overnight star on the jazz scene there. In a 1961 poll, he was voted number 1 organist over Jimmy Smith and Wild Bill Davis, and his overall popularity in France was superior to that of Count Basie, Miles Davis, and other American jazz stars. Bennett never succeeded in confirming his success, because of his quasi-obsession with the electronic parts of his organ. He was continually striving to find the perfect sound, and to find as many sounds as he could in order to better express himself. A part of his obsession concerned the bass played with his feet on the pedalboard. Having an astonishing bass-playing technique, he continually searched for ways to better its sound as if to suggest an additional member of the rhythm section. The common practice was for organists to play the bass with their left hand and to move their left foot along with the rhythm of the tune. Bennett was very outspoken about bass-playing, saying that an organist who didn’t play bass with his feet was no organist, but an “organ-player.” However, many of Bennett’s opportunities were ruined because of faulty wiring and breakdowns of his “Bennett Machine” that he had created. Bennett had little interest in financial gain or publicity. He would accept low-paying contracts for as little as a meal and traveling expenses. Often he would repair his organ on stage, interrupting his concert to do so. Having performed all over Europe, he met with a great deal of success in Spain, and built a house there with room for his electronic experiments. His music took priority over his marriage, although he and his wife remained together up until the time of his death. Bennett died on February 10, 1997, leaving a host of admirers, having inspired European organists during his lifetime and is still influencing the art of bass-playing with feet today.
https://rucore.libraries.rutgers.edu/rutgers-lib/43843/
Lou Bennett began as a bop pianist, then switched to organ and became a solid player in the late '50s. With Jimmy Smith's virtuostic approach as inspiration, Bennett left piano behind in 1956, and toured the East and Midwest with his organ trio from 1957 through 1959. Bennett left America for Paris in 1960. He recorded there, played at the city's Blue Note club with Jimmy Gourley and fellow expatriate Kenny Clarke, who became one of his regulars alongside Rene Thomas. Bennett made only one return visit to America, appearing at the 1964 Newport Jazz Festival. He led his own group during the '80s.
https://www.allmusic.com/artist/lou-bennett-mn0000213312#biography
Lou Bennett, born in Philadelphia on May 18, 1926. At the beginning of his musical career, he left the United States with his Hammond organ, bound for France, and took Paris by storm, becoming an overnight star on the jazz scene there. In a 1961 poll, he was voted number 1 organist over Jimmy Smith and Wild Bill Davis, and his overall popularity in France was superior to that of Count Basie, Miles Davis, and other American jazz stars. Bennett never succeeded in confirming his success, because of his quasi-obsession with the electronic parts of his organ. He was continually striving to find the perfect sound, and to find as many sounds as he could in order to better express himself. A part of his obsession concerned the bass played with his feet on the pedalboard. Having an astonishing bass-playing technique, he continually searched for ways to better its sound as if to suggest an additional member of the rhythm section. The common practice was for organists to play the bass with their left hand and to move their left foot along with the rhythm of the tune. Bennett was very outspoken about bass-playing, saying that an organist who didn’t play bass with his feet was no organist, but an “organ-player.” However, many of Bennett’s opportunities were ruined because of faulty wiring and breakdowns of his “Bennett Machine” that he had created. Bennett had little interest in financial gain or publicity. He would accept low-paying contracts for as little as a meal and traveling expenses. Often he would repair his organ on stage, interrupting his concert to do so. Having performed all over Europe, he met with a great deal of success in Spain, and built a house there with room for his electronic experiments. His music took priority over his marriage, although he and his wife remained together up until the time of his death. Bennett died on February 10, 1997, leaving a host of admirers, having inspired European organists during his lifetime and is still influencing the art of bass-playing with feet today.
https://rucore.libraries.rutgers.edu/rutgers-lib/43843/
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Biografía de Ron Wynn
Lou Bennett comenzó como pianista de bop, luego se pasó al órgano y se convirtió en un sólido intérprete a finales de los años 50. Inspirado por el virtuosismo de Jimmy Smith, Bennett abandonó el piano en 1956 y realizó giras por el Este y el Medio Oeste con su trío de órgano entre 1957 y 1959. Bennett se marchó de Estados Unidos a París en 1960. Allí grabó, tocó en el club Blue Note de la ciudad con Jimmy Gourley y su compatriota Kenny Clarke, que se convirtió en uno de sus habituales junto a René Thomas. Bennett sólo regresó una vez a Estados Unidos, para participar en el Festival de Jazz de Newport de 1964. Dirigió su propio grupo durante los años 80.
https://www.allmusic.com/artist/lou-bennett-mn0000213312#biography
Lou Bennett nació en Filadelfia el 18 de mayo de 1926. Al principio de su carrera musical, partió de Estados Unidos con su órgano Hammond rumbo a Francia y arrasó en París, donde se convirtió de la noche a la mañana en una estrella del jazz. En una encuesta realizada en 1961, fue elegido organista número 1 por delante de Jimmy Smith y Wild Bill Davis, y su popularidad general en Francia era superior a la de Count Basie, Miles Davis y otras estrellas del jazz estadounidense. Bennett nunca consiguió confirmar su éxito, debido a su cuasi obsesión por las partes electrónicas de su órgano. Se esforzaba continuamente por encontrar el sonido perfecto, y por encontrar tantos sonidos como pudiera para expresarse mejor. Una parte de su obsesión tenía que ver con el bajo que tocaba con los pies en el pedalero. Poseedor de una técnica asombrosa para tocar el bajo, buscaba continuamente formas de mejorar su sonido, como si quisiera sugerir un miembro más de la sección rítmica. La práctica habitual era que los organistas tocaran el bajo con la mano izquierda y movieran el pie izquierdo al ritmo de la melodía. Bennett era muy franco sobre la forma de tocar el bajo, diciendo que un organista que no tocaba el bajo con los pies no era un organista, sino un "organ-player". Sin embargo, muchas de las oportunidades de Bennett se arruinaron por culpa de cables defectuosos y averías de su "Máquina Bennett" que él mismo había creado. A Bennett le interesaban poco las ganancias económicas o la publicidad. Aceptaba contratos mal pagados por tan sólo una comida y los gastos de viaje. A menudo reparaba su órgano en el escenario, interrumpiendo su concierto para hacerlo. Tras actuar por toda Europa, obtuvo un gran éxito en España, donde construyó una casa con espacio para sus experimentos electrónicos. Su música tuvo prioridad sobre su matrimonio, aunque él y su mujer siguieron juntos hasta el momento de su muerte. Bennett murió el 10 de febrero de 1997, dejando un sinfín de admiradores, habiendo inspirado a organistas europeos durante su vida y sigue influyendo en el arte de tocar el bajo con los pies hoy en día.
https://rucore.libraries.rutgers.edu/rutgers-lib/43843/
Lou Bennett comenzó como pianista de bop, luego se pasó al órgano y se convirtió en un sólido intérprete a finales de los años 50. Inspirado por el virtuosismo de Jimmy Smith, Bennett abandonó el piano en 1956 y realizó giras por el Este y el Medio Oeste con su trío de órgano entre 1957 y 1959. Bennett se marchó de Estados Unidos a París en 1960. Allí grabó, tocó en el club Blue Note de la ciudad con Jimmy Gourley y su compatriota Kenny Clarke, que se convirtió en uno de sus habituales junto a René Thomas. Bennett sólo regresó una vez a Estados Unidos, para participar en el Festival de Jazz de Newport de 1964. Dirigió su propio grupo durante los años 80.
https://www.allmusic.com/artist/lou-bennett-mn0000213312#biography
Lou Bennett nació en Filadelfia el 18 de mayo de 1926. Al principio de su carrera musical, partió de Estados Unidos con su órgano Hammond rumbo a Francia y arrasó en París, donde se convirtió de la noche a la mañana en una estrella del jazz. En una encuesta realizada en 1961, fue elegido organista número 1 por delante de Jimmy Smith y Wild Bill Davis, y su popularidad general en Francia era superior a la de Count Basie, Miles Davis y otras estrellas del jazz estadounidense. Bennett nunca consiguió confirmar su éxito, debido a su cuasi obsesión por las partes electrónicas de su órgano. Se esforzaba continuamente por encontrar el sonido perfecto, y por encontrar tantos sonidos como pudiera para expresarse mejor. Una parte de su obsesión tenía que ver con el bajo que tocaba con los pies en el pedalero. Poseedor de una técnica asombrosa para tocar el bajo, buscaba continuamente formas de mejorar su sonido, como si quisiera sugerir un miembro más de la sección rítmica. La práctica habitual era que los organistas tocaran el bajo con la mano izquierda y movieran el pie izquierdo al ritmo de la melodía. Bennett era muy franco sobre la forma de tocar el bajo, diciendo que un organista que no tocaba el bajo con los pies no era un organista, sino un "organ-player". Sin embargo, muchas de las oportunidades de Bennett se arruinaron por culpa de cables defectuosos y averías de su "Máquina Bennett" que él mismo había creado. A Bennett le interesaban poco las ganancias económicas o la publicidad. Aceptaba contratos mal pagados por tan sólo una comida y los gastos de viaje. A menudo reparaba su órgano en el escenario, interrumpiendo su concierto para hacerlo. Tras actuar por toda Europa, obtuvo un gran éxito en España, donde construyó una casa con espacio para sus experimentos electrónicos. Su música tuvo prioridad sobre su matrimonio, aunque él y su mujer siguieron juntos hasta el momento de su muerte. Bennett murió el 10 de febrero de 1997, dejando un sinfín de admiradores, habiendo inspirado a organistas europeos durante su vida y sigue influyendo en el arte de tocar el bajo con los pies hoy en día.
https://rucore.libraries.rutgers.edu/rutgers-lib/43843/
1 - Movimiento = Movement 6:30
2 - Poema = Poem [Bossa-Nova] 4:27
3 - Seducción = Seduction Blues 5:53
4 - Tema Para Alicia = Theme For Alicia 5:05
5 - Adiós, Doña Inés = Goodbye, Doña Inés 4:26
6 - Nostalgia = Blue Nostalgie 5:31
7 - Indecisión - Final = Indecision - Ending 4:06
Credits:
Composed By – Lou Bennett
Drums – Peer Wyboris
Guitar – Andre Condouant*
Liner Notes – José María Forqué, Nonito Pereira
Organ – Lou Bennett
Producer [Dirección Artística] – Carlos Guitart
Recorded By – Antonio Alonso
"Grabación realizada el 23 de agosto de 1968 en ESTUDIOS MORO, S.A."
Label: Sonoplay – S-26.017
Country: Spain
Released: 1968
Genre: Jazz, Blues, Stage & Screen
Style: Bossa Nova, Cool Jazz, Soul-Jazz, Hard Bop
https://www.discogs.com/release/6495587-Lou-Bennett-Banda-Sonora-Original-De-La-Pelicula-La-Vil-Seduccion
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