egroj world: September 2024

Saturday, September 14, 2024

ZZ Top • Live at Montreux - 2013 [video]

 

 

With an unchanged line-up stretching back to 1969 and global album sales in excess of 50 million, ZZ Top continue to delight fans around the world with brilliant live concerts and great music. The band has made a number of visits to Montreux over the years, and this concert from the 2013 Festival is undoubtedly one of their finest live performances. The set list blends tracks from early seventies albums such as 'Tres Hombre' and 'Fandango' through their eighties blockbuster period with Eliminator and Afterburner and up to their most recent release and return to their blues roots with 'La Futura'. The middle section of the concert features a jazz-blues tribute to the late Montreux Festival founder Claude Nobs with guest appearances by Mike Flanigin on Hammond Organ and Van Wilks on guitar. ZZ Top, the 'lil' ol' band from Texas , are rocking the blues as strongly as ever!

 

www.zztop.com ...



Charlie Parker • Bird Symbols

 


Review by AllMusic
The sound quality on this album of Parker's Dial mid-'40s Dial material lacks the precision and clarity of his later Verve sessions. Much of the original source material disappeared when Dial went out of business, and, from the remaining masters, a good deal has been lost in the subsequent transfer and re-issue. Still, barring some distortion and a kind of hollow, muffled quality, Parker is in superior form as an artist on these tracks. The mid-'40s seems to be the time Bird hit his stride, and these tracks serve as no subtle reminder that Parker was not only a great innovator, but an incredibly emotional and soulful player, a fact often overshadowed by his technical prowess.

These qualities are highlighted in the collection's ballads "Embracable You," "Out of Nowhere," and "Don't Blame Me," while breakneck bebop workouts are represented as well in "Moose the Mooche," "Bird's Nest" and the dizzying "Ornithology." Parker is joined by a young Miles Davis on many of these sessions, whose acerbic, forward-thinking style provides wonderful balance to Parker's fluid alto. While the sound quality may not be pristine, these are still fine performances; and of interest to Parker collectors searching for his harder-to-procure Dial sessions.https://www.allmusic.com/album/bird-symbols-mw0000192338

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Reseña de AllMusic
La calidad de sonido de este álbum de material Dial de Parker de mediados de los años 40 carece de la precisión y claridad de sus sesiones posteriores para Verve. Gran parte del material original desapareció cuando Dial quebró y, de los masters restantes, una buena parte se ha perdido en la posterior transferencia y reedición. Aun así, salvo algunas distorsiones y una especie de calidad hueca y apagada, Parker está en una forma superior como artista en estos temas. A mediados de los años 40, Bird parece haber alcanzado su punto álgido, y estos temas nos recuerdan que Parker no sólo era un gran innovador, sino también un intérprete increíblemente emotivo y conmovedor, un hecho a menudo eclipsado por su destreza técnica.

Estas cualidades se ponen de relieve en las baladas de la colección «Embracable You», «Out of Nowhere» y «Don't Blame Me», mientras que los vertiginosos ejercicios de bebop también están representados en «Moose the Mooche», «Bird's Nest» y la vertiginosa «Ornithology». En muchas de estas sesiones, Parker cuenta con la colaboración de un joven Miles Davis, cuyo estilo mordaz y progresista aporta un magnífico equilibrio al fluido contralto de Parker. Aunque la calidad del sonido no sea impecable, se trata de excelentes interpretaciones, de interés para los coleccionistas de Parker que busquen sus sesiones Dial, más difíciles de conseguir.https://www.allmusic.com/album/bird-symbols-mw0000192338


Clarence 'Gatemouth' Brown • The Man

 



Review by Bill Dahl
Brown made the big jump to major-label stature for this typically unclassifiable set, which feistily sweeps through zydeco ("Big Mammou"), country ("Up Jumped the Devil"), Louis Jordan ("Early in the Morning"), and even a little blues along its unpredictable course. Cajun accordionist Jo-El Sonnier receives several solos in a guest-starring role.
https://www.allmusic.com/album/man-mw0000125438

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Reseña de Bill Dahl
Brown dio el gran salto al estrellato de las grandes discográficas con este conjunto típicamente inclasificable, que recorre con agilidad el zydeco («Big Mammou»), el country («Up Jumped the Devil»), Louis Jordan («Early in the Morning»), e incluso un poco de blues a lo largo de su impredecible curso. El acordeonista cajún Jo-El Sonnier participa como invitado en varios solos.
https://www.allmusic.com/album/man-mw0000125438


 





Kenny Burrell & John Coltrane • Kenny Burrell & John Coltrane

 

 



Review by Lindsay Planer  
For his final Prestige-related session as a sideman, John Coltrane (tenor sax) and Kenny Burrell (guitar) are supported by an all-star cast of Paul Chambers (bass), Jimmy Cobb (drums), and Tommy Flanagan (piano). This short but sweet gathering cut their teeth on two Flanagan compositions, another two lifted from the Great American Songbook, and a Kenny Burrell original. Flanagan's tunes open and close the album, with the spirited "Freight Trane" getting the platter underway. While not one of Coltrane's most assured performances, he chases the groove right into the hands of Burrell. The guitarist spins sonic gold and seems to inspire similar contributions from Chambers' bowed bass and Coltrane alike. Especially as the participants pass fours (read: four bars) between them at the song's conclusion. The Gus Kahn/Ted Fio Rito standard "I Never Knew" frolics beneath Burrell's nimble fretwork. Once he passes the reins to Coltrane, the differences in their styles are more readily apparent, with Burrell organically emerging while Coltrane sounds comparatively farther out structurally. Much of the same can likewise be associated to Burrell's own "Lyresto," with the two co-leads gracefully trading and incorporating spontaneous ideas. While not as pronounced, the disparity in the way the performance is approached is a study in unifying and complementary contrasts. The delicate "Why Was I Born" is one for the ages as Burrell and Coltrane are captured in a once-in-a-lifetime duet. Together they weave an uncanny and revealing sonic tapestry that captures a pure and focused intimacy. This, thanks in part to the complete restraint of the ensemble, who take the proverbial "pause for the cause" and sit out. What remains is the best argument for the meeting of these two jazz giants. The performance can likewise be located on the various-artists Original Jazz Classics: The Prestige Sampler (1988) and Playboy Jazz After Dark (2002) and is worth checking out, regardless of where one might find it. In many ways the showpiece of the project is Flanagan's nearly quarter-hour "Big Paul." The pianist's lengthy intro establishes a laid-back bop-centric melody with his trademark stylish keyboards perfectly balancing Chambers and Cobb's rock-solid timekeeping. Coltrane's restraint is palpable as he traverses and examines his options with insightful double-time flurries that assert themselves then retreat into the larger extent of his solo. Those interested in charting the saxophonist's progression should make specific note of his work here.
https://www.allmusic.com/album/kenny-burrell-john-coltrane-mw0000649432

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Reseña de Lindsay Planer  
Para su última sesión de Prestige como sideman, John Coltrane (saxo tenor) y Kenny Burrell (guitarra) son apoyados por un elenco de estrellas como Paul Chambers (bajo), Jimmy Cobb (batería), y Tommy Flanagan (piano). Esta corta pero dulce reunión se basa en dos composiciones de Flanagan, otras dos extraídas del Great American Songbook y una original de Kenny Burrell. Los temas de Flanagan abren y cierran el álbum, con la animada "Freight Trane" que da comienzo al plato. Aunque no es una de las interpretaciones más seguras de Coltrane, persigue el ritmo hasta las manos de Burrell. El guitarrista hace girar el oro sonoro y parece inspirar contribuciones similares tanto del bajo de arco de Chambers como de Coltrane. Especialmente cuando los participantes se pasan los cuatros (léase: cuatro compases) entre ellos en la conclusión de la canción. El estándar de Gus Kahn/Ted Fio Rito "I Never Knew" juguetea bajo el ágil calado de Burrell. Una vez que pasa las riendas a Coltrane, las diferencias en sus estilos son más evidentes, con Burrell emergiendo orgánicamente mientras Coltrane suena comparativamente más lejos estructuralmente. Mucho de lo mismo puede asociarse al propio "Lyresto" de Burrell, con los dos colíderes intercambiando e incorporando con gracia ideas espontáneas. Aunque no es tan pronunciada, la disparidad en la forma de abordar la interpretación es un estudio de contrastes unificadores y complementarios. La delicada "Why Was I Born" es una de las más antiguas, ya que Burrell y Coltrane se encuentran en un dúo único en la vida. Juntos tejen un misterioso y revelador tapiz sonoro que capta una intimidad pura y concentrada. Esto, gracias en parte a la completa contención del conjunto, que se toma la proverbial "pausa por la causa" y se sienta. Lo que queda es el mejor argumento para el encuentro de estos dos gigantes del jazz. La actuación puede localizarse igualmente en el disco de varios artistas Original Jazz Classics: The Prestige Sampler (1988) y Playboy Jazz After Dark (2002) y merece la pena comprobarlo, independientemente de dónde se encuentre. En muchos sentidos, la pieza clave del proyecto es "Big Paul" de Flanagan, de casi un cuarto de hora de duración. La larga introducción del pianista establece una melodía relajada centrada en el bop, con sus característicos y elegantes teclados que equilibran a la perfección el sólido ritmo de Chambers y Cobb. La contención de Coltrane es palpable mientras recorre y examina sus opciones con perspicaces ráfagas de doble tiempo que se afirman y luego se repliegan en la mayor extensión de su solo. Aquellos interesados en trazar la progresión del saxofonista deberían tomar nota específicamente de su trabajo aquí.
https://www.allmusic.com/album/kenny-burrell-john-coltrane-mw0000649432



Gene Ammons & Sonny Stitt • Boss Tenors In Orbit!

 



Review:
by Michael G. Nastos
Though Gene Ammons and Sonny Stitt were the premier twin towers of jazz tenor sax bar none, they also had great mutual respect for their distinctly different styles. The soulful Ammons and the bop-oriented Stitt meshed well whether playing standards, jamming on familiar melodies, or in ballad form. This recording sees them a bit restrained, teamed with the brilliant organist Don Patterson, the totally obscure guitarist Paul Weeden, and the great drummer Billy James. There's a schism in terms of the stereo separation as each saxophonist gets his own channel, but on occasion they do play together, just not all that much. Some longer cuts allow Patterson to loosen up and take charge, but he is in the main an accompanist on this date from 1962. There's no real battling for turf here, while one-upmanship is redacted as the two take turns with nary a hint of egotism. Stitt switches to alto in contrast, and the two saxophonists play together on the good swinger "Walkin'," always a jam vehicle but shortened here, with the basic melody played only one time through, with Ammons adding a bit of harmony to the proceedings. They trade shorter phrases on "Why Was I Born?," as Stitt goes off on a flurry of bebop notes. Where "John Brown's Body" is quintessential soul-jazz at its primal best, they stretch out on the ten-minute jam "Bye Bye Blackbird," with Stitt first out of the batters' box and Ammons hitting for extra bases to drive his bandmate home. The leadoff track -- strangely enough -- is downtempo, hardly something to send anyone into orbit. "Long Ago and Far Away" is a ballad feature, first for Ammons and then Stitt, where the stereo effect is in full flight as the two go back and forth, with Patterson's sweet, swinging, and soulful B-3 languishing in the background. While not an out-and-out knock-down, drag-out event like their other recordings, this is still one of too-few-magical efforts with Ammons and Stitt together. Those who crave the live cutting sessions that made jazz very exciting in the early '60s might also consider this tamer studio effort.
https://www.allmusic.com/album/boss-tenors-in-orbit-mw0000218254

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Revisión:
por Michael G. Nastos
Aunque Gene Ammons y Sonny Stitt fueron las principales torres gemelas del saxo tenor de jazz, sin duda, también se respetaron mutuamente por sus estilos claramente diferentes. El conmovedor Ammons y el orientado al bop Stitt se compenetraron bien ya sea tocando estándares, improvisando sobre melodías familiares o en forma de balada. En esta grabación se les ve un poco más comedidos, formando equipo con el brillante organista Don Patterson, el totalmente oscuro guitarrista Paul Weeden y el gran baterista Billy James. Hay un cisma en cuanto a la separación estéreo, ya que cada saxofonista tiene su propio canal, pero en ocasiones tocan juntos, aunque no mucho. Algunos cortes más largos permiten a Patterson soltarse y tomar las riendas, pero es principalmente un acompañante en esta fecha de 1962. No hay una verdadera lucha por el territorio aquí, mientras que el espíritu de superioridad es eliminado ya que los dos se turnan sin una pizca de egoísmo. Stitt cambia a alto en contraste, y los dos saxofonistas tocan juntos en el buen swinger "Walkin'", siempre un vehículo de jam pero acortado aquí, con la melodía básica tocada sólo una vez, con Ammons añadiendo un poco de armonía a los procedimientos. Intercambian frases más cortas en "Why Was I Born?", mientras Stitt se lanza a una ráfaga de notas bebop. Mientras que "John Brown's Body" es la quintaesencia del soul-jazz en su máxima expresión, se extienden en la mermelada de diez minutos "Bye Bye Blackbird", con Stitt siendo el primero en salir de la caja de bateo y Ammons bateando bases extra para llevar a su compañero de banda a casa. El tema principal, extrañamente, es de ritmo lento, y no es algo que ponga a nadie en órbita. "Long Ago and Far Away" es una balada, primero para Ammons y luego para Stitt, donde el efecto estéreo está en pleno vuelo mientras los dos van de un lado a otro, con la dulce, oscilante y conmovedora B-3 de Patterson languideciendo en el fondo. Aunque no se trata de un acontecimiento de gran envergadura como sus otras grabaciones, este es uno de los pocos esfuerzos mágicos con Ammons y Stitt juntos. Aquellos que anhelan las sesiones de corte en vivo que hicieron que el jazz fuera muy emocionante a principios de los años 60 también podrían considerar este esfuerzo de estudio más tranquilo.
https://www.allmusic.com/album/boss-tenors-in-orbit-mw0000218254


Mongo Santamaria ‎• All Strung Out



 AllMusic Review by Jason Ankeny
Like most of Mongo Santamaria's Columbia efforts, All Strung Out consists largely of blistering Latin soul renditions of contemporary pop hits -- the formula may frustrate listeners yearning for a return to the traditional charanga sensibilities that defined the percussionist's early dates for Fantasy, but there's no denying the sheer energy and infectiousness of this music. As always, Santamaria approaches familiar pop texts like "Day Tripper" and "Ain't Too Proud to Beg" with deep respect and understanding, creating soulful, righteous rhythms that snake in and out of the original melodies with brilliant precision.
Arranger Marty Sheller is in top form here as well, complementing Santamaria's relentless conga drumming with soaring horns and scorching piano -- the album's centerpiece, "Do Your Thing," may signify the apex of their collaboration, capturing Latin soul at its most transcendentally funky.

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 Reseña de AllMusic por Jason Ankeny
Como la mayoría de los esfuerzos de Mongo Santamaría en Colombia, All Strung Out consiste en gran medida en una ampulosa interpretación del alma latina de éxitos pop contemporáneos -- la fórmula puede frustrar a los oyentes que anhelan un retorno a las sensibilidades tradicionales de la charanga que definieron las primeras fechas del percusionista para Fantasía, pero no se puede negar la pura energía e infecundidad de esta música. Como siempre, Santamaría se acerca a textos pop familiares como "Day Tripper" y "Ain't Too Proud to Beg" con profundo respeto y comprensión, creando ritmos conmovedores y justos que serpentean dentro y fuera de las melodías originales con brillante precisión.
El arreglador Marty Sheller también está en plena forma aquí, complementando la implacable conga de Santamaría con sus tambores con trompetas altas y un piano ardiente - la pieza central del álbum, "Do Your Thing", puede significar la cúspide de su colaboración, capturando el alma latina en su forma más trascendentalmente funky.


Bill Haley And The Comets • Strictly Instrumental

 


Kenny Drew Trio • Take the 'A' Train





Janko Nilovic • Soul Impressions

 



Janko Nilović (born 20 May 1941 in Istanbul) is a Montenegrin pianist, poet, and composer, who has lived in France since 1960.
He has published many works, most of them on library labels not available for sale to the public. His oeuvre stretches from classical, jazz, and funk to pop, psyche, and easy listening.
He arranged the songs of Michel Jonasz and Gérard Lenorman.
Nilović creates poetic musical images by bending the edges of styles, cross-pollinating them. He recorded many albums for the Montparnasse 2000 library label which specializes in music for radio and television, musical illustrators, and film music clubs.

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Traducción Automática:
Janko Nilović (nacido el 20 de mayo de 1941 en Estambul) es un pianista, poeta y compositor montenegrino que ha vivido en Francia desde 1960.
Ha publicado muchos trabajos, la mayoría de ellos en etiquetas de bibliotecas que no están disponibles para la venta al público. Su obra abarca desde música clásica, jazz y funk hasta pop, psyche y fácil escucha.
Organizó las canciones de Michel Jonasz y Gérard Lenorman.
Nilović crea imágenes musicales poéticas doblando los bordes de los estilos y haciendo una polinización cruzada. Grabó muchos álbumes para el sello de la biblioteca Montparnasse 2000 que se especializa en música para radio y televisión, ilustradores musicales y clubes de música de cine.




 

Red Garland • Satin Doll

 
 

Larry Page Orchestra • Kinky Music

 
 
It's hard to imagine Kinks fans being at all interested in this album of orchestral MOR covers of Kinks tunes when it was issued in 1965. Such instrumental treatments of the catalog of leading British rock bands, however, were somewhat in vogue in the 1960s, with the Rolling Stones' manager lending his name to an album by the Andrew Loog Orchestra spotlighting Rolling Stones covers, and Beatles producer George Martin overseeing some similar recordings of the Lennon-McCartney catalog. Kinky Music -- which has no instrumental or vocal contributions by any of the Kinks or Larry Page, incidentally -- is a frivolous curiosity at its best, sometimes making over the Kinks' early material into unrecognizably bland easy listening arrangements.
There's a certain Swinging London background music verve to some of the stuff, though, aided by contributions from some of the day's leading session musicians, including guitarists Jimmy Page and Big Jim Sullivan, and bassist John Paul Jones. There are some pretty swinging go-go organ and horns on tunes like "Come On Now" and "Got My Feet on the Ground," for instance, while "Ev'rybody's Gonna Be Happy" has a brief, cooking guitar solo that most likely is the work of young Mr. Jimmy Page. This is really a novelty, though, of interest mostly to anal Kinks collectors and not even particularly good by the standards of '60s background go-go music. It does include one song, the Dave Davies composition "One Fine Day," that the Kinks never released, but if you want to hear that you should try and find the much superior rock version done in the mid-'60s by Shel Naylor. The 2000 CD reissue on RPM makes this rarity much easier to locate, and adds thorough historical liner notes.

Biography:
Larry Page (born Leonard Davies, c 1938, Hayes, Middlesex, England) is an English former pop singer and record producer of the late 1950s and 1960s.
Biography After changing his name to Larry Page in honour of Larry Parks, the star of The Jolson Story, the teenager began a recording career as a singer.
Page tried to magnify his fame through the wearing of unusually large spectacles, as "Larry Page the Teenage Rage". He toured the UK with Cliff Richard and appeared at top venues, including the Royal Albert Hall. He was a regular on television programmes such as Six-Five Special and Thank Your Lucky Stars.
He later became a successful manager, record producer and record label owner. Much of his producer/manager success centered on his efforts with The Kinks and The Troggs, and his ownership of Page One Records and Penny Farthing Records. He produced such hits as "Wild Thing" along with all the other hits by The Troggs. Apart from The Troggs and The Kinks, the Larry Page Orchestra gave Jimmy Page (later of Led Zeppelin) some early exposure when he played on Kinky Music. In June 1967, the British music magazine NME reported that Page's bid to retain his former 10% interest in the Kinks had been dismissed by London's High Court.
Page is also credited with introducing Sonny and Cher to the UK. In 1972, Page was also involved in producing a song for Chelsea F.C. The song, "Blue is the Colour", is still played at the end of home matches.
As of the 2000s, Page has been living in Avoca Beach, New South Wales, Australia.
 
Note: Died on 19 April 2024.

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Es difícil imaginar que los fans de los Kinks estuvieran interesados en este álbum de versiones orquestales de los Kinks cuando se publicó en 1965. Sin embargo, este tipo de tratamientos instrumentales del catálogo de las principales bandas de rock británicas estaban de moda en la década de 1960, con el mánager de los Rolling Stones prestando su nombre a un álbum de la Andrew Loog Orchestra que destacaba las versiones de los Rolling Stones, y el productor de los Beatles, George Martin, supervisando algunas grabaciones similares del catálogo de Lennon-McCartney. Kinky Music -que no cuenta con contribuciones instrumentales o vocales de ninguno de los Kinks o Larry Page, por cierto- es una curiosidad frívola en su mejor momento, a veces haciendo sobre el material temprano de los Kinks en arreglos de escucha fácil irreconocibles.
Sin embargo, hay un cierto brío de la música de fondo del Swinging London en algunos de los temas, ayudado por las contribuciones de algunos de los principales músicos de sesión de la época, como los guitarristas Jimmy Page y Big Jim Sullivan, y el bajista John Paul Jones. Hay algunos órganos y vientos muy movidos en temas como "Come On Now" y "Got My Feet on the Ground", por ejemplo, mientras que "Ev'rybody's Gonna Be Happy" tiene un breve solo de guitarra que probablemente sea obra del joven Jimmy Page. Sin embargo, se trata realmente de una novedad, de interés sobre todo para los coleccionistas de los Kinks, y ni siquiera es especialmente bueno según los estándares de la música go-go de fondo de los 60. Incluye una canción, la composición de Dave Davies "One Fine Day", que los Kinks nunca publicaron, pero si quieres escucharla deberías intentar encontrar la versión rockera muy superior realizada a mediados de los 60 por Shel Naylor. La reedición en CD del año 2000 en RPM hace que esta rareza sea mucho más fácil de localizar, y añade notas históricas exhaustivas.

Biografía:
Larry Page (nacido Leonard Davies, c 1938, Hayes, Middlesex, Inglaterra) es un antiguo cantante de pop y productor discográfico inglés de finales de los años 50 y 60.
Biografía Tras cambiar su nombre por el de Larry Page en honor a Larry Parks, el protagonista de The Jolson Story, el adolescente comenzó una carrera discográfica como cantante.
Page trató de magnificar su fama mediante el uso de unas gafas inusualmente grandes, como "Larry Page, el adolescente furioso". Hizo una gira por el Reino Unido con Cliff Richard y actuó en los mejores locales, como el Royal Albert Hall. Era habitual en programas de televisión como Six-Five Special y Thank Your Lucky Stars.
Más tarde se convirtió en un exitoso mánager, productor de discos y propietario de un sello discográfico. Gran parte de su éxito como productor y mánager se centró en sus esfuerzos con The Kinks y The Troggs, y en su propiedad de Page One Records y Penny Farthing Records. Produjo éxitos como "Wild Thing" y todos los demás éxitos de The Troggs. Además de The Troggs y The Kinks, la Larry Page Orchestra dio a conocer a Jimmy Page (más tarde de Led Zeppelin) cuando tocó en Kinky Music. En junio de 1967, la revista musical británica NME informó de que el Tribunal Superior de Londres había desestimado el intento de Page de conservar su antigua participación del 10% en los Kinks.
A Page también se le atribuye la introducción de Sonny y Cher en el Reino Unido. En 1972, Page también participó en la producción de una canción para el Chelsea F.C. La canción, "Blue is the Colour", sigue sonando al final de los partidos en casa.
Desde la década de 2000, Page vive en Avoca Beach, Nueva Gales del Sur (Australia).

Nota: Falleció el 19 de Abril de 2024.


Sonny Clark • Blues Mambo





JD McPherson • Signs And Signifiers


Biography
by Matt Collar
Known for his highly resonant voice and vintage-inspired sound that nods to '40s R&B and '50s rock & roll, JD McPherson has cut a distinctive path on the roots and Americana scenes. McPherson initially broke through with his propulsive 2010 single "North Side Gal" off his debut Signs & Signifiers. Pairing with bassist/producer Jimmy Sutton, he quickly built a rabid following, and drew critical praise for his soulful analog aesthetic. Subsequent albums, like 2015's Let the Good Times Roll, and 2017's Undivided Heart & Soul, continued to find McPherson building upon his old-school passions while showcasing ever-more stylistically adventurous collaborations with contemporaries like Lucius, Dan Auerbach, and Nicole Atkins.

Born in rural Buffalo Valley, Oklahoma, in 1977, McPherson grew up listening to a wide array of music from traditional country and rockabilly to punk and hip-hop. Although music was always an interest, the singer first worked on his family's cattle ranch and later earned a Master's degree in open media from Tulsa University, eventually teaching and receiving attention for his video art installations. It was while performing with the Tulsa-based roots ensemble the Starkweather Boys that his classic style caught the ear of Chicago retro-rock impresario Jimmy Sutton. He backed Sutton for a few shows and formulated an idea for his own solo project.

In 2010, he released his solo debut, the Sutton-produced Signs & Signifiers (featuring the single "North Side Gal"), on Hi-Style Records. The video for the "North Side Gal" went viral and, along with a heavy touring schedule, helped build McPherson's fan base. Two years later, Signs & Signifiers was re-released to a wider audience on Rounder Records and ultimately reached number 47 on the Billboard Rock Albums chart. That same year, McPherson was invited to join acclaimed British singer/songwriter Nick Lowe on a leg of his West Coast tour.

McPherson then whet fans' appetites with a 2014 covers EP before returning in 2015 with his sophomore full-length album, the Mark Neil-produced Let the Good Times Roll. Included on the album was the single "Bossy," as well as the track "Bridgebuilder," co-written with the Black Keys' Dan Auerbach. Well received, the album landed at number 17 on Billboard's Top Rock Albums chart.

In 2017, McPherson returned with his third full-length album, Undivided Heart & Soul. Recorded in Nashville's historic RCA Studio B with Lucius drummer Dan Molad producing, the album found McPherson exploring a fuzztone, '60s-style R&B. Featured on the album are collaborations with Butch Walker, Parker Millsap, and Aaron Lee Tasjan. Also featured are guest spots from Lucius singers Jess Wolfe and Holly Laessig, Nicole Atkins, and the Raconteurs guitarist Jack Lawrence. Included on the album are the singles "Crying's Just a Thing That You Do" and "Lucky Penny." McPherson's first-ever holiday-themed album, Socks, arrived in 2018.
https://www.allmusic.com/artist/jd-mcpherson-mn0002597633/biography

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Biografía
por Matt Collar
Conocido por su voz altamente resonante y su sonido de inspiración vintage que hace un guiño al R&B de los años 40 y al rock & roll de los 50, JD McPherson ha abierto un camino distintivo en las escenas de raíces y americana. McPherson se dio a conocer inicialmente con su propulsivo single de 2010 "North Side Gal" de su debut Signs & Signifiers. En colaboración con el bajista y productor Jimmy Sutton, se hizo rápidamente con un gran número de seguidores y recibió elogios de la crítica por su estética analógica conmovedora. Los álbumes posteriores, como Let the Good Times Roll de 2015 y Undivided Heart & Soul de 2017, continuaron encontrando a McPherson construyendo sobre sus pasiones de la vieja escuela mientras mostraba colaboraciones cada vez más aventuradas estilísticamente con contemporáneos como Lucius, Dan Auerbach y Nicole Atkins.

Nacido en la zona rural de Buffalo Valley, Oklahoma, en 1977, McPherson creció escuchando una amplia gama de música, desde el country tradicional y el rockabilly hasta el punk y el hip-hop. Aunque la música siempre le interesó, el cantante trabajó primero en el rancho ganadero de su familia y más tarde obtuvo un máster en medios abiertos en la Universidad de Tulsa, donde acabó dando clases y recibiendo atención por sus instalaciones de videoarte. Fue mientras actuaba con el conjunto de raíces de Tulsa, los Starkweather Boys, cuando su estilo clásico llamó la atención del empresario del retro-rock de Chicago, Jimmy Sutton. Acompañó a Sutton en algunos conciertos y formuló una idea para su propio proyecto en solitario.

En 2010, lanzó su debut en solitario, Signs & Signifiers (con el single "North Side Gal"), producido por Sutton, en Hi-Style Records. El vídeo de "North Side Gal" se hizo viral y, junto con un intenso calendario de giras, ayudó a construir la base de fans de McPherson. Dos años más tarde, Signs & Signifiers se reeditó para un público más amplio en Rounder Records y acabó alcanzando el número 47 en la lista Billboard Rock Albums. Ese mismo año, McPherson fue invitado a unirse al aclamado cantante y compositor británico Nick Lowe en una etapa de su gira por la Costa Oeste.

McPherson abrió entonces el apetito de los fans con un EP de versiones de 2014 antes de regresar en 2015 con su segundo álbum de larga duración, Let the Good Times Roll, producido por Mark Neil. El álbum incluía el sencillo "Bossy", así como el tema "Bridgebuilder", coescrito con Dan Auerbach de The Black Keys. El álbum fue bien recibido y llegó al número 17 de la lista de los mejores álbumes de rock de Billboard.

En 2017, McPherson regresó con su tercer álbum de larga duración, Undivided Heart & Soul. Grabado en el histórico RCA Studio B de Nashville con la producción del baterista de Lucius, Dan Molad, el álbum encontró a McPherson explorando un R&B fuzztone, al estilo de los años 60. En el álbum aparecen colaboraciones con Butch Walker, Parker Millsap y Aaron Lee Tasjan. También aparecen como invitados los cantantes de Lucius Jess Wolfe y Holly Laessig, Nicole Atkins y el guitarrista de los Raconteurs Jack Lawrence. En el álbum se incluyen los singles "Crying's Just a Thing That You Do" y "Lucky Penny". El primer álbum de McPherson con temática navideña, Socks, llegó en 2018.
https://www.allmusic.com/artist/jd-mcpherson-mn0002597633/biography



Bill Evans • Interplay

 



Review by Thom Jurek
Interplay stands as some of Bill Evans' most enigmatic and unusual music in makeup as well as execution. It was recorded in July 1962 with a very young Freddie Hubbard from the Jazz Messengers, guitarist Jim Hall, bassist Percy Heath, and drummer Philly Joe Jones performing five veteran standards. Evans has a more blues-based approach to playing: harder, edgier, and in full flow, fueled in no small part by Hall, who is at his very best here, swinging hard whether it be a ballad or an uptempo number. Hubbard's playing, on the other hand, was never so restrained as it was here. Using a mute most of the time, his lyricism is revealed to jazz listeners for the first time -- with Art Blakey it was a blistering attack of hard bop aggression. On this program of standards, however, Hubbard slips into them quite naturally without the burden of history -- check his reading and improvisation on "When You Wish Upon a Star." Ironically, it's on the sole original, the title track, where the band in all its restrained, swinging power can be best heard, though the rest is striking finger-popping hard bop jazz, with stellar crystalline beauty in the ballads.

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Traducción Automática:
Revisión por Thom JurekInterplay es una de las músicas más enigmáticas e inusuales de Bill Evans, tanto en maquillaje como en ejecución. Fue grabado en julio de 1962 con un muy joven Freddie Hubbard de los Jazz Messengers, el guitarrista Jim Hall, el bajista Percy Heath y el baterista Philly Joe Jones interpretando cinco estándares veteranos. Evans tiene un enfoque más basado en el blues para tocar: más duro, más afilado y en pleno flujo, alimentado en gran parte por Hall, quien se encuentra en su mejor momento aquí, haciendo pivotar fuerte ya sea una balada o un número de uptempo. El juego de Hubbard, por otro lado, nunca fue tan restringido como lo fue aquí. Usando un silencio la mayor parte del tiempo, su lirismo se revela a los oyentes de jazz por primera vez, con Art Blakey fue un ataque de ampollas agresivas. Sin embargo, en este programa de estándares, Hubbard se desliza dentro de ellos de manera bastante natural sin la carga de la historia; verifique su lectura e improvisación en "Cuando le des una estrella". Irónicamente, está en el original único, la canción del título, donde la banda en todo su poder de swing y contenida se puede escuchar mejor, aunque el resto es sorprendente dop bop jazz, con una belleza cristalina estelar en las baladas.

The Beatles Encyclopedia: Everything Fab Four

 


Legendary in music and popular culture, the Beatles were one of the most successful bands of all time. The collective achievements of the Fab Four affect a broad demographic that includes today's children, Millennials, Gen Xers, and Baby Boomers. This one-volume condensed paperback edition of The Beatles Encyclopedia brings the Beatles' dramatic story alive, highlighting the humanity of the quartet of artists that has made them an enduring artistic and social phenomenon.

The entries in this condensed encyclopedia provide in-depth biographical information about the Beatles and their circle as well as fascinating historical background and key details about their most important works, giving readers broad coverage that addresses the major aspects of the band's and its individual members' phenomenal achievement.
 
 
Kenneth Womack (Author) 
 
 
 

The Biographical Encyclopedia of Jazz

 


Do you want to know when Duke Ellington was king of The Cotton Club? Have you ever wondered how old Miles Davis was when he got his first trumpet?
From birth dates to gig dates and from recordings to television specials, Leonard Feather and Ira Gitler have left no stone unturned in their quest for accurate, detailed information on the careers of 3.300 jazz musicians from around the world. We learn that Duke Ellington worked his magic at The Cotton Club from 1927 to 1931, and that on Miles Davis's thirteenth birthday, his father gave him his first trumpet. Jazz is fast moving, and this edition clearly and concisely maps out an often dizzying web of professional associations. We find, for instance, that when Miles Davis was a St. Louis teenager he encountered Charlie Parker and Dizzy Gillespie for the first time. This meeting proved fateful, and by 1945 a nineteen-year-old Davis had left Juilliard to play with Parker on 52nd Street. Knowledge of these professional alliances, along with the countless others chronicled in this book, are central to tracing the development of significant jazz movements, such as the "cool jazz" that
became one of Miles Davis's hallmarks.
Arranged alphabetically according to last name, each entry of this book chronologically lists the highlights of every jazz musician's career. Highly accessible and vigorously researched,
The Biographical Encyclopedia of Jazz is, quite simply, the most comprehensive jazz encyclopedia available.

 

The Beauty of the Burst

 


Finally, the long-awaited English edition of this historic Japanese book is here! The Beauty of the 'Burst pays tribute to Gibson's magnificent Sunburst Les Pauls made between 1958 and 1960, the most highly prized solidbody electric guitars ever. The magnitude of their value is directly related to their look (outrageous wood patterns, or “figured” timber), since non-players are paying top dollar for them. The book features lavish full-color photos of these beautiful instruments throughout; the guitars of famous players; a foreword by Ted McCarty; a bio of the author, world renowned collector Yasuhiko Iwanade; and the “Science of the Burst” section with over 30 pages of detailed reference facts on every facet of the guitar, including colors, wood figure, pick-ups, hardware and qualities of “voice.” This may be the closest guitarists will ever be able to get to these incredibly collectible beauties! 
 
Yasuhiko Iwanade (Author) 


Nacionalismo y música clásica: De Händel a Copland

 

 

Desde la importancia del papel jugado por la música en la Revolución francesa hasta la "Séptima sinfonía" de Shostakovich, la música clásica y el nacionalismo han mantenido a lo largo de la historia una relación simbiótica que ha definido buena parte de nuestro imaginario a través de la creación de comunidades nacionales y todo el andamiaje cultural que las sostiene, la puesta en valor de las tradiciones folclóricas, etc. Escrito desde la privilegiada perspectiva aportada por el cruce de caminos entre la musicología y la sociología, "Nacionalismo y música clásica" presenta un análisis riguroso y brillante de la relación entre estos dos elementos fundamentales de la historia contemporánea y de los productos de su encuentro, explorando el modo en que la música ha participado en la gestación de las naciones occidentales y la forma en que esta vinculación definió a su vez los caminos seguidos por la música clásica. 

 

Louis Armstrong and Paul Whiteman Two Kings of Jazz

 

 

A dual biography of two great innovators in the history of jazz. One was black, one was white—one is now legendary, the other nearly forgotten.

In
Louis Armstrong and Paul Whiteman thejazz scholar Joshua Berrett offers a provocative revision of the history of early jazz by focusing on two of its most notable practitioners—Whiteman, legendary in his day, and Armstrong, a legend ever since.

Paul Whiteman’s fame was unmatched throughout the twenties. Bix Beiderbecke, Bing Crosby, and Jimmy and Tommy Dorsey honed their craft on his bandstand. Celebrated as the “King of Jazz” in 1930 in a Universal Studios feature film, Whiteman’s imperium has declined considerably since. The legend of Louis Armstrong, in contrast, grows ever more lustrous: for decades it has been Armstrong, not Whiteman, who has worn the king’s crown.

This dual biography explores these diverging legacies in the context of race, commerce, and the history of early jazz. Early jazz, Berrett argues, was not a story of black innovators and white usurpers. In this book, a much richer, more complicated story emerges—a story of cross-influences, sidemen, sundry movers and shakers who were all part of a collective experience that transcended the category of race. In the world of early jazz, Berrett contends, kingdoms had no borders.

 

Music from the Earliest Notations to the Sixteenth Century

 


The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks- the themes, styles, and currents that give shape and direction to a significant period in the history of Western music.

This first volume in Richard Taruskin's majestic history, Music from the Earliest Notations to the Sixteenth Century , sweeps across centuries of musical innovation to shed light on the early forces that shaped the development of the Western classical tradition. Beginning with the invention of musical notation more than a thousand years ago, Taruskin addresses topics such as the legend of Saint Gregory and Gregorian chant, Augustine's and Boethius's thoughts on music, the liturgical dramas of Hildegard of Bingen, the growth of the music printing business, the literary revolution and the English madrigal, the influence of the Reformation and the Counter-Reformation, and the operas of Monteverdi. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.

 

Escher Maurits Cornelius • Works






 
 

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.






The Age of Caravaggio

 


Mucha [Patrick Bade]

 


Patrick Bade (Author)


Utamaro • Edmond de Goncourt




Kitagawa Utamaro (1753 – 31 October 1806) was a Japanese artist. He is one of the most highly regarded designers of ukiyo-e woodblock prints and paintings, and is best known for his bijin ōkubi-e "large-headed pictures of beautiful women" of the 1790s. He also produced nature studies, particularly illustrated books of insects.

Little is known of Utamaro's life. His work began to appear in the 1770s, and he rose to prominence in the early 1790s with his portraits of beauties with exaggerated, elongated features. He produced over 2000 known prints and was one of the few ukiyo-e artists to achieve fame throughout Japan in his lifetime. In 1804 he was arrested and manacled for fifty days for making illegal prints depicting the 16th-century military ruler Toyotomi Hideyoshi, and died two years later.

Utamaro's work reached Europe in the mid-nineteenth century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views and his emphasis on light and shade, which they imitated. The reference to the "Japanese influence" among these artists often refers to the work of Utamaro.  

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Kitagawa Utamaro (h. 1753 - 1806) (su nombre se transliteró igualmente como Outamaro y Utamaru) era un pintor de estampas japonés, considerado uno de los mejores artistas de los grabados ukiyo-e. Se le conoce especialmente por sus magistrales composiciones de mujeres, conocidas como bijinga. También hizo estudios de la naturaleza, en particular libros ilustrados de insectos.

Su obra llegó a Europa a mediados del siglo XIX, donde se hizo muy popular, disfrutando de especial aceptación en Francia. Influyó a los impresionistas europeos, particularmente por su uso de vistas parciales, con énfasis en la luz y la sombra. 













Chaïm Soutine

 

 

Chaïm Soutine (1893-1943), the unconventional and controversial painter of Belorussian origin, combines influences of classic European painting with Post-Impressionism and Expressionism. As a member of the Artists from Belarus, a group within the Parisian School, he created an oeuvre mainly consisting of landscapes, still lifes, and portraits. His individual style, characterised by displays of humour and despair and by use of luminous colours, makes him a modern master who is still little understood.

 

Klaus H. Carl (Autor) 

 

The Drawings of Bronzino • MET





Friday, September 13, 2024

Sonny Stitt • Low Flame

 



Stitt plays both tenor and alto sax on this set, backed by his working band of the time: Don Patterson on organ, Billy James on drums, and Paul Weeden on guitar. This small combo jazz fits between Bebop and soul-jazz, dominated by group-penned material. Stitt gets an especially smoky tone on the ballads, particularly on the title track, which is a sultry blues number also featuring the guitarist and organ in their solo turns. Weeden distinguishes himself more as a soloist than Patterson does, particularly on the Wes Montgomery-type lines on 'Silly Billy'.

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Stitt toca tanto el saxo tenor como el alto en este set, respaldado por su banda de trabajo de la época: Don Patterson en el órgano, Billy James en la batería, y Paul Weeden en la guitarra. Este pequeño combo de jazz encaja entre el Bebop y el soul-jazz, dominado por material de grupo. Stitt obtiene un tono especialmente ahumado en las baladas, en particular en la canción principal, que es un sensual número de blues que también incluye al guitarrista y al órgano en sus giros solistas. Weeden se distingue más como solista que Patterson, particularmente en las líneas de tipo Wes Montgomery en 'Silly Billy'.

www.sonnystitt.com ...


Melvin Rhyne • Stick To The Kick



Review by Greg Turner
On his fourth Criss Cross release, organist Melvin Rhyne is joined by trumpeter Ryan Kisor, tenor saxophonist Eric Alexander, guitarist Peter Bernstein, and drummer Kenny Washington to perform six Rhyne originals, two jazz classics, and one standard, the beautiful ballad "Laura," a feature for Alexander's tenor sax. Best known for a stint with Wes Montgomery during the late '50s and early '60s, Rhyne displays an understated but distinctive organ sound and strong basslines, complementing the youthful energy that Kisor and Alexander bring to the session. Bernstein and Washington are veterans of Rhyne's other three Criss Cross releases, two of them by the trio, resulting in what could be a great working group. Other favorites include "J. Robin," a medium swinger that alternates between funk and Latin feels in the head, "Captain McDuff," a medium shuffle written in tribute to fellow organist Jack McDuff, Bud Powell's aptly titled "Wail" (taken at a blazing tempo), and the relaxed groove of "It's Love." This is a welcome addition to Rhyne's growing discography.

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Traducción Automática:
Revisión por Greg Turner
En su cuarto lanzamiento de Criss Cross, el organista Melvin Rhyne está acompañado por el trompetista Ryan Kisor, el saxofonista tenor Eric Alexander, el guitarrista Peter Bernstein y el baterista Kenny Washington para interpretar seis originales de Rhyne, dos clásicos del jazz y una norma, la hermosa balada "Laura, "una característica para el saxo tenor de Alexander. Rhyne, mejor conocido por su paso por Wes Montgomery a finales de los años 50 y principios de los 60, muestra un sonido de órgano discreto pero distintivo y fuertes líneas de bajo, que complementan la energía juvenil que Kisor y Alexander aportan a la sesión. Bernstein y Washington son veteranos de los otros tres lanzamientos de Rhyne en Criss Cross, dos de ellos por el trío, lo que resulta en lo que podría ser un gran grupo de trabajo. Otros favoritos incluyen "J. Robin", un swinger mediano que alterna entre funk y Latin se siente en la cabeza, "Captain McDuff", una mezcla de medios escrita en homenaje a su compañero el organista Jack McDuff, el titulado "Wail" de Bud Powell (tomado en un ritmo ardiente), y el ritmo relajado de "It's Love". Esta es una adición bienvenida a la creciente discografía de Rhyne.


The Motherhood • I Feel So Free

 


Klaus Doldinger, best-known for leading the excellent fusion group Passport in the 1970s and '80s, has had a diverse and episodic career. He started out studying piano in 1947 and clarinet five years later, playing in Dixieland bands in the 1950s. By 1961, he had become a modern tenor saxophonist, working with such top visiting and expatriate Americans as Don Ellis, Johnny Griffin, Benny Bailey, Idrees Sulieman, Donald Byrd, and Kenny Clarke, recording as a leader for Philips, World Pacific, and Liberty.

His late 60's recordings were under the name"Motherhood".  They released two albums  "I Feel so Free" in 1969 and "Doldinger's Motherhood" in 1970, both for the label Liberty. In "I Feel so Free" featuring nine funky, punchy originals and two covers from Beatles and Cream. The original vinyl copies changing hands for well over 500 euros.

However, in 1970, he initiated a long series of fusion-oriented sessions for Atlantic that featured his tenor, soprano, flute, and occasional keyboards with an electric rhythm section. In addition to writing music for films (including Das Boot) and television in Europe, Doldinger has remained active as a player who occasionally explores his roots in hard bop into the late '90s, but because he has always lived in Europe, he remains underrated in the U.S.

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Klaus Doldinger, más conocido por liderar el excelente grupo de fusión Passport en los años 70 y 80, ha tenido una carrera diversa y episódica. Comenzó estudiando piano en 1947 y clarinete cinco años más tarde, tocando en bandas de Dixieland en la década de 1950. En 1961, se había convertido en un saxofonista tenor moderno, trabajando con estadounidenses visitantes y expatriados de primera fila como Don Ellis, Johnny Griffin, Benny Bailey, Idrees Sulieman, Donald Byrd y Kenny Clarke, grabando como líder para Philips, World Pacific y Liberty.

Sus grabaciones de finales de los 60 fueron bajo el nombre de "Motherhood".  Publicaron dos álbumes "I Feel so Free" en 1969 y "Doldinger's Motherhood" en 1970, ambos para el sello Liberty. En "I Feel so Free" se incluyen nueve originales con mucho ritmo y dos versiones de los Beatles y Cream. Las copias originales en vinilo cambian de manos por bastante más de 500 euros.

Sin embargo, en 1970, inició una larga serie de sesiones orientadas a la fusión para Atlantic en las que aparecían su tenor, su soprano, su flauta y ocasionalmente sus teclados con una sección rítmica eléctrica. Además de componer música para películas (como Das Boot) y televisión en Europa, Doldinger se ha mantenido activo como intérprete que ocasionalmente explora sus raíces en el hard bop hasta finales de los 90, pero como siempre ha vivido en Europa, sigue siendo subestimado en Estados Unidos. 



klaus-doldinger.com ...