Tuesday, November 25, 2025
Monday, November 24, 2025
Bubba Brooks • The Big Sound Of Bubba Brooks
Born: 29th May 1922 Fayetteville, North Carolina, USA
Died: 11th April 2002 New York City, New York, USA
US-American tenor saxophonist. Joined Bill Doggett's band in 1974 touring the world until the group disbanded in the early 1990s.
https://www.discogs.com/artist/905696-Dave-Brooks-3
Wednesday, November 19, 2025
Trudy Pitts Trio • Live At The Great American Music Hall
Trudy Pitts (born 1933) is a soul jazz keyboardist from Philadelphia,
Pennsylvania. She is known primarily for her skill with the Hammond B3
organ.
She is married to Bill Carney (born 1925), known to most as Mr. 'C'. He often joins her on the drums.
In 1999, the Prestige label remastered a couple of her discs from the
1960s into a single compact disc, Legends of Acid Jazz, Trudy Pitts
& Pat Martino. She also accompanies Pat Martino on the Prestige Rudy
Van Gelder re-issue El Hombre.
On September 15, 2006 Ms. Pitts was the first jazz artist play a concert
on Philadelphia's Kimmel Center's 7,000 pipe organ, taking the medium
to a whole new level.
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Trudy Pitts (nacida en 1933) es una teclista de soul jazz de Filadelfia,
Pennsylvania. Es conocida principalmente por su habilidad con el órgano
B3 de Hammond.
Está casada con Bill Carney (nacido en 1925), conocido por la mayoría como el Sr. 'C'. A menudo se une a ella en los tambores.
En 1999, el sello Prestige remasterizó un par de sus discos de los años
60 en un solo disco compacto, Legends of Acid Jazz, Trudy Pitts &
Pat Martino. También acompaña a Pat Martino en la reedición del Prestige
Rudy Van Gelder de El Hombre.
El 15 de septiembre de 2006 la Sra. Pitts fue la primera artista de jazz
en dar un concierto en el órgano de 7.000 tubos del Kimmel Center de Filadelfia, llevando el medio a un nivel completamente nuevo.
Tuesday, November 18, 2025
Hubert Laws • Morning Star
Review by Thom Jurek
After the success of 1970's Afro-Classic, Hubert Laws re-teamed with arranger/conductor Don Sebesky for 1972's Morning Star, his third date for producer Creed Taylor's CTI. Laws' sidemen for the date included Ron Carter on bass, Bob James on electric piano, Billy Cobham and Ralph McDonald on drums, guitarist John Tropea, and vibraphonist/percussionist Dave Friedman. Rather than follow up Afro-Classic with another program of primarily classical numbers, Taylor, Laws, and Sebesky employed a large string, wind, and brass ensemble and went to the pop-jazz side of the spectrum. The title track of this gorgeous set is a laid-back, lilting jazz tune with Laws' flute introducing the melody, followed by a tight, economical yet lengthy and expressive James solo and the winds flowing in momentarily before the brass explodes into a gorgeous swing before disappearing again very quickly. James' solo flows through both beautifully. Laws' own break is impressionistic, yet full of elemental swing and classical flourishes. On the beautifully textured reading of "Where Is the Love," Laws' flute plays and darts soulfully around the melody as James colors the margins and Carter ushers in a groove change with his diligent lines accenting Cobham's backbeat. The strings, sweet as they are, underscore rather than overpower the band, adding an entirely different dimension to the arrangement. The reading of "Amazing Grace" is introduced slowly by Laws playing the melody in the lower register. James joins him on the changes before the strings enter sparsely at the minute mark. They color Laws' flute with elegance and a touch of Celtic hymnody. A harp duets with Laws on the third verse; violins and cellos brighten it sparely. When Carter enters, the tempo picks up; the mood changes instantly. It begins to sway, shimmer, and shift, reaching nearly transcendent heights of expression before it all quiets down to Laws' flute unaccompanied, improvising on Bach before returning to the folk roots of the song. These are just the highlights; Morning Star is a joy all the way through, whether it's in the bluesy soul-jazz of "No More" or the occasionally abstract "What Do You Think of This World Now?," which riffs on "America the Beautiful." It's Laws at his very best; it helped define the essence of CTI.
https://www.allmusic.com/album/morning-star-mw0000921262
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Reseña de Thom Jurek
Tras el éxito de Afro-Classic en 1970, Hubert Laws volvió a colaborar con el arreglista y director Don Sebesky para Morning Star en 1972, su tercer álbum para CTI, el sello del productor Creed Taylor. Los músicos que acompañaron a Laws en esta grabación fueron Ron Carter al bajo, Bob James al piano eléctrico, Billy Cobham y Ralph McDonald a la batería, el guitarrista John Tropea y el vibrafonista y percusionista Dave Friedman. En lugar de continuar la línea de Afro-Classic con otro programa de piezas principalmente clásicas, Taylor, Laws y Sebesky emplearon una amplia sección de cuerdas, vientos y metales, incursionando en el jazz pop. El tema que da título a este magnífico disco es una relajada y cadenciosa pieza de jazz, con la flauta de Laws introduciendo la melodía, seguida de un solo de James preciso, conciso, extenso y expresivo, y los vientos haciendo una breve aparición antes de que los metales irrumpan en un swing magnífico para luego desvanecerse rápidamente. El solo de James fluye con maestría entre ambos pasajes. La interpretación de Laws es impresionista, pero a la vez rebosante de swing esencial y florituras clásicas. En la bellamente texturizada versión de "Where Is the Love", la flauta de Laws juega y se mueve con alma alrededor de la melodía mientras James matiza los matices y Carter introduce un cambio de ritmo con sus diligentes líneas que acentúan el contratiempo de Cobham. Las cuerdas, dulces como son, subrayan en lugar de eclipsar a la banda, añadiendo una dimensión completamente diferente al arreglo. La interpretación de "Amazing Grace" se introduce lentamente con Laws tocando la melodía en el registro grave. James se une a él en los cambios antes de que las cuerdas entren con cautela al minuto. Colorean la flauta de Laws con elegancia y un toque de himnodia celta. Un arpa hace un dúo con Laws en la tercera estrofa; violines y violonchelos la iluminan con sutileza. Cuando entra Carter, el tempo se acelera; el ambiente cambia instantáneamente. Comienza a mecerse, a brillar y a transformarse, alcanzando cotas de expresión casi trascendentales antes de que todo se calme con la flauta de Laws a capella, improvisando sobre Bach antes de regresar a las raíces folk de la canción. Estos son solo algunos de los momentos más destacados; Morning Star es una delicia de principio a fin, ya sea en el soul-jazz con tintes de blues de "No More" o en la a veces abstracta "What Do You Think of This World Now?", que se inspira en "America the Beautiful". Es Laws en su mejor momento; ayudó a definir la esencia de CTI.
https://www.allmusic.com/album/morning-star-mw0000921262
Roby Lakatos And His Ensemble • Lakatos
Gypsy violinist Roby Lakatos is not only a scorching virtuoso, but a musician of extraordinary stylistic versatility. Equally comfortable performing classical music as he is playing jazz and in his own Hungarian folk idiom, Lakatos is the rare musician who defies definition. He is referred to as a gypsy violinist or “devil’s fiddler”, a classical virtuoso, a jazz improviser, a composer and arranger, and a 19th-century throwback, and he is actually all of these things at once. He is the kind of universal musician so rarely encountered in our time—a player whose strength as an interpreter derives from his activities as an improviser and composer. He has performed at the great halls and festivals of Europe, Asia and America.
Born in 1965 into the legendary family of gypsy violinists descended from Janos Bihari, “King of Gypsy Violinists”, Roby Lakatos was introduced to music as a child and at age nine he made his public debut as first violin in a gypsy band. His musicianship evolved not only within his own family but also at the Béla Bartók Conservatory of Budapest, where he won the first prize for classical violin in 1984. Between 1986 and 1996, he and his ensemble delighted audiences at “Les Atéliers de la grande Ille” in Brussels, their musical home throughout this period. He has collaborated with Vadim Repin and Stéphane Grappelli, and his playing was greatly admired by Sir Yehudi Menuhin, who always made a point of visiting the club in Brussels to hear Lakatos. In March 2004, Lakatos appeared to great acclaim with the London Symphony Orchestra in the orchestra’s “Genius of the Violin” festival alongside Maxim Vengerov.
When Roby Lakatos mixes the so-called “classical music” with the magic of the Hungarian-gypsy vitality, it does not turn into a disrespectful attitude toward the higher cultural heritage, but it more reflects the deep tradition rooted in the cultural heritage of the Gypsy people and offers new, refreshing pleasures to the listener and music lover. And just as Liszt, Brahms and others used the Hungarian overtones in their compositions, so now the public profits from the confrontation of these classics with the gypsy roots. This enlivens all those men and women in whose veins still pulses at least a little bit of the blood of the wandering spirit.
Roby is not just an extraordinary virtuoso but a magician with a unique technique and his own style upsets more than one. It’s a rare musician who can play Classical music, Jazz and naturally his own Hungarian folk idiom with as much energy and technical qualities, he redefines every genre with his violin. He has performed at the great halls and festivals in Europe, Asia and America and played with de biggest jazz men like Herbie Hancock, Quincy Jones, Stéphane Grappelli…
http://www.roby-lakatos.com/roby-lakatos/
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El violinista gitano Roby Lakatos no sólo es un virtuoso ardiente, sino un músico de extraordinaria versatilidad estilística. Igual de cómodo interpretando música clásica que tocando jazz y en su propio idioma folklórico húngaro, Lakatos es el raro músico que desafía la definición. Se le conoce como un violinista gitano o "violinista del diablo", un virtuoso de la música clásica, un improvisador de jazz, un compositor y arreglista, y un artista del siglo XIX, y en realidad es todas estas cosas a la vez. Es el tipo de músico universal tan poco frecuente en nuestra época, un músico cuya fuerza como intérprete se deriva de sus actividades como improvisador y compositor. Ha actuado en los grandes salones y festivales de Europa, Asia y América.
Nacido en 1965 en el seno de la legendaria familia de violinistas gitanos descendientes de Janos Bihari, "Rey de los violinistas gitanos", Roby Lakatos fue introducido a la música de niño y a los nueve años debutó públicamente como primer violín en una banda gitana. Su musicalidad evolucionó no sólo en el seno de su propia familia, sino también en el Conservatorio Béla Bartók de Budapest, donde obtuvo el primer premio de violín clásico en 1984. Entre 1986 y 1996, él y su conjunto deleitaron al público en "Les Atéliers de la grande Ille" en Bruselas, su hogar musical durante todo este período. Ha colaborado con Vadim Repin y Stéphane Grappelli, y su interpretación fue muy admirada por el señor Yehudi Menuhin, que siempre se ha esforzado por visitar el club de Bruselas para escuchar a Lakatos. En marzo de 2004, Lakatos apareció con la London Symphony Orchestra en el festival "Genius of the Violin" de la orquesta junto a Maxim Vengerov.
Cuando Roby Lakatos mezcla la llamada "música clásica" con la magia de la vitalidad húngaro-gitana, no se convierte en una actitud irrespetuosa hacia la herencia cultural superior, sino que refleja más bien la profunda tradición arraigada en la herencia cultural del pueblo gitano y ofrece nuevos y refrescantes placeres al oyente y al amante de la música. Y así como Liszt, Brahms y otros utilizaron los matices húngaros en sus composiciones, ahora el público se beneficia de la confrontación de estos clásicos con las raíces gitanas. Esto anima a todos aquellos hombres y mujeres en cuyas venas todavía late al menos un poco de la sangre del espíritu errante.
Roby no es sólo un virtuoso extraordinario, sino un mago con una técnica única y un estilo propio que trastorna a más de uno. Es un músico raro que sabe tocar música clásica, jazz y naturalmente su propio idioma folklórico húngaro con tanta energía y cualidades técnicas, redefine cada género con su violín. Ha actuado en los grandes salones y festivales de Europa, Asia y América y ha tocado con los más grandes del jazz como Herbie Hancock, Quincy Jones, Stéphane Grappelli....
http://www.roby-lakatos.com/roby-lakatos/
roby-lakatos.com ...
The Tom Kubis Big • Keep Swingin'ː The Tom Kubis Big Band Plays Steve Allen
Review by Scott Yanow
Steve Allen wrote a countless number of songs in his career, most of which have been long forgotten. On two CDs (of which this is the second), bandleader Tom Kubis and his orchestra perform Kubis' arrangements of some of Allen's tunes. Although the melodies are generally not memorable, the band's performances are impeccable, reasonably inventive, and swinging. Many soloists are heard from along the way, including Kubis himself (on tenor and soprano), trumpeters George Graham, Jeff Bunnell, and Stan Martin, all three trombonists, guitarist Grant Geissman, altoist Sal Lozano, and Rusty Higgins on tenor. Jack Sheldon guests on "Tango Blues" (which he sings) and "Chittlins," while Steve Allen himself sings the humorous if downbeat "Livin' in L.A."
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Reseña de Scott Yanow
Steve Allen escribió un sinnúmero de canciones en su carrera, la mayoría de las cuales han sido olvidadas hace tiempo. En dos CDs (de los cuales este es el segundo), el director de la banda Tom Kubis y su orquesta interpretan los arreglos de Kubis de algunas de las canciones de Allen. Aunque las melodías no son generalmente memorables, las actuaciones de la banda son impecables, razonablemente inventivas y swinging. Se escuchan muchos solistas a lo largo del camino, incluyendo al propio Kubis (en tenor y soprano), los trompetistas George Graham, Jeff Bunnell y Stan Martin, los tres trombonistas, el guitarrista Grant Geissman, el altolista Sal Lozano y Rusty Higgins en tenor. Jack Sheldon es invitado en "Tango Blues" (que canta) y "Chittlins", mientras que Steve Allen canta el humorístico aunque pesimista "Livin' in L.A.".
Neil Stacey's Kimbara Brothers • Another Day
English contemporary guitarist Neil Stacey is an exceptional composer critically acclaimed for his intensely lyrical and poetic style. He has performed worldwide in his own groups to high acclaim, participating with many great musicians - Martin Taylor, Chris Botti, Dominic Miller, Martin Simpson, Steps Ahead to name a few. He has produced music for BBC Horizon, Kipper (Sting's producer), Bang & Olufsen, and represented the British Council on numerous occasions in several countries.
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El guitarrista contemporáneo inglés Neil Stacey es un excepcional compositor aclamado por la crítica por su intenso estilo lírico y poético. Ha actuado en todo el mundo en sus propios grupos con gran éxito, participando con muchos grandes músicos - Martin Taylor, Chris Botti, Dominic Miller, Martin Simpson, Steps Ahead por nombrar algunos. Ha producido música para BBC Horizon, Kipper (productor de Sting), Bang & Olufsen, y ha representado al British Council en numerosas ocasiones en varios países.
Monday, November 17, 2025
Women of Motown: An Oral History
Women of Motown by author Susan Whitall contains new chapters and information, updating this critically-acclaimed oral history of the ladies who made Motown a sound heard round the world. Originally published to glowing reviews in 1998, the first edition has long been out of print and sought after by collectors. Devault-Graves Digital Editions now brings the public a new updated edition that tells the Motown story from its beginnings with Mable John through the great girl groups such as Martha and the Vandellas and ending with the last iteration of the glorious Supremes after Diana Ross left for superstar status. Author Susan Whitall, an esteemed music writer who is a native of Detroit, expertly interviewed virtually all the women who made Motown explode on the hit charts and lets them tell their stories in all their humor, dishy detail, and the glory of lives spent recording and singing some of the greatest songs ever written.
Fans of Motown will not want to miss this chance for the girls to let their hair down and lay it on the line. The stories are not only fun and exciting, but give a history of a remarkable company that took African American music from Detroit's housing projects to the White House.
The Cajuns and Creoles The History and Legacy of the Unique Ethnic Groups in the American South and Caribbean
Deep within the bayous and swamps of Louisiana resides a population
descended from an exodus. These people, called Cajuns or Acadians, were
expelled from their homelands. Persecuted and homeless, they traveled
hundreds of miles south in search of a new home and ultimately settled
in the Pelican State, where they made new lives for themselves free from
their British conquerors. Though not always warmly welcomed, they were
accepted, allowing them to practice their different culture amidst their
new neighbors.
Though their home has changed flags over the
centuries, the people themselves have remained, retaining a culture that
goes back several centuries. While people continue to assimilate, some
have continued to live same lifestyles their ancestors did for
generations, and they continue to fascinate outsiders, so much so that
they occasionally end up being featured on the History Channel.
Vibrant,
up-tempo vocals and exquisitely soulful harmonies paired with an
accordion-heavy and drum-tastic blend of folksy and bluesy instrumentals
that one cannot help but tap one's foot to. Rich and creamy,
ultra-seasoned bisques. Flavorful, aromatic gumbos packed with tomatoes,
smoked sausages, chicken, and shellfish. A heavenly concoction of stewed rice and an assortment of meats and seafood, enlivened with
tomatoes, celery, onions, and peppers, otherwise known as “red
jambalaya.” Striking paintings featuring bright pops of color and
featureless silhouettes of men, women, and children with varying shades
of brown skin. These are often the first sounds, scents, tastes, and
visuals evoked when the word “Creole” is brought up in a conversation.
Contrary
to popular belief, the term “Creole” is not restricted to the Louisiana
Creole, nor the Creoles of color, which collectively refers to the
overall ethnic group and different local Creole cultures that blossomed
across the Spanish and French colonies in Louisiana, Mississippi, and
northwestern Florida. Today, the term is much more complex and may be
applied to any of the various Creole cultures around the globe. The word
may also be used to describe any language that has spawned from a
mixture of languages, or specifically the associated, but distinct
tongues developed within Creole communities, as well as the speakers of
these languages themselves.
Generally speaking, however, the word
“Creole” refers to the cultures birthed from the colonial-era racial and
cultural mixing between Europeans (mostly of French, Spanish, or
Portuguese descent) and Africans, as well as Native Americans, and other
local or indigenous peoples in French, Spanish, and Portuguese
territories. The merging of the above-mentioned heritages is a process
now known as “creolization.” Indeed, the image of a caramel-skinned
individual with a combination of Afrocentric, Native American, and
Caucasian physical features falls within the extensive realm of “Creole
culture,” but it is important to remember that the Creole peoples come
in all complexions, shapes, and sizes, ranging from darker skin coupled
with predominantly “African” traits and virtually no visible signs of
European ancestry, to sets of blue or green eyes set amongst other
ambiguously “Caucasian” characteristics. Beige-skinned individuals
sculpted with an assortment of Spanish and Southeast Asian features, as
seen in many of the Filipino Creole, also belong to the same category.
The
Cajuns and Creoles: The History and Legacy of the Unique Ethnic Groups
in the American South and Caribbean profiles the people, from their
origins to their history across the world. Along with pictures of
important people, places, and events, you will learn about the Cajuns
and Creoles like never before.
The Blade Runner Experience The Legacy of a Science Fiction Classic by Will Brooker
Since its release in 1982, Ridley Scott's Blade Runner, based on Philip K. Dick's novel Do Androids Dream of Electric Sheep?, has remained a cult classic through its depiction of a futuristic Los Angeles; its complex, enigmatic plot; and its underlying questions about the nature of human identity. The Blade Runner Experience: The Legacy of a Science Fiction Classic examines the film in a broad context, examining its relationship to the original novel, the PC game, the series of sequels, and the many films influenced by its style and themes. It investigates Blade Runner online fandom and asks how the film's future city compares to the present-day Los Angeles, and it revisits the film to pose surprising new questions about its characters and their world.
The Cambridge Companion to the Symphony
Few genres of the last 250 years have proved so crucial to the course of music history, or so vital to public musical experience, as the symphony. This Companion offers an accessible guide to the historical, analytical and interpretative issues surrounding this major genre of Western music, discussing an extensive variety of works from the eighteenth century to the present day. The book complements a detailed review of the symphony's history with focused analytical essays from leading scholars on the symphonic music of both mainstream composers, including Haydn, Mozart and Beethoven and lesser-known figures, including Carter, Berio and Maxwell Davies. With chapters on a comprehensive range of topics, from the symphony's origins to the politics of its reception in the twentieth century, this is an invaluable resource for anyone with an interest in the history, analysis and performance of the symphonic repertoire.
Mike Mangan's Big Organ Trio • Unwound
Mike Mangan is a true original on the Hammond B3 Organ. Simply put, no one else plays like him, and he plays like no one else. This extremely unconventional Hammond Organist, Vocalist, and Composer has been the touring featured Hammond Organist, Keyboard player and backing vocalist for Glenn Hughes plays Classic Deep Purple. Mike has also played with rock powerhouse Heaven and Earth and leads his own instrumental band, Mike Mangan's Big Organ Trio. Mangan is also a founding member of (and vocalist/organist/keyboard bassist/harmonica player for) his rock band REBEL HOUSE RADIO. Mangan has become renown for his pioneering approach to the Hammond, and is also recognized as a powerful songwriter and singer.
Mangan is influenced just as much by electric guitar players as he is by other keyboardists, which has shaped his inimitable approach to his instrument. Through a unique method of tonal manipulation, Mangan often simulates the power and tonality of an electric guitar through the Organ, often leading to comparisons with rock power trios instead of jazz organ trios. However, it’s not only Mangan’s tone-bending innovation that makes him unique. His aggressive, percussive, and adept playing technique creates the complete package of an innovator on his instrument.
As soon as you hear one note, you know it’s Mike Mangan. In fact, Keyboard Magazine remarked, "Mike Mangan's Big Organ Trio has big funk, big nastiness, and big charisma...Mangan's playing is lithe, percussive, and greasy."
The L.A. Times said, “A virtuoso on the Hammond Organ...Mangan crafts original tunes that rarely lose focus...a tribute to his head-nodding instrumental grooves and mastery of the organ."
Mike Mangan’s path to becoming a musician, and specifically a Hammond Organist, was unpredictable, yet in hindsight, seemingly inevitable. His mother first enrolled him in piano lessons in 2nd grade with the Nun who played Pipe Organ in church at St. Mary’s (the Catholic grade school he attended in Waukesha, WI.) Mike continued private instruction until the age of 13. However, throughout much of this time, and all the way through his late teens, Mike’s life also diverted into intensive athletic pursuits. Nevertheless Mike always continued to play piano. He was heavily influenced by his parent’s love of jazz and his older siblings’ love of rock music, in particular his older brother Paul, who is also a musician, keyboardist, guitarist, singer and songwriter. Paul introduced Mike to several bands early on (such as Dire Straits and Emerson, Lake and Palmer) and also taught Mike several piano techniques. Due to some life changing events, a 19 year old Mike began to refocus on his passion for piano full time. During this period he discovered George Winston’s variations on the Pachelbel Canon, and Mike was inspired to learn the whole piece by ear. His life would never be the same.
Mike was also introduced to The Allman Brothers and Santana by a friend and was immediately captivated by the powerful and unorthodox sounds emanating from the King of Keyboards, the Hammond Organ. Mike had to have one. Not an imitation or a more portable synthesizer, but the REAL one. He purchased a 1959 Hammond B3 Organ and 1973 Leslie from Bob Kames Music in Milwaukee, WI. It’s the same rig he still plays today when travel permits. (Interestingly Bob Kames was a popular Organist in the polka and folk genres and played with artists such as Lawrence Welk. He is credited with developing and popularizing the famed “Chicken Dance”).
Then the floodgates opened, and Mangan studied the Hammond Organ styles of everyone from Jack McDuff, Jimmy Smith, Booker T. Jones, Jimmy McGriff and Groove Holmes to Keith Emerson, Jon Lord, Gregg Rolie and Rick Wakeman. Other big influences included jazz pianists such as Gene Harris, Oscar Peterson and Herbie Hancock and pianist/keyboardist Chuck Leavell. At the same time, however, Mangan also developed a passion for the guitar stylings of Jim Hendrix, Stevie Ray Vaughan and Jimmy Page (which would heavily influence his playing and approach to the Hammond Organ.) At this point Mike decided he needed to forge his own unique sound on the B3 Organ, and the best place to do that would be Los Angeles, CA.
He drove his Hammond and Leslie out to LA in a conversion van. Almost immediately he found his way into a band called The Kinship, in which he was the Hammond Organist/Keyboardist. He contributed several songs as a writer to the band’s self titled debut album. During Mike's tenure with The Kinship is when he had his Hammond modified with an effects loop so he could use guitar pedals on the organ. It was at this early stage that Mike began to more deeply experiment with unconventional approaches to the Hammond.
He then formed The Voyd with singer Nico Costanzo, with whom he co-wrote and produced an 11 song album. In addition to playing organ and keys in The Voyd, Mangan sang backup vocals and collaborated on lyrics and vocal melodies.
After a series of tour runs and personnel issues with The Voyd, Mike struck out on his own. He formed a rock quartet heavily influenced by Rage Against the Machine, with the B3 replacing the role of the guitar. Continuing his search for new tones on the organ that combined the power of electric guitar with the classic keyboard, he further experimented with envelope filters, wah wahs, and natural overdrive. He released an EP with this band, which he named Drawbar. On this recording, which was tracked on 2 inch tape, Mangan achieved some monstrously unique tones on the B3 via his method of tonal manipulation.
Due to personal issues, the band broke up and Mike created Big Organ Trio, an instrumental power trio consisting of simply bass, drums, and Hammond Organ. In this setting Mike was free to further explore uncharted sonic territory on the Hammond with no restrictions. The band released 2 full length albums. After the independent release of their first album, BOT was signed to Japanese label P-Vine Records. A tour of Japan followed and a Japanese reprint of their first album was produced and released in Japan (which included a bonus live track.) Big Organ Trio also recorded a cover of Jimmy McGriff’s “Groove Grease” for a P-Vine compilation CD. Big Organ Trio toured nationally and internationally and shared the stage with musicians such as Robbie Krieger (The Doors), Leo Nocentelli (The Meters), and Dr. Lonnie Smith.
Fueled by Mangan’s unorthodox, high energy live performances (where Mike would even play the organ backwards) as well the unique tones he conjured from the Hammond, BOT garnered a loyal fanbase and caught the attention of prominent musicians such as Keith Emerson. Emerson subsequently played with Mike on several occasions during BOT shows, trading riffs with Mike on his Hammond. Big Organ Trio also had guest musicians on their second album which included Marc Ford (Black Crowes), Munyungo Jackson (Stevie Wonder), Leon Mobley (John Mayer) and Skerik (Primus).
After several personnel changes to Big Organ Trio, Mangan put the band on temporary hiatus, but his creative juices were leading him towards forming yet another band that was developing in his mind’s eye: REBEL HOUSE RADIO. He formed RHR with guitarist Mike Blumberg. Mangan focused his writing on lyrics and vocal melodies and assumed the lion’s share of lead vocals en route to releasing a 14 song album entitled “One More Day”. Mangan also played harmonica and left hand key bass on on the album. RHR’s music video for the song “Can’t Say No” won Best Music Video at the LA Movie Awards.
As a sideman, Mangan has also been hired for his organ skills by bands such as Kings Of Chaos (which consists Guns N’ Roses members Matt Sorum, Duff McKagan and Gilby Clarke, and a revolving door of All Stars that include Glenn Hughes from Deep Purple, Steven Tyler and Joe Perry from Aerosmith, Billy Gibbons from ZZ Top and Nuno Bettencourt from Extreme). Mangan has also composed and recorded several quasi-classical pieces, as well as other genres, for Film and TV.
Mike Mangan has emerged as a musician with a truly unique voice. He has drawn the attention of Hammond Organ luminaries such as Keith Emerson (Emerson, Lake, and Palmer), Gregg Rolie (Santana), Melvin Seals (Jerry Garcia Band), and Brian Auger (Trinity/Oblivion Express).
Mangan's recordings and trailblazing approach has also led to thousands of album sales and hundreds concerts across the U.S. and internationally. In a modern day pop culture where a dwindling awareness of vintage arts such as the Hammond Organ is becoming more and more apparent, an artist like Mike Mangan helps to carry the torch into the future for one of the most beloved and recorded instruments in music history.
http://www.mikemangan.com/
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Mike Mangan es un verdadero original en el Órgano B3 de Hammond. En pocas palabras, nadie más juega como él, y él juega como nadie más. Este extremadamente poco convencional organista, vocalista y compositor de Hammond ha sido el organista, teclista y corista de Glenn Hughes en la gira "Classic Deep Purple". Mike también ha tocado con la poderosa banda de rock Heaven and Earth y lidera su propia banda instrumental, el Big Organ Trio de Mike Mangan. Mangan también es miembro fundador de (y vocalista/organista/bajista de teclado/armonista de) su banda de rock REBEL HOUSE RADIO. Mangan se ha hecho famoso por su enfoque pionero de los Hammond, y también es reconocido como un poderoso compositor y cantante.
Mangan está tan influenciado por los guitarristas eléctricos como por otros teclistas, lo que ha dado forma a su inimitable enfoque de su instrumento. A través de un método único de manipulación tonal, Mangan a menudo simula la potencia y la tonalidad de una guitarra eléctrica a través del órgano, lo que a menudo conduce a comparaciones con tríos de potencia de rock en lugar de tríos de órgano de jazz. Sin embargo, no es sólo la innovación de Mangan en la flexión tonal lo que lo hace único. Su agresiva, percusiva y hábil técnica de interpretación crea el paquete completo de un innovador en su instrumento.
Tan pronto como escuchas una nota, sabes que es Mike Mangan. De hecho, la revista Keyboard Magazine comentó: "El Gran Trío de Órganos de Mike Mangan tiene un gran funk, una gran agresividad y un gran carisma... La forma de tocar de Mangan es ágil, percusiva y grasienta".
The L.A. Times dijo: "Un virtuoso del Órgano Hammond... Mangan hace melodías originales que rara vez pierden el foco... un tributo a sus ranuras instrumentales y a su dominio del órgano".
El camino de Mike Mangan para convertirse en músico, y específicamente en un organista de Hammond, era impredecible, pero en retrospectiva, parecía inevitable. Su madre lo matriculó primero en clases de piano en segundo grado con la monja que tocaba el órgano en la iglesia de St. Mary's (la escuela católica a la que asistía en Waukesha, Wisconsin). Mike continuó con la enseñanza privada hasta los 13 años. Sin embargo, durante gran parte de este tiempo, y hasta el final de su adolescencia, la vida de Mike también se desvió hacia intensas actividades deportivas. No obstante, Mike siempre siguió tocando el piano. Estaba muy influenciado por el amor de sus padres por el jazz y el amor de sus hermanos mayores por la música rock, en particular su hermano mayor Paul, que también es músico, teclista, guitarrista, cantante y compositor. Paul introdujo a Mike en varias bandas desde el principio (como Dire Straits y Emerson, Lake y Palmer) y también le enseñó a Mike varias técnicas de piano. Debido a algunos acontecimientos que cambiaron su vida, un Mike de 19 años comenzó a reenfocarse en su pasión por el piano a tiempo completo. Durante este período descubrió las variaciones de George Winston sobre el Canon de Pachelbel, y Mike se inspiró para aprender toda la pieza de oído. Su vida nunca sería la misma.
Mike también fue presentado a The Allman Brothers y Santana por un amigo y fue inmediatamente cautivado por los poderosos y poco ortodoxos sonidos que emanaban del Rey de los Teclados, el Órgano Hammond. Mike tenía que tener uno. No una imitación o un sintetizador más portátil, sino el REAL. Compró un Órgano Hammond B3 de 1959 y un Leslie de 1973 a Bob Kames Music en Milwaukee, WI. Es el mismo equipo que sigue tocando hoy en día cuando los viajes lo permiten. (Curiosamente Bob Kames era un organista popular en los géneros de polka y folk y tocaba con artistas como Lawrence Welk. Se le atribuye el desarrollo y la popularización de la famosa "Danza del Pollo").
Luego se abrieron las compuertas y Mangan estudió los estilos de Hammond Organ de todo el mundo, desde Jack McDuff, Jimmy Smith, Booker T. Jones, Jimmy McGriff y Groove Holmes hasta Keith Emerson, Jon Lord, Gregg Rolie y Rick Wakeman. Otras grandes influencias fueron los pianistas de jazz como Gene Harris, Oscar Peterson y Herbie Hancock y el pianista/teclista Chuck Leavell. Al mismo tiempo, sin embargo, Mangan también desarrolló una pasión por los estilos de guitarra de Jim Hendrix, Stevie Ray Vaughan y Jimmy Page (lo que influiría mucho en su forma de tocar y en su acercamiento al Órgano Hammond). En este punto Mike decidió que necesitaba forjar su propio y único sonido en el Órgano B3, y el mejor lugar para hacerlo sería Los Angeles, CA.
Condujo su Hammond y Leslie a Los Ángeles en una furgoneta de conversión. Casi inmediatamente encontró su camino en una banda llamada The Kinship, en la que era el Organista/Teclista de Hammond. Contribuyó con varias canciones como escritor al álbum debut de la banda. Durante el tiempo que Mike estuvo en The Kinship fue cuando hizo modificar su Hammond con un bucle de efectos para poder usar los pedales de la guitarra en el órgano. Fue en esta etapa temprana que Mike comenzó a experimentar más profundamente con enfoques no convencionales para el Hammond.
Luego formó The Voyd con el cantante Nico Costanzo, con quien co-escribió y produjo un álbum de 11 canciones. Además de tocar el órgano y las teclas en The Voyd, Mangan cantó coros y colaboró en las letras y
Tail Dragger & His Chicago Blues Band • American People
James Yancy Jones, aka Tail Dragger, was born in Altheimer, AR, in 1940.
He was brought up by his grandparents and was influenced as a child by
the electric Chicago blues of Muddy Waters, Sonny Boy Williamson, and
especially Chester Burnett, the Howlin' Wolf. Jones was a Howlin' Wolf
devotee, right down to his deep, gruff voice. After moving to Chicago in
the '60s, he began playing with blues legends on the West Side and
South Side. It was Howlin' Wolf who gave Jones the title "Tail Dragger"
because of his habit of showing up late to gigs.
The blues get served up hard, heavy and raunchy on the debut album from
Chicago blues club legend Tail Dragger & His Chicago Blues Band. The
12 tracks here run the gamut from the modal "Don't Trust No Woman,"
six-and-a-half minutes of a non-stop trance groove, to the nastiest
version of "Baby Please Don't Go" you'll ever hear, to the Jimmy Reed
groove of "Cold Outdoors." With a straightforward, driving band
featuring Studebaker John on harmonica, Rockin' Johnny Burgin on lead
guitar, and Twist Turner on drums, a great song selection with seven of
the 12 tunes emanating from the pens of either Tail Dragger or producer
George Paulus, and an uncluttered production, this is one modern-day
blues album that captures the spirit of Chicago blues in its classic
period, yet in the here and now. The cover of this CD announces that
disc contains "one hour of hardcore juke joint blues." Believe it. Cub
Koda, AMG
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James Yancy Jones, alias Tail Dragger, nació en Altheimer, AR, en 1940.
Fue criado por sus abuelos y fue influenciado de niño por el blues
eléctrico de Chicago de Muddy Waters, Sonny Boy Williamson, y
especialmente Chester Burnett, el Lobo Aullador. Jones era un devoto de
Howlin' Wolf, hasta su voz profunda y ruda. Después de mudarse a Chicago
en los 60, empezó a tocar con leyendas del blues en el West Side y el
South Side. Fue Howlin' Wolf quien le dio a Jones el título de "Tail
Dragger" por su costumbre de llegar tarde a los conciertos.
El blues se sirve duro, pesado y estridente en el álbum debut de la
leyenda del blues de Chicago Tail Dragger & His Chicago Blues Band.
Los 12 temas van desde el modal "Don't Trust No Woman", seis minutos y
medio de trance ininterrumpido, hasta la versión más sucia de "Baby
Please Don't Go" que hayas escuchado, pasando por el ritmo de Jimmy Reed
en "Cold Outdoors". Con una banda sencilla y dinámica con Studebaker
John en la armónica, Rockin' Johnny Burgin en la guitarra y Twist Turner
en la batería, una gran selección de canciones con siete de los 12
temas que emanan de las plumas de Tail Dragger o del productor George
Paulus, y una producción despejada, este es un álbum de blues moderno
que captura el espíritu del blues de Chicago en su período clásico, pero
en el aquí y ahora. La portada de este CD anuncia que el disco contiene
"una hora de hardcore juke joint blues". Créanlo. Cub Koda, AMG
The Danish Jazz Quartet • Just Jazz
Editorial Reviews
Leif Juul Jørgensen is back on the jazz scene! From time to time he s been less active, but through his musical career he has been a clarinet player in the Arnvid Meyers Orchestra and, more recently, the Theis/Nyegaard Jazz Band. Furthermore, he has performed with Bud Freeman, Vic Dickenson, and Edmond Hall. He has now formed a new group, The Danish Jazz Quartet, featuring legends from the Danish jazz scene: Søren Kristiansen (piano), Jesper Lundgaard (double bass), and Alex Riel (drums).
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Reseñas editoriales
Leif Juul Jørgensen está de vuelta en la escena del jazz! De vez en cuando ha sido menos activo, pero a lo largo de su carrera musical ha sido clarinetista en la Orquesta Arnvid Meyers y, más recientemente, en la Banda de Jazz de Theis/Nyegaard. Además, ha tocado con Bud Freeman, Vic Dickenson y Edmond Hall. Ahora ha formado un nuevo grupo, el Cuarteto de Jazz Danés, con leyendas de la escena de jazz danesa: Søren Kristiansen (piano), Jesper Lundgaard (contrabajo) y Alex Riel (batería).
Will Matthews • Count On Swingin'
Biography
Kansas City native Will Matthews is the guitarist for the world famous Count Basie Orchestra, joining the group in 1996 under the direction of trombonist Grover Mitchell to fill the coveted chair of the late legendary guitarist and composer, Freddie Green who was with the band for over fifty years.
Matthews has traveled and toured all over the world and has played on many studio recordings with the group, including two 'Grammy' winning recordings, Count Basie Orchestra Live at Manchester Guild in 1997 and Count Plays Duke 1999, as well as the 'Grammy' nominated recording Swing Shift in 2000
The Guitarist has played every major festival, concert hall and theatre in the world and has also had the opportunity to play one-nighters with a variety of artists coming through Kansas City such as Charles Earland, Freda Payne, Arthur Prysock, Jimmy Witherspoon, Carmen Bradford, Kevin Mahogany, and Bobby Watson.
In 1996 Matthews was invited to perform at the Royal Palace in Bangkok, Thailand for King Bhumbibol, along with other members of the Basie Orchestra, Benny Carter and Frank Foster. In 1997 he performed with the group for President William J. Clinton's second inaugural.
During his tenure with the band Matthews has performed with a who's who of artists such as Joe Williams, Frank Wess, Curtis Fuller, George Benson, Kenny Burrell, Milt Jackson, Jimmy Cobb, Hank Jones, Rufus Reed, John Faddis, Harry 'Sweets' Edison, Lou Donaldson, Dorothy Donegan, Tom Scott, John Pizzarelli, Regina Carter, Nancy Wilson, Patti Austin, Rosemary Clooney, Dianne Reeves, Nnenna Freelon, Marlena Shaw, and Ledisi to name a few.
During the 1950's and 60's the classic Hammond B-3 organ, guitar, drums format emerged and has played a big role in the evolution of jazz music, and with the addition of the saxophone to the line-up augmenting it to a quartet, the sound became very popular with players ranging from Wild Bill Davis, Bill Doggett to Jimmy Smith. Most of the great jazz guitarists have recorded using this format as it seems that the guitar and organ go together like hand in glove and so I felt the need to be a part of the continuum of this great tradition with the release of my latest recording on the ARC label with the legendary organist from the Wes Montgomery Trio, Mel Rhyne and saxman Bobby Watson who was a member of the Art Blakey Jazz Messenger group and later formed his own groups, Horizon and the Live and Learn band.
Matthews also holds the guitar chair with the 18th Vine St. Big Band lead by Watson.
Those who know me have always heard me say that Will’s tone and phrasing is a perfect blend of George Benson, Grant Green, and Wes Montgomery, supported by his strong chordal concept, which, unavoidably, is pure Kenny Burrell (and why would anyone want to go around that?)
His debut CD, Solo, was released in 2000 to critical acclaim, and the audience has since been waiting for his return, long overdue as a solo artist. In the most beautiful sense, Will’s phrasing is downhill, leaning forward, he waits for nothing; there’s a real sense of urgency here”he’s gotta get it to ya’, and now! With respect to that sense of urgency, let me give you a thumbnail sketch of the swinging tunes that are on this long awaited recording.
The appropriately titled, “Count on Swingin’” (I assume you get the inherent implication!) which finds Will blowin’ some mad blues riffs, even finding a way to insert Duke’s quote of “It Don’t Mean A Thing” while the cascade of boppish lines rain down”meanwhile, alto sax master Bobby Watson was sent as a true Jazz Messenger (‘77 to ‘81) to celebrate Will’s most recent jazz party.
“Corner Pocket,” an obvious nod to his Basie boss, which prominently promotes his mastery of the Freddie Green comping style, for which Will is literally the absolute best suited in the world today; “Can’t Help It,” which, is, unfortunately, so well-timed in light of the recent dimming of our brightest pop star, M.J.; and “Mikayla’s Song,” a beautiful chord-melody laid down over a bed of funk that Will composed for his daughter.
Then there’s “Up and At It,” which best displays Will’s deftness and dexterity in the hard bop tradition. But just dig the chattery talk that drummer Kenny Phelps is laying down! His graceful presence is fully felt not only here, but throughout the entire album.
Of course, you gotta have some blues, baby…and so Will’s licks on “The Grease” gets us all well-lubricated, yes? And, sure,
Will pays his respect to the great tradition of Miles with the sophisticated, yet cool jazz approach to the changes of “Old Milestones,” where Bobby Watson glides through like a summer breeze.
The legendary Hammond organ king Mel Rhynes makes his contribution to the collection with “Soul Changes,” and just listening to the gargle of that gargantuan instrument on the opening track reminds us all of the greatness that he lent to Wes for so many years.
Finally, “Where There’s A Will” is one of five Matthews original contributions, with such swing that allows no one to ignore the direct descent in the line of greats”Wes, Kenny, Grant, and George. And, of course, that’s the only way.
So what now?….Well, now there’s a Will
https://musicians.allaboutjazz.com/willmatthews
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Biografía
El nativo de Kansas City Will Matthews es el guitarrista de la mundialmente famosa Orquesta Count Basie, que se unió al grupo en 1996 bajo la dirección del trombonista Grover Mitchell para ocupar la codiciada silla del fallecido y legendario guitarrista y compositor, Freddie Green, que estuvo con la banda durante más de cincuenta años.
Matthews ha viajado y hecho giras por todo el mundo y ha tocado en muchas grabaciones de estudio con el grupo, incluyendo dos grabaciones ganadoras del 'Grammy', Count Basie Orchestra Live at Manchester Guild en 1997 y Count Plays Duke 1999, así como la grabación nominada al 'Grammy' Swing Shift en 2000
El guitarrista ha tocado en todos los grandes festivales, salas de conciertos y teatros del mundo y también ha tenido la oportunidad de tocar en una noche con una variedad de artistas que vienen a través de Kansas City como Charles Earland, Freda Payne, Arthur Prysock, Jimmy Witherspoon, Carmen Bradford, Kevin Mahogany y Bobby Watson.
En 1996 Matthews fue invitado a actuar en el Palacio Real de Bangkok, Tailandia para el Rey Bhumbibol, junto con otros miembros de la Orquesta Basie, Benny Carter y Frank Foster. En 1997 actuó con el grupo para la segunda inauguración del Presidente William J. Clinton.
Durante su permanencia en la banda, Matthews ha actuado con artistas como Joe Williams, Frank Wess, Curtis Fuller, George Benson, Kenny Burrell, Milt Jackson, Jimmy Cobb, Hank Jones, Rufus Reed, John Faddis, Harry 'Sweets' Edison, Lou Donaldson, Dorothy Donegan, Tom Scott, John Pizzarelli, Regina Carter, Nancy Wilson, Patti Austin, Rosemary Clooney, Dianne Reeves, Nnenna Freelon, Marlena Shaw, y Ledisi por nombrar algunos.
Durante los años 50 y 60 surgió el clásico formato de órgano, guitarra y batería Hammond B-3, que ha jugado un gran papel en la evolución de la música de jazz, y con la adición del saxofón a la alineación, que aumentó a un cuarteto, el sonido se hizo muy popular entre los jugadores que van desde Wild Bill Davis, Bill Doggett a Jimmy Smith. La mayoría de los grandes guitarristas de jazz han grabado usando este formato ya que parece que la guitarra y el órgano van juntos como la mano en guante y por eso sentí la necesidad de ser parte de la continuidad de esta gran tradición con el lanzamiento de mi última grabación en el sello ARC con el legendario organista del Wes Montgomery Trio, Mel Rhyne y el saxofonista Bobby Watson que fue miembro del grupo Art Blakey Jazz Messenger y más tarde formó sus propios grupos, Horizon y la banda Live and Learn.
Matthews también ocupa la silla de la guitarra con la 18ª Vine St. Big Band liderada por Watson.
Los que me conocen siempre me han oído decir que el tono y el fraseo de Will es una mezcla perfecta de George Benson, Grant Green y Wes Montgomery, apoyada por su fuerte concepto de los acordes, que, inevitablemente, es puro Kenny Burrell (¿y por qué alguien querría rodearlo?)
Su primer CD, Solo, fue lanzado en el año 2000 con gran éxito de crítica, y el público ha estado esperando desde entonces su regreso, largamente esperado como solista. En el sentido más bello, el fraseo de Will es cuesta abajo, inclinándose hacia adelante, no espera nada; hay una verdadera sensación de urgencia here"él tiene que llevarlo a ti', y ahora! Con respecto a ese sentido de urgencia, déjenme darles un bosquejo de las melodías que están en esta tan esperada grabación.
El apropiadamente titulado, "Count on Swingin'" (¡supongo que entienden la implicación inherente!) que encuentra a Will soplando algunos riffs de blues loco, incluso encontrando una manera de insertar la cita de Duke de "It Don't Mean A Thing" mientras la cascada de líneas de boppish llueven down"mientras tanto, el maestro del saxo alto Bobby Watson fue enviado como un verdadero Mensajero de Jazz ('77 a '81) para celebrar la más reciente fiesta de jazz de Will.
"Corner Pocket", un obvio guiño a su jefe Basie, que promueve de manera prominente su dominio del estilo de compilación de Freddie Green, para el cual Will es literalmente el más adecuado en el mundo actual; "Can't Help It", que, desafortunadamente, es tan oportuno a la luz del reciente oscurecimiento de nuestra estrella pop más brillante, M.J.; y "Mikayla's Song", una hermosa melodía de acordes sobre una cama de funk que Will compuso para su hija.
Luego está "Up and At It", que es la mejor muestra de la destreza y habilidad de Will en la tradición del hard bop. ¡Pero sólo escarba en la charla que el baterista Kenny Phelps está dando! Su elegante presencia se siente plenamente no sólo aquí, sino en todo el álbum.
Por supuesto, tienes que tener algo de blues, nena... y así los lametazos de Will en "The Grease" nos lubrican bien, ¿sí? Y, claro,
Will respeta la gran tradición de Miles con el sofisticado, aunque fresco, enfoque de jazz a los cambios de "Old Milestones", donde Bobby Watson se desliza como una brisa de verano.
El legendario rey del órgano Hammond, Mel Rhynes, contribuye a la colección con "Soul Changes", y sólo escuchar las gárgaras de ese gigantesco instrumento en el primer tema nos recuerda la grandeza que le prestó a Wes durante tantos años.
Finalmente, "Where There's A Will" es una de las cinco contribuciones originales de Matthews, con tal oscilación que no permite a nadie ignorar el descenso directo en la línea de greats "Wes, Kenny, Grant y George. Y, por supuesto, esa es la única manera.
¿Y ahora qué?... Bueno, ahora hay un testamento
https://musicians.allaboutjazz.com/willmatthews
Sunday, November 16, 2025
Paul Desmond • Glad To Be Unhappy
Review by Richard S. Ginell
Even though Desmond was kidding when he described himself as the world's slowest alto player, this record bears out the kernel of truth within the jest. Here, Desmond set out to make a record of love songs and torch ballads, so the tempos are very slow to medium, the mood is of wistful relaxation, and the spaces between the notes grow longer. At first glance, Desmond may seem only peripherally involved with the music-making, keeping emotion at a cool, intellectual arms' length, yet his exceptionally pure tone and ruminative moods wear very well over the long haul. Again, Jim Hall is his commiserator and partner, and the guitarist gets practically as much space to unwind as the headliner; the solo on "Angel Eyes" is an encyclopedia of magnificent chording and single-string eloquence. Gene Wright returns on bass, spelled by Gene Cherico on "Poor Butterfly," and Connie Kay's brush-dominated drum work is pushed even further into the background. A lovely recording, though not the best album in the Desmond/Hall collaboration.
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Revisión por Richard S. Ginell
A pesar de que Desmond estaba bromeando cuando se describió a sí mismo como el jugador más lento del mundo, este registro soporta el núcleo de la verdad dentro de la broma. Aquí, Desmond se propuso hacer un registro de canciones de amor y baladas de antorchas, por lo que los tempos son muy lentos a medianos, el estado de ánimo es de relajación nebulosa y los espacios entre las notas se hacen más largos. A primera vista, Desmond puede parecer solo involucrado periféricamente con la creación de música, manteniendo la emoción a la altura de los brazos, intelectuales, pero su tono excepcionalmente puro y su humor rumiante se visten muy bien a largo plazo. Una vez más, Jim Hall es su compañero y compañero, y el guitarrista tiene prácticamente tanto espacio para relajarse como el jefe de cartel; El solo de "Angel Eyes" es una enciclopedia de magníficas frases y elocuencia de una sola cuerda. Gene Wright regresa al bajo, escrito por Gene Cherico en "Poor Butterfly", y el trabajo de batería dominado por el pincel de Connie Kay se empuja aún más al fondo. Una grabación encantadora, aunque no es el mejor álbum en la colaboración de Desmond / Hall.
Elkano Browning Cream • Eup!
Elkano Browning Cream presenta su último álbum, Eup (2021), el sexto de su carrera. Mikel Azpiroz, Franck Mantegari y Dave Wilkinson vuelven a unir sus diversas raíces culturales y musicales con una sugerente plasticidad, combinando órgano Hammond, guitarra y batería. Su estilo se basa en el Jazz y el blues, pero trasciende sus fronteras con una potente e hipnótica mezcla de ritmo y melodía, navegando sobre compases africanos, escalas zíngaras y pasajes psicodélicos.
Desde que en el 2007 publicaran su primer álbum la trayectoria del grupo se ha caracterizado por un enfoque multiangular de la música que resulta en unos discos ricos en matices, de elaboradas melodías con un fuerte componente rítmico. Coordinados por el pianista y organista donostiarra Mikel Azpiroz, la banda la completan el baterista parisino Franck Mantegari y Dave Wilkinson, guitarrista británico afincado en Barcelona. Los tres suman interesantes trayectorias paralelas de colaboración con artistas como Alpha Blondi, Saint Germain, Brian Jackson, o Massive Attack entre otros, y todo este bagaje sumado a la naturaleza internacional y multicultural del grupo, da como resultado un Jazz con personalidad, ecléctico y exótico.https://www.donostiakultura.eus/es/agenda/elkano-browning-cream-frigo
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Elkano Browning Cream presents his latest album, Eup (2021), the sixth of his career. Mikel Azpiroz, Franck Mantegari and Dave Wilkinson reunite their diverse cultural and musical roots with a suggestive plasticity, combining Hammond organ, guitar and drums. His style is based on Jazz and blues, but transcends its borders with a powerful and hypnotic mixture of rhythm and melody, navigating over African time signatures, zingar scales and psychedelic passages.
Since they released their first album in 2007, the group's trajectory has been characterized by a multi-angle approach to music that results in albums rich in nuances, elaborate melodies with a strong rhythmic component. Coordinated by the San Sebastian pianist and organist Mikel Azpiroz, the band is completed by the Parisian drummer Franck Mantegari and Dave Wilkinson, a British guitarist based in Barcelona. The three of them have interesting parallel trajectories of collaboration with artists such as Alpha Blondi, Saint Germain, Brian Jackson, or Massive Attack among others, and all this baggage added to the international and multicultural nature of the group, results in a Jazz with personality, eclectic and exotic.https://www .donostiakultura.eus/en/agenda/elkano-browning-cream-frigo
www.elkanobrowningcream.com ...
Making the Sceneː Contemporary New York City Big Band Jazz
The received wisdom of popular jazz history is that the era of the big
band was the 1930s and '40s, when swing was at its height. But as
practicing jazz musicians know, even though big bands lost the spotlight
once the bebop era began, they never really disappeared. Making the Scene challenges
conventional jazz historiography by demonstrating the vital role of big
bands in the ongoing development of jazz. Alex Stewart describes how
jazz musicians have found big bands valuable. He explores the rich
"rehearsal band" scene in New York and the rise of repertory orchestras.
Making the Scene combines historical research, ethnography, and
participant observation with musical analysis, ethnic studies, and
gender theory, dismantling stereotypical views of the big band.
50 Years of Gretsch Electrics
Introduced in 1954 as one of Gretsch's “Guitars of the Future ” the White Falcon was an overwhelmingly impressive instrument. The influence of this spectacular new guitar spread to other models and guitar manufacturers. It was the dawn of a half-century of awe-inspiring guitars which are now favored by widely popular artists including Pete Townshend, Tom Petty, Alanis Morisette, Sheryl Crow, John Frusciante, Bo Diddley, and more. This book compiles the best of Gretsch's inventions over the past 50 years and tells the stories of their creation and the men who created them. Includes 100 photos!
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