Lee Morgan • Complete Introduction Sessions

 

Being shot dead by a jealous lover at Slug's nightclub in 1972, meant that the hard-bop and soul-jazz trumpeter Lee Morgan ran into a catastrophe tailor-made for ascent to jazz-legend status, and his skills were such that speculation about what he might have achieved still goes on today. Morgan's hard, attacking sound and boldness of conception matched a thoughtful lyricism and warmth of tone when the right slow-burner came along, and with commercial funk hits like 1963's dancefloor anthem The Sidewinder (a big acid-jazz success with DJs 25 years later) he also proved he had a Herbie Hancock-like intuition for a groove.
Sounding superficially like a rough-hewn affair, this early Morgan set is perhaps for harder-core jazzers - although everything about it is urgently melodic, and the trumpeter's enthusiasm for pushing the regular bop envelope is infectious.
Taking place over a decade later than the famous Charlie Parker/Dizzy Gillespie bop-breakthrough recordings, the set nonetheless exudes a similar sensation, of music that can't wait to be made. A superb hard-bop lineup including Hank Jones on piano and Hank Mobley on tenor sax rattles through a selection of mostly home-grown pieces (though interestingly, none of them are Morgan's), and the rounded tone and poised phrasing of the hugely underrated Mobley is an ideal foil for Morgan's scything runs, explosive crescendos and engaging bebop bluster. Perhaps it's for the enthusiasts, but it's one of those rare studio discs that's almost like having the band in your room.

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El asesinato a tiros por parte de un amante celoso en el club nocturno Slug's en 1972 significó que el trompetista de hard bop y soul jazz Lee Morgan se topó con una catástrofe hecha a medida para ascender al estatus de leyenda del jazz, y sus habilidades eran tales que aún hoy se especula sobre lo que podría haber logrado. El sonido duro y agresivo de Morgan y la audacia de su concepción se combinaban con un lirismo reflexivo y la calidez del tono cuando llegaba el momento adecuado, y con éxitos comerciales de funk como el himno de las pistas de baile de 1963 The Sidewinder (un gran éxito de acid jazz entre los DJ 25 años después), también demostró que tenía una intuición para el groove similar a la de Herbie Hancock.
Aunque a primera vista pueda parecer un trabajo tosco, este primer álbum de Morgan es quizás para los jazzistas más incondicionales, aunque todo en él es urgentemente melódico y el entusiasmo del trompetista por traspasar los límites del bop habitual es contagioso.
Aunque se grabó más de una década después de las famosas grabaciones de Charlie Parker y Dizzy Gillespie que marcaron un hito en el bop, este álbum transmite una sensación similar, la de una música que no puede esperar a ser creada. Una magnífica formación de hard bop, con Hank Jones al piano y Hank Mobley al saxo tenor, interpreta una selección de temas en su mayoría de composición propia (aunque, curiosamente, ninguno de ellos es de Morgan), y el tono redondo y el fraseo sereno del enormemente infravalorado Mobley son el complemento ideal para las vertiginosas escalas, los crescendos explosivos y la atractiva bravura bebop de Morgan. Quizás sea para los entusiastas, pero es uno de esos raros discos de estudio que es casi como tener a la banda en tu habitación.

Martin Tingvall • When Light Returns

 

 

martin-tingvall.com ...

Albert Ayler With Don Cherry • 1964 Recordings, First Visit Completed

 

Cannonball Adderley • Pyramid

 

Review by Scott Yanow
Cannonball Adderley is in generally good form on this 1974 recording. His Quintet at the time featured cornetist Nat Adderley, keyboardist Hal Galper, bassist Walter Booker and drummer Roy McCurdy. Guests on some selections include guitarist Phil Upchurch, keyboardist George Duke and (on "Bess, Oh Where's My Bess") veteran pianist Jimmy Jones. The emphasis is on recent group originals including the three part "Suite Cannon," two Galper compositions and Cannonball's "Pyramid." Nothing too earthshattering occurs but this is an improvement over many of Adderley's Capitol recordings. 
https://www.allmusic.com/album/pyramid-mw0000031982

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Reseña de Scott Yanow
Cannonball Adderley se encuentra en buena forma en esta grabación de 1974. Su quinteto en ese momento estaba formado por el cornista Nat Adderley, el teclista Hal Galper, el bajista Walter Booker y el baterista Roy McCurdy. Entre los invitados que participan en algunas selecciones se encuentran el guitarrista Phil Upchurch, el teclista George Duke y (en «Bess, Oh Where's My Bess») el veterano pianista Jimmy Jones. Se hace hincapié en los temas originales recientes del grupo, entre los que se incluyen la «Suite Cannon» en tres partes, dos composiciones de Galper y «Pyramid» de Cannonball. No ocurre nada demasiado trascendental, pero supone una mejora con respecto a muchas de las grabaciones de Adderley para Capitol. 
https://www.allmusic.com/album/pyramid-mw0000031982

John Marshall Quintet • Keep On Keepin' On

 

The Hot Club Of San Francisco • 30 Years

 

A 30 Year compilation of the best from America's longest-running and most amazing gypsy jazz band, led by internationally acclaimed guitarist/songwriter/producer/poet Paul Pazzo Mehling. Featuring 2-time Grammy Awarding winning violinist Evan Price and a host of other incredible musicians. A collection highlighting the breadth and depth of this venerable national treasure ensemble. A startlingly diverse program, '30 Years' captures the band's restlessly creative evolution with Hot Club arrangements of Thelonious Monk ('Round Midnight') and French Impressionism ('Claire de Lune'), Brazilian roots music ('Choros') and the Beatles ('Because'). Unmistakably inspired by the iconic Quintet of the Hot Club of France, the HCSF's book is unbounded by guitarist Django Reinhardt and violinist Stephane Grappelli's repertoire and rhythmic palette. 'People think of Gypsy jazz and think swing, but when you look closely there's not a lot of swing on this album,' Mehling says. 'We specialize in the unexpected. '

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Una recopilación de 30 años con lo mejor de la banda de jazz gitano más longeva y sorprendente de Estados Unidos, liderada por el guitarrista, compositor, productor y poeta de renombre internacional Paul Pazzo Mehling. Con la participación del violinista Evan Price, ganador de dos premios Grammy, y un elenco de otros músicos increíbles. Una colección que destaca la amplitud y profundidad de este venerable conjunto, auténtico tesoro nacional. Con un programa sorprendentemente variado, «30 Years» captura la incansable evolución creativa de la banda con arreglos del Hot Club de Thelonious Monk («Round Midnight») y el impresionismo francés («Claire de Lune»), la música tradicional brasileña («Choros») y los Beatles («Because»). Inspirado inequívocamente en el icónico Quinteto del Hot Club de Francia, el repertorio del HCSF no se limita al repertorio y la paleta rítmica del guitarrista Django Reinhardt y el violinista Stephane Grappelli. «La gente piensa en el jazz gitano y piensa en swing, pero cuando lo miras de cerca, no hay mucho swing en este álbum», dice Mehling. «Nos especializamos en lo inesperado».


www.hotclubsf.com ...

John Ginty • Elvis Presley at the Roller Rink Solo Hammond Organ

 

 

www.johngintymusic.com ...

Lee Rocker • Lee Rocker Live

Lee Rocker (born Leon Drucker, August 3, 1961) is an American double bass player. He is a member of the rockabilly band Stray Cats.

He is the son of the classical clarinetists Stanley Drucker (the retired principal clarinetist of the New York Philharmonic Orchestra) and Naomi Drucker. His sister Roseanne is a country music singer-songwriter. As a child, he played the cello and later learned bass guitar.

Drucker's school friends included James McDonnell and Brian Setzer. The three of them played together regularly and widened their musical interests to include the blues and rockabilly. Drucker also learned to play the double bass to incorporate the sounds of blues and rockabilly on the acoustic instrument. The three of them formed the group The Stray Cats in 1979. McDonnell took on the stage name of "Slim Jim Phantom", and Drucker devised his own stage name to "Lee Rocker". Rocker evolved his own style of slap-bass playing with the group.

Rocker and the Stray Cats sold nearly 10 million albums and garnered twenty three gold and platinum certified records worldwide, and made them a mainstay on MTV. In addition to Stray Cats, Lee Rocker and Phantom Rocker and Slick albums, Rocker has recorded or performed with Carl Perkins, George Harrison, Ringo Starr, Willie Nelson, Leon Russell, Keith Richards, John Fogerty, and Scotty Moore. Rocker was nominated for a Grammy Award in 1982, as was his father, they are the second father-son duo to be nominated for aº Grammy in the same year. He considered to be an influential upright bassist in Rock n' Roll.

Lee Rocker performing at Memphis International Rockabilly Festival, August 2015

Accompanied by Slim Jim Phantom and guitarist, Earl Slick, Rocker formed the band Phantom, Rocker & Slick and recorded two albums for EMI Records titled Phantom, Rocker and Slick and Cover Girl. The song "Men Without Shame" landing Rocker back on MTV and in the charts. For Black Top Records, Rocker released the albums Big Blue (1994) and Atomic Boogie Hour (1995). He has also recorded for Alligator Records.

He released the album, Bulletproof, in 2003. His other albums included Black Cat Bone, released in August 2007, which featured Brophy Dale on guitar and Jimmy Sage on drums. Buzz Campbell (Hot Rod Lincoln and Sha Na Na) joined the band three years ago and gave them a Gretsch guitar sound. In 2011 Lee released an EP called "The Cover Sessions" which features cover versions of songs such as the John Lennon/Paul McCartney song "Come Together," Elton John's, "Honky Cat," and The Allman Brothers song "Ramblin Man." In addition to recording and touring, Rocker has hosted a radio show on KXFM-LP called 'Rumble and Twang with Lee Rocker.' Lee Rocker joined the cast of the Broadway hit "Million Dollar Quartet" as bassist Clayton Perkins, the brother of Sun Records recording artist Carl Perkins in a twelve-show run from January 21 through 31, 2011. He topped off the show with a special encore performance with the cast and an appearance on New York Today.

Lee Rockers latest band Consist of a 4 piece. Lee Rocker (Lead Vocal and Upright Bass) , Buzz Campbell (Electric Guitar & Banjo), Larry Mitchel (Drums) and Joey “Eights” Guevara (Piano, Harmonica, Acoustic Guitar).

More ...  https://en.wikipedia.org/wiki/Lee_Rocker

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Leon Drucker, conocido como Lee Rocker (Massapequa, Nueva York, el 3 de agosto de 1961) es un músico contrabajista estadounidense. Tomó el seudónimo de Lee Rocker en 1979 cuando junto a Brian Setzer (guitarra y voz) y Slim Jim Phantom (batería) para formar el trío rockabilly Stray Cats.

En 1983, luego de varios éxitos como ¨Runaway Boys¨, ¨Stray Cat Strut¨, ¨Sexy and 17¨ y ¨Rock This Town¨, el trío se disuelve. Rocker y Phantom se unen a Earl Slick, ex guitarrista de David Bowie y forman otro trío llamado Phantom, Rocker & Slick con el cual en 1985 graban "Men without Shame" entre otros temas.

En 1986 vuelve Stray Cats, banda en la cual seguirán tocando hasta que en 1993 nuevamente se disuelven.

Colaboró en varios espectáculos con otros músicos, entre los cuales se destacan algunas reuniones de Stray Cats y el mítico Rockabilly Session, un concierto de Carl Perkins para la televisión inglesa en el cual tocaron George Harrison, Ringo Starr, Dave Edmunds, Slim Jim Phantom y Eric Clapton entre otros.

En febrero del 2002 realizó una gira por USA junto a otra leyenda viva del rockabilly, Scotty Moore (primer guitarrista de Elvis Presley en su etapa de la Sun Records), la cual juntó al pasado y al presente del rockabilly, en lo que fue un homenaje al Rey del Rock que les llevó desde Cleveland (Ohio) hasta Memphis (Tennessee), pasando por ciudades como Omaha, Detroit, Chicago, Kansas City y Minneapolis entre otras.

Luego de la disolución de Stray Cats, Rocker continuó su carrera como solista grabando en 1994 el álbum Big Blue, al que le siguieron: Atomic Boogie Hour(1995), No Cats (1998), Lee Rocker Live(1999), Blue Suede Nights - Live Rockabilly(2002), Bulletproof (2003), Burning Love (2004) que venía acompañado de un cd-rom con vídeos inéditos, Racin' The Devil (2005), Black Cat Bone (2007) y el último de su colección: Night Train To Memphis (2012).

leerocker.com ...

 

Matthew Kaminski • Swingin' On The New Hammond

Editorial Reviews

Todays Jazz Organists continue to evolve. Many are still lugging around vintage Hammond organs with Leslie tone cabinets but most are experimenting with the many light-weight clones that are currently on the market. Their styles are also breaking from tradition as more and more keyboard players jump on vintage organs and play them as if they were still on their clones. So, there is this interesting Jazz Organ mutation that is going on and the good news is that its appealing to a much wider audience.

Organist Matthew Kaminski’s day job during baseball season is as organist for the Atlanta Braves, but outside of that he is a busy jazz organist, and his third album for Chicken Coup finds his working group  captured at Atlanta’s Churchill Grounds club.

His quartet with saxophonist Will Scruggs, the fantastic guitarist Rod Harris Jr. (who some may know for excellent Youtube transcription and instructional videos) and drummer Chris Burroughs is augmented on six of the ten pieces by vocalist Kimberly Gordon.  As is also the case with vocalist Alyssa Allgood’s tribute to the Blue Note oeuvre, “Out of the Blue”, the addition of a vocalist to a traditional organ combo is a welcome and fresh addition.

The vocalist’s stylized vocals are at their best on “April in Paris”, also featuring a tasty Grant Green/George Benson infused turn by Harris Jr, Duke Ellington’s “Just Squeeze Me”, and “If I Had You”.  Kaminski makes a wise choice to include some unusual fare in the organ group configuration by reprising the Beach Boys’ “Sail on Sailor” which he recorded previously on a studio album, making full use of Scruggs’ gorgeous tenor saxophone sound, and his passionate solos are highlights throughout the set.  Listen to his turn on Jimmy Smith’s classic blues, “Midnight Special”, keeping the barbecue going.  Kaminski’s basslines are tight as  well, his assured walking bass line in his unaccompanied intro to Jack McDuff’s “A Real Goodun” carry more than a hint of the signature McDuff slickness.

Furthermore, the atmosphere of the album is a throwback to classic “live” dates with organ such as the aforementioned McDuff’s “Live!” (Prestige, 1964) Jimmy Smith’s “The Boss” (Verve, 1968) or Grant Green’s “Live at the Lighthouse” (Blue Note, 1972).  Kaminski’s date is relentlessly grooving and from the soul.

 

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Editorial Reviews
Todays Jazz Organists continue to evolve. Many are still lugging around vintage Hammond organs with Leslie tone cabinets but most are experimenting with the many light-weight clones that are currently on the market. Their styles are also breaking from tradition as more and more keyboard players jump on vintage organs and play them as if they were still on their clones. So, there is this interesting Jazz Organ mutation that is going on and the good news is that its appealing to a much wider audience.

El trabajo diario del organista Matthew Kaminski durante la temporada de béisbol es como organista de los Atlanta Braves, pero fuera de eso es un ocupado organista de jazz, y su tercer álbum para Chicken Coup encuentra su grupo de trabajo capturado en el club Churchill Grounds de Atlanta.

Su cuarteto con el saxofonista Will Scruggs, el fantástico guitarrista Rod Harris Jr (a quien algunos conocen por su excelente transcripción en Youtube y sus videos instructivos) y el baterista Chris Burroughs, se amplía en seis de las diez piezas de la vocalista Kimberly Gordon.  Al igual que en el caso del homenaje de la vocalista Alyssa Allgood a la obra Blue Note, "Out of the Blue", la incorporación de un vocalista a una combinación de órgano tradicional es una adición bienvenida y fresca.

La voz estilizada de la vocalista está en su mejor momento el "April in Paris", con un sabroso turno de Grant Green/George Benson infundido por Harris Jr, "Just Squeeze Me" de Duke Ellington, y "If I Had You" (Si te tuviera a ti).  Kaminski toma la sabia decisión de incluir una tarifa inusual en la configuración del grupo de órgano, reeditando "Sail on Sailor" de Beach Boys, que grabó previamente en un álbum de estudio, aprovechando al máximo el magnífico sonido del saxofón tenor de Scruggs, y sus apasionados solos son los más destacados en todo el plató.  Escucha su turno con el clásico blues de Jimmy Smith, "Midnight Special", que mantiene la barbacoa en marcha.  Las líneas de bajo de Kaminski también son estrechas, su línea de bajo segura en su introducción no acompañada a "A Real Goodun" de Jack McDuff tiene más de un indicio de la firma McDuff slickness.

Además, la atmósfera del álbum es un retroceso a las clásicas citas en directo con órgano como "Live!" de McDuff. (Prestige, 1964) de Jimmy Smith "The Boss" (Verve, 1968) o "Live at the Lighthouse" de Grant Green (Blue Note, 1972).  La cita de Kaminski es implacable e incesante.

www.matthewkaminski.com ...

Bebopː Third Ear - The Essential Listening Companion

On the heels of swing, bebop lifted jazz from the dance floor into an art form powered by virtuoso players. This engaging collection of essays, biographies and reviews by veteran jazz journalist Scott Yanow probes the lives and revolutionary works of more than 500 great beboppers, including the giants: Charlie Parker, Dizzie Gillespie, Bud Powell, Max Roach and Thelonious Monk. The guide also explores key artists such as Sarah Vaughan, Charlie Christian and the young Miles Davis, plus such later figures as Joe Pass and Barry Harris.

About the Author

Scott Yanow has been writing about jazz since 1975. Jazz editor of Record Review during its entire publishing history (1976-84), he has written for Downbeat, JazzTimes, Jazz Forum, Jazz News, and Strictly Jazz magazines. Yanow currently is a regular contributor to Cadence, Jazziz, Coda, L.A. Jazz Scene, Mississippi Rag, Jazz Improv, Jazz Now, Jazz Report, and Planet Jazz. He compiles the jazz listings for the Los Angeles Times, and has written over 200 album liner notes. Editor of the All Music Guide to Jazz and author of Duke Ellington, Yanow also wrote Swing and Afro-Cuban Jazz for the Third Ear--The Essential Listening Companion series.

Psychobilly: Subcultural Survival

 

Call it punk rockabilly with science-fiction horror lyrics. The outsider musical genre known as psychobilly, which began in 1980s Britain, fuses punk, heavy metal, new wave, and shock rock with carnivalesque elements. The participants in this underground scene sport coffin tattoos and 1950s fashions. Bands such as The Meteors, Nekromantix, and Demented Are Go play with a wild energy and a fast tempo. Sometimes fake blood runs down a performer’s mouth.

Psychobilly is ethnomusicologist Kimberly Kattari’s fascinating, decade-long study of this little-known anti-mainstream genre. She provides a history and introduces readers to the core aspects of the music as she interviews passionate performers and fans. Kattari seeks to understand how psychobilly so strongly affects—and reflects—its participants’ lives and identities so strongly. She observes that it provides not only a sense of belonging but a response to feelings and experiences of socio-economic marginalization and stigmatization. 

Psychobilly shows how this subculture organized around music furnishes an outlet for members to resist normative expectations and survive; they adhere to their own rules by having a good time while going through a hard time.

 

Jim Morrison Life, Death, Legend

 As an artist and persona, Jim Morrison epitomized the late 1960s, bridging a burgeoning counterculture and popular culture, while acting out the iconoclastic rage, rampant libido, and spectacular flameout of a tumultuous era. The music he created with The Doors has sold over 50 million records worldwide—with over 13 million in the last decade alone, as their songs have been embraced by a new generation. But despite Morrison’s seminal importance, there has not yet been an authoritative biography that does justice to him and his creative legacy. Until now.

Stephen Davis, the preeminent rock biographer and author of the classic Led Zeppelin history Hammer of the Gods (over 600,000 copies sold in three editions, and a #1 New York Times bestseller), has uncovered never-before-seen documents, conducted dozens of original interviews, and scoured Morrison’s unpublished journals and recordings to write the definitive biography of a misunderstood legend. Jim Morrison is packed with startling new revelations about every phase of his life and career, from his troubled youth in a strict military household to his blossoming as a rock icon among the avant-garde LA scene to his voracious drug abuse and secret sexual experiments. Davis also investigates one of the greatest mysteries in rock history—the circumstances surrounding Morrison’s mysterious and unsolved death—as he pieces together new evidence to tell the true and heartbreaking story of Morrison’s last tragic days in Paris.

Compelling and unforgettable, Jim Morrison is destined to become a classic.

The Ultimate Music Guide Simon & Garfunkel

 

www.uncut.co.uk ...

Paul Signac, 1863-1935 • Master of Neo-Impressionist

Horace Parlan • On The Spur Of The Moment

 

Review by Stephen Thomas Erlewine
Again working with his longtime rhythm section of George Tucker (bass) and Al Harewood (drums), Horace Parlan manages to On the Spur of the Moment make distinctive by emphasizing the rhythmic side of his hard bop. Tenor saxophonist Stanley Turrentine and trumpeter Tommy Turrentine help give the quintet a bluesy edge, which the band exploits to an appealing effect throughout these six, mostly original, compositions. There are a few ballads, and even when things are at their hottest, Parlan's understated playing is a cue for the group to keep it tasteful, but that relaxed atmosphere is part of the reason why On the Spur of the Moment is another winning effort from the underrated pianist. 
https://www.allmusic.com/album/on-the-spur-of-the-moment-mw0000033102

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Reseña de Stephen Thomas Erlewine
De nuevo trabajando con su sección rítmica habitual, formada por George Tucker (bajo) y Al Harewood (batería), Horace Parlan consigue que On the Spur of the Moment sea un álbum distintivo al enfatizar el lado rítmico de su hard bop. El saxofonista tenor Stanley Turrentine y el trompetista Tommy Turrentine ayudan a dar al quinteto un toque blues, que la banda aprovecha para crear un efecto atractivo a lo largo de estas seis composiciones, en su mayoría originales. Hay algunas baladas, e incluso cuando las cosas se ponen más intensas, la interpretación discreta de Parlan es una señal para que el grupo mantenga el buen gusto, pero esa atmósfera relajada es parte de la razón por la que On the Spur of the Moment es otro éxito del pianista infravalorado. 
https://www.allmusic.com/album/on-the-spur-of-the-moment-mw0000033102

 

VA • Chess Northern Soul

 

Oliver Nelson • The Blues And The Abstract Truth

 

Review by Michael G. Nastos

As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues and the Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass), and Roy Haynes (drums) can do no wrong as a rhythm section. "Stolen Moments" really needs no comments, as its undisputable beauty shines through in a three-part horn harmony fronting Hubbard's lead melody. It's a thing of beauty that is more timeless as the years pass. The "Blues" aspect is best heard on "Yearnin'," a stylish, swinging, and swaying downhearted piece that is a bluesy as Evans would ever be. Both "Blues" and "Abstract Truth" combine for the darker "Teenie's Blues," a feature for Nelson and Dolphy's alto saxes, Dolphy assertive in stepping forth with his distinctive, angular, dramatic, fractured, brittle voice that marks him a maverick. Then there's "Hoedown," which has always been the black sheep of this collection with its country flavor and stereo separated upper and lower horn in snappy call-and-response barking. As surging and searing hard boppers respectively, "Cascades" and "Butch & Butch" again remind you of the era of the early '60s when this music was king, and why Hubbard was so revered as a young master of the idiom. A must buy for all jazz fans, and a Top Ten or Top Fifty favorite for many.

https://www.allmusic.com/album/the-blues-and-the-abstract-truth-mw0000188605

Biography by Scott Yanow

The Blues and the Abstract Truth

Oliver Nelson was a distinctive soloist on alto, tenor, and even soprano, but his writing eventually overshadowed his playing skills. He became a professional early on in 1947, playing with the Jeter-Pillars Orchestra and with St. Louis big bands headed by George Hudson and Nat Towles. In 1951, he arranged and played second alto for Louis Jordan's big band, and followed with a period in the Navy and four years at a university. After moving to New York, Nelson worked briefly with Erskine Hawkins, Wild Bill Davis, and Louie Bellson (the latter on the West Coast). In addition to playing with Quincy Jones' orchestra (1960-1961), between 1959-1961 Nelson recorded six small-group albums and a big band date; those gave him a lot of recognition and respect in the jazz world. Blues and the Abstract Truth (from 1961) is considered a classic and helped to popularize a song that Nelson had included on a slightly earlier Eddie "Lockjaw" Davis session, "Stolen Moments." He also fearlessly matched wits effectively with the explosive Eric Dolphy on a pair of quintet sessions. But good as his playing was, Nelson was in greater demand as an arranger, writing for big band dates of Jimmy Smith, Wes Montgomery, and Billy Taylor, among others. By 1967, when he moved to Los Angeles, Nelson was working hard in the studios, writing for television and movies. He occasionally appeared with a big band, wrote a few ambitious works, and recorded jazz on an infrequent basis, but Oliver Nelson was largely lost to jazz a few years before his unexpected death at age 43 from a heart attack.

https://www.allmusic.com/artist/oliver-nelson-mn0000398615/biography

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Reseña de Michael G. Nastos

Como Oliver Nelson es conocido principalmente como líder de grandes bandas y arreglista, es menos conocido como saxofonista y organizador de pequeños conjuntos. Blues and the Abstract Truth es su triunfo como músico por los aspectos de definir el sonido de una época no sólo con su clásico de todos los tiempos "Stolen Moments", sino en esta grabación, reuniendo a uno de los sextetos de jazz moderno más potentes de la historia. El trompetista principal Freddie Hubbard está en su mejor momento, mientras que los saxofonistas de alto nivel Nelson y Eric Dolphy (Nelson doblando al tenor) forman un equipo para formar una unión improbable que se cocinó a fuego lento a la perfección. Bill Evans (piano), Paul Chambers (bajo) y Roy Haynes (batería) no pueden hacer nada malo como sección rítmica. "Stolen Moments" realmente no necesita comentarios, ya que su indiscutible belleza brilla en una armonía de tres partes de la trompa que encabeza la melodía principal de Hubbard. Es una cosa de belleza que es más atemporal con el paso de los años. El aspecto "Blues" se oye mejor en "Yearnin'", una pieza de estilo, swinging y swaying downhearted que es un blues como lo sería Evans. Tanto "Blues" como "Abstract Truth" se combinan para el más oscuro "Teenie's Blues", un largometraje para los saxos contralto de Nelson y Dolphy, Dolphy asertivo al dar un paso al frente con su voz distintiva, angular, dramática, fracturada y quebradiza que le marca como un inconformista. Luego está "Hoedown", que siempre ha sido la oveja negra de esta colección con su sabor campestre y su cuerno superior e inferior separado estéreo en un ladrido rápido de llamada y respuesta. Cascades" y "Butch & Butch" le recuerdan una vez más la época de principios de los años 60, cuando esta música era el rey, y por qué Hubbard era tan venerado como un joven maestro del idioma. Una compra imprescindible para todos los fans del jazz, y un Top Ten o Top Fifty favorito para muchos.

https://www.allmusic.com/album/the-blues-and-the-abstract-truth-mw0000188605

Biografía de Scott Yanow

El blues y la verdad abstracta

Oliver Nelson fue un distinguido solista de contralto, tenor e incluso soprano, pero su escritura finalmente eclipsó sus habilidades como intérprete. Se hizo profesional a principios de 1947, tocando con la Jeter-Pillars Orchestra y con las grandes bandas de St. Louis encabezadas por George Hudson y Nat Towles. En 1951, arregló y tocó como segundo contralto para la big band de Louis Jordan, y le siguió un período en la Marina y cuatro años en la universidad. Después de mudarse a Nueva York, Nelson trabajó brevemente con Erskine Hawkins, Wild Bill Davis y Louie Bellson (este último en la costa oeste). Además de tocar con la orquesta de Quincy Jones (1960-1961), entre 1959-1961 Nelson grabó seis álbumes de grupos pequeños y una cita con una gran banda, lo que le dio mucho reconocimiento y respeto en el mundo del jazz. Blues and the Abstract Truth (desde 1961) es considerado un clásico y ayudó a popularizar una canción que Nelson había incluido en una sesión de Eddie "Lockjaw" Davis un poco antes, "Stolen Moments". Además, en un par de sesiones de quinteto, el explosivo Eric Dolphy fue capaz de igualar su ingenio sin miedo. Pero por muy buena que fuera su interpretación, Nelson estaba en mayor demanda como arreglista, escribiendo para las fechas de las grandes bandas de Jimmy Smith, Wes Montgomery y Billy Taylor, entre otros. Para 1967, cuando se mudó a Los Ángeles, Nelson estaba trabajando duro en los estudios, escribiendo para la televisión y el cine. Ocasionalmente apareció con una gran banda, escribió algunas obras ambiciosas y grabó jazz con poca frecuencia, pero Oliver Nelson se perdió en el jazz unos años antes de su inesperada muerte a la edad de 43 años por un ataque cardíaco.

https://www.allmusic.com/artist/oliver-nelson-mn0000398615/biography

Oliver Nelson • More Blues And The Abstract Truth

 

Review
by Scott Yanow
Unlike the original classic Blues and the Abstract Truth set from three years earlier, Oliver Nelson does not play on this album. He did contribute three of the eight originals and all of the arrangements but his decision not to play is disappointing. However there are some strong moments from such all-stars as trumpeter Thad Jones, altoist Phil Woods, baritonist Pepper Adams, pianist Roger Kellaway and guest tenor Ben Webster (who is on two songs). The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor.
https://www.allmusic.com/album/more-blues-and-the-abstract-truth-mw0000192673

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Reseña
por Scott Yanow
A diferencia del clásico original Blues and the Abstract Truth de tres años antes, Oliver Nelson no toca en este álbum. Contribuyó con tres de los ocho originales y todos los arreglos, pero su decisión de no tocar es decepcionante. Sin embargo, hay algunos momentos fuertes de estrellas como el trompetista Thad Jones, el contralto Phil Woods, el barítono Pepper Adams, el pianista Roger Kellaway y el tenor invitado Ben Webster (que está en dos canciones). El énfasis se pone en las piezas basadas en el blues y hay algunos momentos fuertes, aunque la cita no esté a la altura de su predecesor.
https://www.allmusic.com/album/more-blues-and-the-abstract-truth-mw0000192673

Jimmy Smith • Angel Eyes

 

The subtitle of this comfortable recording, ballads & slow jams, tells the essential story in a nutshell. The groove master is once again surrounded by youngsters from the Verve roster, including trumpeters Roy Hargrove and Nicholas Payton, guitarist Mark Whitfield, bassist Christian McBride, and drummer Gregory Hutchinson. Captured during the same sessions as Jimmy’s recorded return to Verve, Damn, this outing concentrates on the intimacy of balladry. With the exception of Hutchinson, each takes a turn dueting with Smith, there are two trio tracks, two solos (including that now-tired melody “What a Wonderful World”), and a full blown opening take on “Stolen Moments.”

Of special note is Hargrove’s continued development on fluegelhorn. Not since Art Farmer went to the flumpet exclusively and Freddie Hubbard began to experience physical problems has there been a more buttery tone on fluegel, and he works in particularly sublime symmetry with the organ grinder on “You Better Go Now.” Payton’s rich, fat trumpet tone is quite fine on “Days of Wine and Roses,” proving this cat doesn’t need a fluegelhorn to churn the butter. Whitfield is an ideal soulmate for Smith, probably more so than any other guitarist of his generation. He has the deep soul to go along with a sweet string attack and ear for the blues. It’s nice to hear the master Jimmy Smith slowed down to a soulful croon, though even then his dexterity at the keys is dangerous; the man just can’t help it.
Originally March 1, 1997
 Updated April 25, 2019  – By Willard Jenkins    
https://jazztimes.com/archives/jimmy-smith-angel-eyes/

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El subtítulo de esta agradable grabación, ballads & slow jams, resume a la perfección su esencia. El maestro del groove vuelve a estar rodeado de jóvenes talentos del catálogo de Verve, entre los que se encuentran los trompetistas Roy Hargrove y Nicholas Payton, el guitarrista Mark Whitfield, el bajista Christian McBride y el baterista Gregory Hutchinson. Grabado durante las mismas sesiones que Damn, el regreso de Jimmy a Verve, este álbum se centra en la intimidad de las baladas. Con la excepción de Hutchinson, cada uno de ellos toca a dúo con Smith, hay dos temas a trío, dos solos (incluida la ya manida melodía «What a Wonderful World») y una versión completa de «Stolen Moments» para abrir el álbum.

Cabe destacar la continua evolución de Hargrove con la trompeta flugelhorn. Desde que Art Farmer se dedicó exclusivamente al flumpet y Freddie Hubbard comenzó a tener problemas físicos, no ha habido un tono más suave en el fliscorno, y él trabaja en una simetría particularmente sublime con el organista en «You Better Go Now». El tono rico y grueso de la trompeta de Payton es bastante bueno en «Days of Wine and Roses», lo que demuestra que este tipo no necesita un fliscorno para producir mantequilla. Whitfield es el compañero ideal para Smith, probablemente más que cualquier otro guitarrista de su generación. Tiene un alma profunda que acompaña a un dulce ataque de cuerdas y un oído para el blues. Es agradable escuchar al maestro Jimmy Smith ralentizar el ritmo para cantar con soul, aunque incluso entonces su destreza con las teclas es peligrosa; el hombre no puede evitarlo.
Originalmente publicado el 1 de marzo de 1997.
Actualizado el 25 de abril de 2019.  – Por Willard Jenkins    
https://jazztimes.com/archives/jimmy-smith-angel-eyes/


 

Premiata Forneria Marconi • Photos Of Ghosts

 

Review by Bruce Eder
PFM were already Italy's premiere progressive rock band when Emerson, Lake & Palmer signed them to the British trio's own Manticore label in 1972 and turned to King Crimson alumnus Peter Sinfield to write English-language words (sung phonetically) for this, the Italian group's debut international release. A phantasmagorical creation, Photos of Ghosts is filled with lush melodies and rich musical textures, all wrapped around Sinfield's frequently surreal lyrics, which seem an extension of some of his better work from King Crimson's Lizard and Islands albums. In contrast to ELP's music of the same period, PFM's music still retains some loud echoes of psychedelia, and the music has a refreshingly airy, open sound, free from the thick, heavy-handed Germanic textures generated by most of the rival U.K. classical rock bands of the period -- this album can stand next to competing works by Genesis, Yes, et al. from the same period. Additionally, PFM were not only unafraid of doing songs that changed time signatures radically, but reveled and thrived in such unusual structures, as demonstrated by "Il Banchetto," the one song on the album transferred -- at least in terms of lyrics -- intact from the original Italian release. The phonetically sung English lyrics also take on a special eeriness on track such as "Promenade the Puzzle." Oddly enough, the group actually became a better rock band in the year following this release, with a shift in personnel and the addition of bassist Patrick Djivas, and subsequent releases rocked harder and better, but they never had a finer, more consistently rewarding body of music in one place to their credit than this album. The various CD editions have been a major improvement over the fuzzy, indistinct mastering (and accompanying poor pressings) of the original 1970s-era U.S. vinyl release. The 2010 CD re-release also features significant bonus tracks, consisting principally of early mixes and unaccompanied backing tracks from much of the album -- all of which bring the running time up past 70 minutes -- and reveal a wealth of inner detail and instrumental textures that were otherwise masked on the finished album, plus the single edit of "Celebration." 
https://www.allmusic.com/album/photos-of-ghosts-mw0000738515

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Reseña de Bruce Eder
PFM ya era la banda de rock progresivo más importante de Italia cuando Emerson, Lake & Palmer los fichó para su propio sello, Manticore, en 1972, y recurrieron a Peter Sinfield, exmiembro de King Crimson, para escribir las letras en inglés (cantadas fonéticamente) de este, el primer lanzamiento internacional del grupo italiano. Una creación fantasmagórica, Photos of Ghosts está repleta de melodías exuberantes y ricas texturas musicales, todo ello envuelto en las letras frecuentemente surrealistas de Sinfield, que parecen una extensión de algunos de sus mejores trabajos de los álbumes Lizard e Islands de King Crimson. A diferencia de la música de ELP de la misma época, la música de PFM aún conserva fuertes ecos de psicodelia, y posee un sonido refrescante, ligero y abierto, libre de las densas y pesadas texturas germánicas generadas por la mayoría de las bandas rivales de rock clásico del Reino Unido de la época; este álbum puede compararse con obras de Genesis, Yes, etc., del mismo período. Además, PFM no solo no temía interpretar canciones con cambios radicales de compás, sino que se deleitaba y prosperaba con estas estructuras inusuales, como lo demuestra "Il Banchetto", la única canción del álbum que se transfirió —al menos en cuanto a la letra— intacta de la edición italiana original. La letra en inglés, cantada fonéticamente, adquiere un aire inquietante en temas como "Promenade the Puzzle". Curiosamente, el grupo mejoró notablemente su sonido al año siguiente de este lanzamiento, con un cambio de integrantes y la incorporación del bajista Patrick Djivas. Sus trabajos posteriores fueron más potentes y de mayor calidad, pero nunca lograron reunir una obra tan sólida y consistente como este álbum. Las distintas ediciones en CD han supuesto una mejora sustancial con respecto a la masterización borrosa e indistinta (y las deficientes copias que la acompañaban) de la edición original en vinilo estadounidense de la década de 1970. La reedición en CD de 2010 también incluye importantes pistas adicionales, principalmente mezclas tempranas y pistas de acompañamiento sin acompañamiento de gran parte del álbum, lo que extiende la duración a más de 70 minutos y revela una gran cantidad de detalles y texturas instrumentales que quedaron ocultas en la versión final del álbum, además de la versión editada para sencillo de "Celebration".
https://www.allmusic.com/album/photos-of-ghosts-mw0000738515

 

www.pfmworld.com ...

Pete Brown • 1942-1945

 

The Gibson Archtop Bible 2015 UK

 

The Cambridge Companion to Jazz

The vibrant world of jazz may be viewed from many angles, from social and cultural history to music analysis, from economics to ethnography. It is challenging and exciting territory. This volume of nineteen specially commissioned essays offers informed and accessible guidance to the challenge, taking the reader through a series of five basic subject areas--locating jazz historically and geographically; defining jazz as musical and cultural practice; jazz in performance; the uses of jazz for audiences, markets, education and for other art forms; and the study of jazz.

https://www.amazon.com/Cambridge-Companion-Jazz-Companions-Music/dp/0521663881

A History of Musical Style

 

Style — the distinctive manner of presentation, construction, and execution in any art — is a topic of primary importance in music history. This highly regarded text by noted musicologist Richard Crocker (University of California, Berkeley) takes a much-needed fresh look at the subject and attempts to reshape some basic ideas in the light of modern research. Seeking the reasons for stylistic change within the history of style itself (rather than in the history of men or of ideas), this enlightening account shows how music, growing out of its own past, has shaped its own development.
Professor Crocker's exceptionally clear and systematic presentation enables students to easily follow the evolution of Western musical style from Gregorian Chant (ca. 750) to the atonal music of the mid-20th century. The book stresses the continuity of basic musical principles over long periods of history, while it explores in detail moments of high stylistic achievement and the composers who exemplified them.
Drawing of the earliest written records, Crocker begins his description and analysis of Western music's changing style with a discussion of Frankish Gregorian Chant, laudes and melismas, and polyphony — the leading medium of musical development after 1150. The author traces the progression of new polyphonic forms from the Parisian motet of the 13th and 14th centuries through Italian song forms to the Franco-Flemish style of the 15th and 16th centuries. This sweeping survey then documents the emergence of the Classic Style after 1550, embodied in the music of such composers as Palestrina and Byrd, moves through new Italian dramatic styles (1600–1650) and on to the harmonic and polyphonic contributions of the 17th- and 18th-century masters.
With perception and insight, Crocker traces the creation of the German symphonic style, epitomized in the works of Mozart, Beethoven, and Brahms, and deals with the parallel development of operatic style. An illuminating examination of new styles after 1900, including the serial music of Schoenberg, Webern, and Berg, concludes this exhaustive study.
Over 140 music examples complement Crocker's lucid text, and lists of Selected Study Materials for each chapter are given at the back of the book. This work will be welcomed by music students at all levels, music scholars, and the interested layman as well.

 

Sam Myers: The Blues Is My Story

 

Sam Myers: The Blues Is My Story recounts the life of bluesman Sam Myers (1936-2006), as told in his own words to author Jeff Horton. Myers grew up visually handicapped in the Jim Crow South and left home to attend the state school for the blind at Piney Woods. Myers's intense desire to become a musician and a scholarship from the American Conservatory School of Music called him to Chicago. There in 1952 he joined Elmore James's band as a drummer and was featured on some of James's best-known recordings. Following the elder bluesman's death in 1963, Myers fronted bands of his own and recorded many well-received singles and albums. In 1986, Myers became the W. C. Handy Award-winning front man, vocalist, and harmonica player for Anson Funderburgh and the Rockets.

Throughout the book, Myers provides a historical context to a bygone era of the blues and reveals his own thoughts and feelings about the musicians with whom he played. And they are a list of who's who in the blues-Muddy Waters, Howlin' Wolf, Little Walter, Hound Dog Taylor, and Robert Lockwood Junior in addition to Elmore James. In one chapter, Myers describes a personalized deeper meaning to the blues. And in another he relates a series of anecdotes about the lighter side of life on the road.

Contributions from Myers's father and stories from a boyhood friend round out the narrative. Dallas musician Brian “Hash Brown” Calway dissects the more technical aspects of Myers's harmonica style. Long-time friend and bandmate, Anson Funderburgh, weighs in with a chapter about their songwriting methods and offers some of his own recollections on their twenty years together.

 

The Ultimate Music Guide The Beatles

 

www.uncut.co.uk ...

Surrealism - Genesis of a Revolution

 

 

The Dada movement and then the Surrealists appeared in the First World War aftermath with a bang: revolution of thought, creativity, and the wish to break away from the past and all that was left in ruins. This refusal to integrate into the Bourgeois society lead Georg Grosz to remark of Dada, ""it's the end of-isms."" Breton asserted that Dada does not produce perspective, ""a machine which functions full steam, but where it remains to be seen how it can feed itself."" Surrealism emerged amidst such feeling. These artists often changed from one movement to another. They were united by their superior intellectualism and the common goal to break from the norm. Describing Dada with its dynamic free-thinkers, and the Surrealists with their aversive resistance to the system, the author brings a new approach which strives to be relative and truthful. Provocation and cultural revolution: Dada and the Surrealists, aren't they above all just a direct product of creative individualism in this unsettled period?

 

Gary Burton-Sonny Rollins-Clark Terry • 3 In Jazz

 

A great record that features work not on any other album! The set's a compilation of sorts – but it's really more of a "showcase", one that features the work of three of RCA's brightest jazz stars at the time. A young Gary Burton plays "Hello Young Lovers", "Gentle Wind & Falling Tear", "Blue Comedy", and "Stella By Starlight" with a group that includes Jack Sheldon on trumpet. Sonny Rollins blows on "You Are My Lucky Star", "I Could Write A Book", and "There Will Never Be Another You" with the great group that included Don Cherry, Henry Grimes, and Billy Higgins. And Clark Terry rounds out the set with "Blues Tonight", "Sounds Of The Night", and "Cielito Lindo".  
Dusty Groove, Inc.
https://www.dustygroove.com/item/53421/Gary-Burton-Sonny-Rollins-Clark-Terry:3-In-Jazz?desktop=false

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¡Un gran disco que incluye temas que no aparecen en ningún otro álbum! El conjunto es una especie de recopilatorio, pero en realidad es más bien un «escaparate» que presenta el trabajo de tres de las estrellas de jazz más brillantes de RCA en aquella época. Un joven Gary Burton interpreta «Hello Young Lovers», «Gentle Wind & Falling Tear», «Blue Comedy» y «Stella By Starlight» con un grupo en el que destaca Jack Sheldon a la trompeta. Sonny Rollins toca «You Are My Lucky Star», «I Could Write A Book» y «There Will Never Be Another You» con un gran grupo formado por Don Cherry, Henry Grimes y Billy Higgins. Y Clark Terry completa el álbum con «Blues Tonight», «Sounds Of The Night» y «Cielito Lindo».  
Dusty Groove, Inc.
https://www.dustygroove.com/item/53421/Gary-Burton-Sonny-Rollins-Clark-Terry:3-In-Jazz?desktop=false

Luis Rivera • Filet of Soul + Las Vegas

 

Luis Rivera, born in San Antonio, Texas, and raised in Ohio, initially pursued psychology after graduating in 1948. However, his passion for music soon led him to leave his career as a clinical psychologist to fully embrace life as a musician.

As a pianist, Luis performed with Roy Milton’s band in Texas and later accompanied Billie Holiday at the Tiffany Club in Los Angeles in 1953. That same year, inspired by “Wild” Bill Davis’s organ sound, Luis adopted the Hammond organ and quickly gained recognition. He formed his first trio and performed at  major venues like the Oasis, Morocco, and the Keyboard in Beverly Hills, while also recording tracks for the Federal label.

In 1957, Luis recorded his first album, Las Vegas, under the direction of producer John Dolphin, released on his Cash label. The album featured a sextet of talented musicians, including Barney Kessel, and captured Rivera’s distinctive organ sound and repertoire from his Las Vegas performances.

In 1961, while enjoying a successful run at Dynamite Jackson’s Lounge, Luis recorded his second album for Imperial Records, Filet of Soul, showcasing a blend of blues and ballads. The lineup that included Anthony Ortega (alto and flute), Lorenzo Holden (tenor), and Herb Ellis (guitar).

Luis continued performing at prominent Los Angeles clubs like Marty’s, the Moulin Rouge, and the Trocadero, while also touring nationally. By 1965, after an engagement at Herb Jeffries’ Flamingo Room, details about his career and personal life became scarce.

These two albums highlight Luis Rivera’s unique contributions to soul jazz, reflecting his mastery of the Hammond organ and his ability to create captivating grooves.
—Jordi Pujol
https://www.freshsoundrecords.com/luis-rivera-albums/57469-filet-of-soul-las-vegas-2-lp-on-1-cd.html

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Luis Rivera, nacido en San Antonio, Texas, y criado en Ohio, inicialmente se dedicó a la psicología tras graduarse en 1948. Sin embargo, su pasión por la música pronto le llevó a abandonar su carrera como psicólogo clínico para dedicarse por completo a la música.

Como pianista, Luis actuó con la banda de Roy Milton en Texas y más tarde acompañó a Billie Holiday en el Tiffany Club de Los Ángeles en 1953. Ese mismo año, inspirado por el sonido del órgano de «Wild» Bill Davis, Luis adoptó el órgano Hammond y rápidamente ganó reconocimiento. Formó su primer trío y actuó en importantes locales como el Oasis, el Morocco y el Keyboard en Beverly Hills, al tiempo que grababa temas para el sello Federal.

En 1957, Luis grabó su primer álbum, Las Vegas, bajo la dirección del productor John Dolphin, publicado en su sello Cash. El álbum contó con un sexteto de músicos de gran talento, entre los que se encontraba Barney Kessel, y capturó el característico sonido del órgano de Rivera y el repertorio de sus actuaciones en Las Vegas.

En 1961, mientras disfrutaba de una exitosa temporada en el Dynamite Jackson's Lounge, Luis grabó su segundo álbum para Imperial Records, Filet of Soul, en el que mostraba una mezcla de blues y baladas. La formación incluía a Anthony Ortega (alto y flauta), Lorenzo Holden (tenor) y Herb Ellis (guitarra).

Luis siguió actuando en clubes destacados de Los Ángeles como Marty's, Moulin Rouge y Trocadero, al tiempo que realizaba giras por todo el país. En 1965, tras una actuación en el Flamingo Room de Herb Jeffries, los detalles sobre su carrera y su vida personal se hicieron escasos.

Estos dos álbumes destacan las contribuciones únicas de Luis Rivera al soul jazz, reflejando su maestría con el órgano Hammond y su capacidad para crear ritmos cautivadores.
—Jordi Pujol
https://www.freshsoundrecords.com/luis-rivera-albums/57469-filet-of-soul-las-vegas-2-lp-on-1-cd.html
https://www.freshsoundrecords.com/luis-rivera-albums/57469-filet-of-soul-las-vegas-2-lp-on-1-cd.html

Paul Winter • Count Me In [1962 & 1963]

 

John Hardee with Tiny Grimes • Bad Man's Blues

 

Swing Couture • Don't panic!

Una joven banda de jazz de San Petersburgo combinó los términos de dos idiomas, inglés y francés, lo que, de hecho, es bastante orgánico, dado que Nueva Orleans, que es venerada por muchos como la patria del jazz, fue y es una ciudad donde ambos idiomas viven de manera bastante orgánica. Y ambos términos han entrado en los otros idiomas en su sonido original.
https://jazzquad.ru/index.pl?act=PRODUCT&id=1215.

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A young jazz band from St. Petersburg combined the terms of two languages, English and French, which, in fact, is quite organic, given that New Orleans, which is revered by many as the homeland of jazz, was and is a city where both these languages live quite organically. And both terms have entered the other languages in their original sound.
https://jazzquad.ru/index.pl?act=PRODUCT&id=1215.

Better Git It in Your Soul: An Interpretive Biography of Charles Mingus

 

 

Charles Mingus is one of the most important—and most mythologized—composers and performers in jazz history. Classically trained and of mixed race, he was an outspoken innovator as well as a bandleader, composer, producer, and record-label owner. His vivid autobiography, Beneath the Underdog, has done much to shape the image of Mingus as something of a wild man: idiosyncratic musical genius with a penchant for skirt-chasing and violent outbursts. But, as the autobiography reveals, he was also a hopeless romantic. After exploring the most important events in Mingus’s life, Krin Gabbard takes a careful look at Mingus as a writer as well as a composer and musician. He digs into how and why Mingus chose to do so much self-analysis, how he worked to craft his racial identity in a world that saw him simply as “black,” and how his mental and physical health problems shaped his career. Gabbard sets aside the myth-making and convincingly argues that Charles Mingus created a unique language of emotions—and not just in music. Capturing many essential moments in jazz history anew, Better Git It in Your Soul will fascinate anyone who cares about jazz, African American history, and the artist’s life.

 

Krin Gabbard (Autor)  

 

As Serious As Your Life: Black Music and the Free Jazz Revolution, 1957–1977

 

In this classic account of the new black music of the 1960s and 70s, celebrated photographer and jazz historian Val Wilmer tells the story of how a generation of revolutionary musicians established black music as the true vanguard of American culture. Placing the achievements of African-American artists such as Albert Ayler, Ornette Coleman, John Coltrane and Sun Ra in their broader political and social context, Wilmer evokes an era of extraordinary innovation and experimentation that continues to inspire musicians today. As vital now as when it was first published in 1977, As Serious As Your Life is the essential story of one of the most dynamic musical movements of the twentieth century.

 

Val Wilmer (Autor) 

 

On Some Faraway Beach: The Life and Times of Brian Eno

 

 

Few record collections remain untouched by Brian Eno’s aesthetic DNA: from ambient soundscapes and world-music hybrids to cut ’n’ paste vocal samples and amniotic chill-out rooms, Eno is all around us. A sonic alchemist to the stars, his address book is a veritable who’s who of rock and his credit adorns an outrageous number of albums. Tellingly, Eno’s work with Roxy Music, David Bowie, Talking Heads, Devo, U2, and Coldplay has coincided with those artists producing their most critically revered work. On Some Faraway Beach is the first serious, critical examination of the life and times of Brian Eno. David Sheppard has interviewed key collaborators like David Byrne, Robert Wyatt, John Cale, Bryan Ferry, and Gavin Bryars. But more importantly, Sheppard has had considerable assistance and input from Brian and Anthea Eno themselves, while retaining an edge and independence in keeping with his subject.

 

David Sheppard (Autor)