Billy Preston • Encouraging Words

 

Review by Bruce Eder
Encouraging Words was about as fine an album as Apple Records ever issued by anyone who wasn't a member of the Beatles, and it's also better than many of the Apple albums issued by the ex-bandmembers; but it's also among the most obscure of any album that the label ever issued by a major artist -- without a hit single to drive its sales, the LP never did more than brush the very bottom of the charts, and it was quickly lost amid the financial collapse of the label and the implosion of the Beatles' business ventures; even many Billy Preston fans never had a chance to find out it was there, obscured as it was by his subsequent chart success with "Outta Space" on the A&M label. A bold and searing effort mixing gospel, soul, and rock sounds about as well as any record cut that year, Encouraging Words lived up its killer musical pedigree, partly an offshoot of the evolution of the Let It Be and All Things Must Pass albums, and of sessions that Preston and George Harrison had produced for Doris Troy; but it also picked up where Preston's playing for Ray Charles had left off in 1968. The surging, soaring blues "The Same Thing Again," and the driving rocker "You've Been Acting Strange," both Preston originals, were worth the price of the album, but for those requiring familiar fare, Preston's renditions of "My Sweet Lord," "All Things (Must) Pass," and "I've Got a Feeling" are here too, the first two as stunning gospel numbers (the second with some gorgeous jazz and classical embellishments) that make the Harrison versions seem pallid; and the latter a delightfully funky rendition that makes the Beatles' recording sound like a classy demo; and for truly, delightfully strange sound amalgams, "Sing One for the Lord" manages to couple soaring gospel with some loud lead guitar and a piano part derived from Tchaikovsky (at least according to the annotator -- this reviewer would have said Grieg). [The 2010 reissue of Encouraging Words was remastered by the same Abbey Road team who remastered the acclaimed 2009 Beatles reissues and was expanded by three bonus tracks: the previously uneleased “How Long Has the Train Been Gone,” the scrapped B-side “As Long As I’ve Got My Baby” and “All That I’ve Got (I’m Gonna Give To You),” cowritten by Doris Troy.] 
https://www.allmusic.com/album/encouraging-words-mw0000618856

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Reseña de Bruce Eder
Encouraging Words fue uno de los mejores álbumes que Apple Records publicó de alguien que no fuera miembro de los Beatles, y también es mejor que muchos de los álbumes de Apple publicados por los exmiembros de la banda; pero también es uno de los álbumes más desconocidos que el sello discográfico publicó de un artista importante: sin un sencillo de éxito que impulsara sus ventas, el LP nunca pasó de rozar la parte más baja de las listas y se perdió rápidamente entre el colapso financiero del sello y la implosión de los negocios de los Beatles; incluso muchos fans de Billy Preston nunca tuvieron la oportunidad de descubrirlo, ya que quedó eclipsado por su posterior éxito en las listas con «Outta Space», publicado por el sello A&M. Encouraging Words, un trabajo audaz y conmovedor que mezcla gospel, soul y rock tan bien como cualquier otro disco grabado ese año, estuvo a la altura de su impresionante pedigrí musical, en parte como resultado de la evolución de los álbumes Let It Be y All Things Must Pass, y de las sesiones que Preston y George Harrison habían producido para Doris Troy; pero también retomó el trabajo que Preston había dejado en 1968 cuando tocaba para Ray Charles. El blues arrebatador y vertiginoso «The Same Thing Again» y el rockero «You've Been Acting Strange», ambos originales de Preston, ya valían el precio del álbum, pero para aquellos que buscaban temas más familiares, las versiones de Preston de «My Sweet Lord», «All Things (Must) Pass» y «I've Got a Feeling» también están aquí, las dos primeras como impresionantes temas gospel (la segunda con algunos magníficos adornos jazzísticos y clásicos) que hacen palidecer las versiones de Harrison; y la última, una interpretación deliciosamente funky que hace que la grabación de los Beatles suene como una elegante demo; y para amalgamas sonoras verdaderamente deliciosas y extrañas, «Sing One for the Lord» consigue combinar un gospel ascendente con una guitarra solista potente y una parte de piano derivada de Tchaikovsky (al menos según el comentarista; este crítico habría dicho Grieg). [La reedición de 2010 de Encouraging Words fue remasterizada por el mismo equipo de Abbey Road que remasterizó las aclamadas reediciones de los Beatles de 2009 y se amplió con tres temas extra: el inédito «How Long Has the Train Been Gone», la cara B descartada «As Long As I've Got My Baby» y «All That I've Got (I'm Gonna Give To You)», coescrita por Doris Troy]. 
https://www.allmusic.com/album/encouraging-words-mw0000618856

Bill Mobley • MoodScape

 

A major magazine's annual jazz awards poll used to incorporate a category called: "Talent Deserving Wider Recognition." If there ever was an under-the-radar talent worthy of that award, trumpeter Bill Mobley (prounounced mobb-lee) is 2008's winner hands down. And based upon his superb playing and composing/arranging efforts here, Moodscape could be the vehicle to launch Mobley towards that well-deserved wider recognition.

Mobley, well respected among musicians but sorely under-exposed, puts it all on the line in this terrific CD. Right from his entrance on Ray Noble's "The Touch of Your Lips," he invites you to be caressed by his beautiful, warm tone and subtle articulations. Pianist Mulgrew Miller, he of the magnificent touch—and another artist deserving wider exposure—comps and stretches out with taste and command. "This Is The End Of A Beautiful Friendship" swings with a very pleasant "Time After Time" feel. Here Mobley's trumpet covers the standard's changes with a lyric, no-cliches feel and with gymnastic improvisational surprise. Bassist Robert Hurst's gentle push and drummer Eric Harland's tasteful, yet never overbearing cymbal work are both an absolute treat. Miller's solo work on the cut is worthy of, well, take it both ways, an "Oscar."

On Jimmy Dorsey's beautiful "I'm Glad There Is You," Mobley's tone is simply beautiful, expressive and vocal. His spare vibrato ripples shades of classic Miles Davis. Seductive. Miller and team interplay and support without stepping on toes.

The late, great trumpeter Lee Morgan was a wonderful, creative tunesmith and spectacular performer. Mobley follows in this trumpeter/composer tradition with the interesting offerings, "The Hymnotist" and "Time Riff." As he does across the disc, Mobley shows ability to work some terrific rhythmic variety in his solo work on both his composed charts. Check out Miller's solo on "Time Riff" and Harland's Roach-like solo there as well. Exquisite stuff.

Mobley delivers Duke Ellington's "Prelude To A Kiss" simply beautifully, beautifully simple. The late trumpeter Clifford Brown would have dug Mobley's playing here.

Although Mobley and crew perform it in a swinging style after a tasty rubato solo intro, "For Once In My Life," the Stevie Wonder hit, is the weak entry here. It's a bit too "club date-ish" when juxtaposed with the other terrific selections presented on the CD. Perhaps if the selection sequence were different, it might not stand out so. Horserace brushes scoot you from the gate on "You and the Night and the Music." Mobley's Harmon-muted solo scampers crystal clean and is reminiscent of the speed and clarity—and inventiveness—of the wizard of "speed clean harmonizing," Clark Terry.

"Eastern Star," the final track, is a Mobley composition, dedicated to the late, great pianist James Williams, with whom both Mobley and Miller played in Memphis. Miller's dream-like intro sets the stage for Mobley's dark, expressive, meditative melody. Harland's cymbal and drum work adds exotic flair.

The production values are fine here as well. The recording is superb. Interestingly, there are no liner notes to distract or inform you (you certainly won't need them), only session photos.

Overall, Mobley's work is highly impressive and intriguing here. New listeners will probably be encouraged to check out Mobley's other efforts. Here's an exciting trumpeter blipping and bebopping his way smack onto jazz radar screens. It's certainly about time—and talent. Four and half stars. 
By Nicholas F. Mondello
June 20, 2008 
https://www.allaboutjazz.com/bill-mobley-moodscape-by-nicholas-f-mondello

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La encuesta anual sobre premios de jazz de una importante revista solía incluir una categoría llamada «Talento que merece un mayor reconocimiento». Si alguna vez ha habido un talento desconocido que mereciera ese premio, el trompetista Bill Mobley (pronunciado mobb-lee) es sin duda el ganador de 2008. Y, basándonos en su magnífica interpretación y en sus esfuerzos como compositor y arreglista, Moodscape podría ser el vehículo que impulse a Mobley hacia ese merecido reconocimiento más amplio.

Mobley, muy respetado entre los músicos pero muy poco conocido, lo da todo en este fantástico CD. Desde su entrada en «The Touch of Your Lips», de Ray Noble, te invita a dejarte acariciar por su hermoso y cálido tono y sus sutiles articulaciones. El pianista Mulgrew Miller, de magnífico toque —y otro artista que merece una mayor exposición— acompaña y se extiende con gusto y dominio. «This Is The End Of A Beautiful Friendship» suena con un agradable aire a «Time After Time». Aquí, la trompeta de Mobley cubre los cambios del estándar con un aire lírico, sin clichés y con una sorpresa gimnástica en la improvisación. El suave empuje del bajista Robert Hurst y el trabajo de los platillos del baterista Eric Harland, elegante pero nunca dominante, son una auténtica delicia. El solo de Miller en este tema es digno de, bueno, tomarlo en ambos sentidos, un «Oscar».

En la hermosa «I'm Glad There Is You» de Jimmy Dorsey, el tono de Mobley es simplemente hermoso, expresivo y vocal. Su vibrato sobrio evoca matices del clásico Miles Davis. Seductor. Miller y su equipo interactúan y se apoyan sin pisarse los unos a los otros.

El difunto y gran trompetista Lee Morgan era un compositor maravilloso y creativo, además de un intérprete espectacular. Mobley sigue la tradición de este trompetista y compositor con las interesantes propuestas «The Hymnotist» y «Time Riff». Como hace a lo largo de todo el disco, Mobley demuestra su capacidad para trabajar con una variedad rítmica formidable en sus solos en ambas composiciones. No te pierdas el solo de Miller en «Time Riff» y el solo de Harland, muy al estilo de Roach. Exquisito.

Mobley interpreta «Prelude To A Kiss» de Duke Ellington de una forma sencillamente hermosa, hermosa y sencilla. Al difunto trompetista Clifford Brown le habría encantado la interpretación de Mobley aquí.

Aunque Mobley y su equipo la interpretan con un estilo swing tras una sabrosa introducción en solitario con rubato, «For Once In My Life», el éxito de Stevie Wonder, es la pieza más floja del álbum. Resulta un poco demasiado «club date» cuando se compara con las otras magníficas selecciones que se presentan en el CD. Quizás si la secuencia de selección fuera diferente, no destacaría tanto. Las escobillas de Horserace te sacan de la puerta en «You and the Night and the Music». El solo con sordina Harmon de Mobley es cristalino y recuerda la velocidad, la claridad y la inventiva del mago de la «armonización rápida y limpia», Clark Terry.

«Eastern Star», la última pista, es una composición de Mobley dedicada al difunto y gran pianista James Williams, con quien tanto Mobley como Miller tocaron en Memphis. La introducción onírica de Miller prepara el escenario para la melodía oscura, expresiva y meditativa de Mobley. El trabajo de Harland con los platillos y la batería añade un toque exótico.

Los valores de producción también son buenos aquí. La grabación es magnífica. Curiosamente, no hay notas discográficas que distraigan o informen (sin duda, no las necesitarás), solo fotos de la sesión.

En general, el trabajo de Mobley es muy impresionante e intrigante. Probablemente, los nuevos oyentes se animarán a escuchar otros trabajos de Mobley. Aquí tenemos a un trompetista emocionante que se abre paso a base de blipping y bebop en las pantallas de radar del jazz. Sin duda, ya era hora, y tiene talento. Cuatro estrellas y media. 
Por Nicholas F. Mondello.
20 de junio de 2008. 
https://www.allaboutjazz.com/bill-mobley-moodscape-by-nicholas-f-mondello



www.billmobley.net ...

Wilbur Ware • The Chicago Sound

 

Wilbur Bernard Ware (8 de septiembre de 1923, Chicago, Illinois, Estados Unidos – 9 de septiembre de 1979, Filadelfia, Pensilvania, Estados Unidos), fue un contrabajista de jazz estadounidense y bajista habitual del sello discográfico «Riverside» en la década de 1950. Su pertenencia a esa casa discográfica, le permitió tocar y grabar regularmente en esa década con algunos de los mejores músicos de jazz de la época, como: Johnny Griffin, Kenny Dorham, Kenny Drew, J.R. Monterose, Toots Thielemans, Sonny Clark, Tina Brooks, Zoot Sims y Grant Green y Thelonious Monk, entre otros. En gran parte autodidacta, Ware tenía un enfoque del bajo poco ortodoxo pero muy singular y de percusión.

Wilbur Ware creció en Chicago, donde aprendió por sí mismo a tocar la batería, el banjo y el bajo mientras tocaba en la iglesia. En la década de 1940, trabajó con Stuff Smith, Sonny Stitt y Roy Eldridge. Grabó con Sun Ra a principios de la década de 1950, y más tarde, en la década de 1950, tras establecerse en la ciudad de Nueva York, tocó con Eddie Vinson, Art Blakey y Buddy DeFranco. Su único álbum grabado como líder y lanzado durante su vida fue «The Chicago Sound», de 1957 cuando trabajaba para Riverside. Hizo álbumes instructivos de jazz para Music Minus One. En 1958, Wilbur Ware fue uno de los 57 músicos de jazz que aparecieron en la famosa fotografía de Art Kane, titulada: «Un gran día en Harlem».

Ware fue miembro del cuarteto de Thelonious Monk de 1957 a 1958, y uno de sus álbumes más famosos fue formado parte del trío con el que Sonny Rollins, actuó y grabó en 1957 en el Village Vanguard de New York. Como tantos otros músicos de aquella época, Wilbur Ware tenía adición a los narcóticos, lo que provocó la interrupción de su carrera entre 1963 y 1969. Tras salir de prisión Wilbur Ware retomó con fuerza su carrera profesional y tocó con Clifford Jordan, Elvin Jones y Sonny Rollins. Murió de enfisema en Filadelfia, Pensilvania, en 1979.​
https://apoloybaco.com/jazz/wilbur-ware/

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Wilbur Bernard Ware (9 September 1923, Chicago, Illinois, United States – 9 September 1979, Philadelphia, Pennsylvania, United States) was an American jazz double bassist and regular bassist for the Riverside record label in the 1950s. His affiliation with that record label allowed him to play and record regularly during that decade with some of the best jazz musicians of the time, such as Johnny Griffin, Kenny Dorham, Kenny Drew, J.R. Monterose, Toots Thielemans, Sonny Clark, Tina Brooks, Zoot Sims, Grant Green, and Thelonious Monk, among others. Largely self-taught, Ware had an unorthodox but very unique and percussive approach to the bass.

Wilbur Ware grew up in Chicago, where he taught himself to play the drums, banjo, and bass while playing in church. In the 1940s, he worked with Stuff Smith, Sonny Stitt, and Roy Eldridge. He recorded with Sun Ra in the early 1950s, and later in the 1950s, after settling in New York City, he played with Eddie Vinson, Art Blakey, and Buddy DeFranco. His only album recorded as a leader and released during his lifetime was 1957's The Chicago Sound, when he was working for Riverside. He made instructional jazz albums for Music Minus One. In 1958, Wilbur Ware was one of 57 jazz musicians who appeared in Art Kane's famous photograph, entitled “A Great Day in Harlem”.

Ware was a member of Thelonious Monk's quartet from 1957 to 1958, and one of his most famous albums was part of the trio with which Sonny Rollins performed and recorded in 1957 at the Village Vanguard in New York. Like so many other musicians of that era, Wilbur Ware was addicted to narcotics, which caused his career to be interrupted between 1963 and 1969. After leaving prison, Wilbur Ware resumed his professional career with vigour and played with Clifford Jordan, Elvin Jones and Sonny Rollins. He died of emphysema in Philadelphia, Pennsylvania, in 1979.

https://apoloybaco.com/jazz/wilbur-ware/


 

Svend Asmussen • Embraceable

Svend Asmussen (born 28 February 1916) is a jazz violinist from Denmark, known as "The Fiddling Viking". A Swing style virtuoso, he played and recorded with many of the greats of Jazz, including Duke Ellington, Benny Goodman and Stephane Grappelli. He played publicly until 2010 when he had an blood clot, his career spanning 8 decades.

Asmussen was born in Copenhagen, Denmark, raised in a musical family, and started taking violin lessons at the age of 7. At age 16 he first heard recordings by jazz violin great Joe Venuti and began to emulate his style. He started working professionally as a violinist, vibraphonist, and singer at age 17, leaving his formal training behind for good. Early in his career he worked in Denmark and on cruise ships with artists such as Josephine Baker and Fats Waller. Asmussen later was greatly influenced by Stuff Smith, whom he met in Denmark. Asmussen played with Valdemar Eiberg and Kjeld Bonfils during World War II, during which time jazz had moved to the underground and served as a form of political protest.

In the late 1950s, Asmussen formed the trio Swe-Danes with singer Alice Babs and guitarist Ulrik Neumann. The group became very popular in Scandinavia for their music hall style entertainment and also toured the United States. Asmussen also worked with Benny Goodman, Lionel Hampton, and Duke Ellington. Asmussen was invited by Ellington to play on his Jazz Violin Session recording in 1963 with Stéphane Grappelli and Ray Nance.

In 1966 Asmussen appeared alongside Grappelli, Stuff Smith, and Jean-Luc Ponty in a jazz Violin Summit in Switzerland that was issued as a live recording. He made an appearance at the 1967 Monterey Jazz Festival, which included a celebrated violin summit with him, Ray Nance and Jean-Luc Ponty. In 1969 he guested on "Snakes in a Hole," an album by the jazz-rock band Made in Sweden. He was still active playing violin at the age of 94. He turned 100 in February 2016.

Asmussen's collection of jazz music, photographs, posters and other material is held in the jazz collections at the University Library of Southern Denmark. Asmussen's son, Claus Asmussen, is a guitar player in Denmark and a former member of the band Shu-Bi-Dua.
Note: Svend passed away in 2017.

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Svend Asmussen (nacido el 28 de febrero de 1916) es un violinista de jazz de Dinamarca, conocido como "The Fiddling Viking". Un virtuoso del estilo Swing, tocó y grabó con muchos de los grandes del Jazz, incluidos Duke Ellington, Benny Goodman y Stephane Grappelli. Jugó públicamente hasta 2010, cuando tuvo un coágulo de sangre, y su carrera abarcó 8 décadas.

Asmussen nació en Copenhague, Dinamarca, se crió en una familia de músicos y comenzó a tomar clases de violín a la edad de 7 años. A los 16 años escuchó por primera vez grabaciones del gran violín de jazz Joe Venuti y comenzó a emular su estilo. Comenzó a trabajar profesionalmente como violinista, vibrafonista y cantante a los 17 años, dejando su entrenamiento formal atrás para siempre. Al principio de su carrera, trabajó en Dinamarca y en cruceros con artistas como Josephine Baker y Fats Waller. Más tarde, Asmussen recibió una gran influencia de Stuff Smith, a quien conoció en Dinamarca. Asmussen jugó con Valdemar Eiberg y Kjeld Bonfils durante la Segunda Guerra Mundial, tiempo durante el cual el jazz se trasladó al metro y sirvió como una forma de protesta política.

A finales de la década de 1950, Asmussen formó el trío Swe-Danes con la cantante Alice Babs y el guitarrista Ulrik Neumann. El grupo se hizo muy popular en Escandinavia por su estilo de entretenimiento musical y también realizó una gira por los Estados Unidos. Asmussen también trabajó con Benny Goodman, Lionel Hampton y Duke Ellington. Asmussen fue invitado por Ellington para tocar en su grabación de Jazz Violin Session en 1963 con Stéphane Grappelli y Ray Nance.

En 1966, Asmussen apareció junto a Grappelli, Stuff Smith y Jean-Luc Ponty en una cumbre de violín de jazz en Suiza que se emitió como una grabación en vivo. Hizo una aparición en el Monterey Jazz Festival de 1967, que incluyó una célebre cumbre de violín con él, Ray Nance y Jean-Luc Ponty. En 1969 participó en "Snakes in a Hole", un álbum de la banda de jazz-rock Made in Sweden. Todavía estaba activo tocando el violín a la edad de 94 años. Cumplió 100 años en febrero de 2016.

La colección de música de jazz, fotografías, carteles y otro material de Asmussen se lleva a cabo en las colecciones de jazz de la Biblioteca de la Universidad del Sur de Dinamarca. El hijo de Asmussen, Claus Asmussen, es un guitarrista en Dinamarca y ex miembro de la banda Shu-Bi-Dua.
Nota: Svend  falleció en 2017.

Bill Haley & His Comets • Saga All Stars R-O-C-K Selected Singles 1954-55

 

Sounds and the City: Popular Music, Place, and Globalization

 

This book draws from a rich history of scholarship about the relations between music and cities, and the global flows between music and urban experience. The contributions in this collection comment on the global city as a nexus of moving people, changing places, and shifting social relations, asking what popular music can tell us about cities, and vice versa. Since the publication of the first Sounds and the City volume, various movements, changes and shifts have amplified debates about globalization. From the waves of people migrating to Europe from the Syrian civil war and other conflict zones, to the 2016 "Brexit" vote to leave the European Union and American presidential election of Donald Trump. These, and other events, appear to have exposed an anti-globalist retreat toward isolationism and a backlash against multiculturalism that has been termed "post-globalization." Amidst this, what of popular music? Does music offer renewed spaces and avenues for public protest, for collective action and resistance? What can the diverse histories, hybridities, and legacies of popular music tell us about the ever-changing relations of people and cities?

 

A Southern Music: The Karnatik Story

 

One of the foremost Karnatik vocalists today, T.M. Krishna writes lucidly and passionately about the form, its history, its problems and where it stands todayT.M. Krishna begins his sweeping exploration of the tradition of Karnatik music with a fundamental question: what is music? Taking nothing for granted and addressing readers from across the spectrum - musicians, musicologists as well as laypeople - Krishna provides a path-breaking overview of south Indian classical music.

 

Bound for Glory: The Hard-Driving, Truth-Telling, Autobiography of America's Great Poet-Folk Singer

 

Woody Guthrie was born in Oklahoma and traveled this whole country over—not by jet or motorcycle, but by boxcar, thumb, and foot. During the journey of discovery that was his life, he composed and sang words and music that have become a national heritage. His songs, however, are but part of his legacy. Behind him Woody Guthrie left a remarkable autobiography that vividly brings to life both his vibrant personality and a vision of America we cannot afford to let die.
 
“Even readers who never heard Woody or his songs will understand the current esteem in which he’s held after reading just a few pages… Always shockingly immediate and real, as if Woody were telling it out loud… A book to make novelists and sociologists jealous.”

 

Oye Como Va!: Hybridity and Identity in Latino Popular Music

 

Listen Up! When the New York-born Tito Puente composed "Oye Como Va!" in the 1960s, his popular song was called "Latin" even though it was a fusion of Afro-Cuban and New York Latino musical influences. A decade later, Carlos Santana, a Mexican immigrant, blended Puente's tune with rock and roll, which brought it to the attention of national audiences. Like Puente and Santana, Latino/a musicians have always blended musics from their homelands with other sounds in our multicultural society, challenging ideas of what "Latin" music is or ought to be. Waves of immigrants further complicate the picture as they continue to bring their distinctive musical styles to the U.S.--from merengue and bachata to cumbia and reggaeton.

In Oye Como Va!, Deborah Pacini Hernandez traces the trajectories of various U.S. Latino musical forms in a globalizing world, examining how the blending of Latin music reflects Latino/a American lives connecting across nations. Exploring the simultaneously powerful, vexing, and stimulating relationship between hybridity, music, and identity, Oye Como Va! asserts that this potent combination is a signature of the U.S. Latino/a experience.

 

Nothin' to Lose: The Making of Kiss

 

An indelible and irresistible portrait of the crucial formative years of the legendary rock band KISS and the music scene they changed forever—culminating with the groundbreaking success of their classic 1975 album Alive! and the smash single "Rock and Roll All Nite"

Including original interviews with: Paul Stanley, Gene Simmons, Ace Frehley, Peter Criss, Bob Seger, Alice Cooper, and Ted Nugent, as well as members of Aerosmith, Black Sabbath, Rush, Slade, Blue Öyster Cult, Mott the Hoople, Journey, REO Speedwagon, Styx, Raspberries, the James Gang, the New York Dolls, Iggy & the Stooges, the Ramones, Suzi Quatro, Argent, and Uriah Heep.

 

 

Klaus Wunderlich • Cuban Hammond

 

 

www.klauswunderlich.de ...

klauswunderlich.com ...

Vincent Van Gogh: 800 imágenes indizadas / 800 indexed images

 

Comprende más de 800 imágenes indizadas por título y año, en archivos jpg de alta calidad.
1,63GB

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It includes more than 800 indexed images per title and year, in high quality jpg files.
1,63GB

Grant Green • Remembering

 

Grant Green • Remembering [LP]

One of the sad stories of jazz Green was dead by 43.  An admirer of Charlie Parker, Green played the guitar in a minimal way avoiding the clutter of chords.  Like Parker he never strays far from blues inflected playing.  It is a pity that he recorded so much with organ players. The purity of his sound and the clarity of his lines are obscured. In a way this pianoless session with Ware and Harewood fits with his playing. Green enjoys the freedom of the sparse backgrounds and takes off on all the pieces, mainly standards.

This is a relaxed session, no histrionics. If there is a criticism the album is a little one paced. However, the listener gets a chance to appreciate the lucidity and invention of Grant’s lines and to realise that the apparent simplicity is not what it seems.  This is about improvisation in its purest sense, the no place to hide sense, the ‘I am not going to blast you with volume or flashy technique sense’. Beautiful standards where you can follow the line of thought, appreciate the nuances of interpretation and admire the structure.

The two Woody’N’You tracks are extras from a session with pianist Sonny Clark. Apparently this was the only time that the guitarist recorded the Dizzy Gillespie piece.

The music is very well packaged and there are two informative essays.

If I could only have one album by Grant Green this would be it.  It has the essence. If you don’t know the work of Grant Green what a good place to start.

Reviewed by Jack Kenny / http://www.jazzviews.net/grant-green-trio---remembering-grant-green.html

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Traducción Automática:

Una de las tristes historias del jazz Green murió a los 43 años. Como admirador de Charlie Parker, Green tocó la guitarra de una manera mínima, evitando el desorden de los acordes. Al igual que Parker, nunca se aleja del blues. Es una pena que haya grabado tanto con los músicos de órgano. La pureza de su sonido y la claridad de sus líneas están oscurecidas. En cierto modo, esta sesión sin piano con Ware y Harewood encaja con su forma de tocar. Green disfruta de la libertad de los fondos dispersos y despega en todas las piezas, principalmente en los estándares.

Esta es una sesión relajada, sin histrionismo. Si hay una crítica el álbum es un poco de ritmo. Sin embargo, el oyente tiene la oportunidad de apreciar la lucidez y la invención de las líneas de Grant y darse cuenta de que la aparente simplicidad no es lo que parece. Se trata de la improvisación en su sentido más puro, el lugar donde no se puede esconder el sentido, el ‘No te voy a sorprender con el sentido del volumen o la técnica llamativa’. Hermosos estándares donde se puede seguir la línea de pensamiento, apreciar los matices de la interpretación y admirar la estructura.

Las dos pistas de Woody’N’You son extras de una sesión con el pianista Sonny Clark. Aparentemente esta fue la única vez que el guitarrista grabó la pieza de Dizzy Gillespie.

La música está muy bien empaquetada y hay dos ensayos informativos.

Si solo pudiera tener un álbum de Grant Green, sería este. Tiene la esencia. Si no conoce el trabajo de Grant Green, es un buen lugar para comenzar.

Revisado por Jack Kenny / http://www.jazzviews.net/grant-green-trio---remembering-grant-green.html

Brian Setzer Orchestra • Boggie Woogie Christmas

  briansetzer.com ...

 

Living Jazz • Quiet Nights

Lee Ritenour • The Best

 

leeritenour.com ...

Colaborador / Contributor:  Ketmokin 

Funk: The Music, The People, and The Rhythm of The One

 

Funk: It's the only musical genre ever to have transformed the nation into a throbbing army of bell-bottomed, hoop-earringed, rainbow-Afro'd warriors on the dance floor. Its rhythms and lyrics turned bleak urban realties inside out with distinctive, danceable, downright irresistable music.

Funk hasn't received the critical attention that rock, jazz, and the blues have-until now. Colorful, intelligent, and in-you-face, Rickey Vincent's Funk celebrates the songs, the musicians, the philosophy, and the meaning of funk. The book spans from the early work of James Brown (the Godfather of Funk) through today, covering funky soul (Stevie Wonder, the Temptations), so-called "black rock" (Jimi Hendrix, Sly and the Family Stone, the Isely Brothers), jazz-funk (Miles Davis, Herbie Hancock), monster funk (Parliament, Funkadelic, Bootsy's Rubber Band), naked funk (Rick James, Gap Band), disco-funk (Chic, K.C. and the Sunshine Band), funky pop (Kook & the Gang, Chaka Khan), P-Funk Hip Hop (Digital Underground, De La Soul), funk-sampling rap (Ice Cube, Dr. Dre), funk rock (Red Hot Chili Peppers, Primus), and more.

Funk tells a vital, vibrant history-the history of a uniquely American music born out of tradition and community, filled with energy, attitude, anger, hope, and an irrepressible spirit.

 

A Century of American Popular Music

 

First Published in 2002. A Century of American Popular Music is an annotated index to over 2,000 of the most popular, best remembered, historically important and otherwise influential and interesting popular music, from the landmark publication of Scott Joplin's Maple Leaf Rag to the latest rap hit. It provides information all in one place that is available no where else: song title, composer, lyricist, publisher, date of copyright and genre. The annotations include, where possible, a discussion of the history of the song, how it was written, who popularized it, notable recordings with their original issue numbers, as well as covers and other versions that helped keep the song in public attention. Also included are indices by composer, publisher and year of publication.

 

Frank Zappa: The Complete Guide to His Music

 

The indispensable consumers guide to the music of Frank Zappa. A thorough analysis of every officially released album by Frank Zappa and The Mothers of Invention, from the groundbreaking albums of the Sixties through Zappa’s experimental, avant-garde work to the most recent posthumous releases.

 

Caribbean Popular Musicː An Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall

Reggae music is more than just steel drum bands on white sand beaches. Its history is rich with culture and evolution, helping to tell the story of Jamaica's past. Due to its depth and extensive coverage, this book is the most complete and up to date encyclopedia about reggae, mento, ska, rocksteady, and dancehall music on the market today. Ideal for reggae lovers and college students studying music, this encyclopedia is comprehensive for high school students and non-music students as well. From Bob Marley to Wayne Wonder, this easy to use encyclopedia contains over 700 entries. Indices in both the front and back of the book make navigating through entries extremely user-friendly. Entries cover singers and songwriters, producers, record labels, and different styles of music that evolved from reggae. Moskowitz truly captures the history and evolution of Jamaican music in this extensive, illuminating encyclopedia, while all the while making it accessible to both high school and college students.

 

RecØrd CØllectØr 25-06 #571

 

recordcollectormag.com... 

Key Depositfiles for 24hs

 

 

 How to activate pass-Gold:
Once registered go to
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“If you have (purchased) a Gold key and wish to activate it, enter it here and click Activate”.

Please, if you already have a DepositFiles pass, refrain from participating to give other blog visitors the opportunity to benefit. 

It is important, and I would appreciate it if whoever is fortunate enough to achieve this would comment that they have done so.

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Cómo activar pass-Gold:
Una vez registrado ira a
https://depositfiles.org/gold/points.php
Al pie de la página web se indica:
"Si usted tiene (ha comprado) una clave Gold y desea activarla, introdúzcala aquí y haga clic en Activar"

Por favor, si ya cuentas con un pase para DepositFiles, abstente de participar para dar oportunidad a otros visitantes del blog de beneficiarse. 

Es importante y agradecería que quien sea el afortunado, que comente que ya lo ha logrado.

 

Jimmy Heath • The Time And The Place

 

Although this 1994 CD looks like a reissue, the music was actually released for the first time 20 years after it was recorded. Jimmy Heath, who is heard here on tenor, alto, soprano and flute, played at his prime throughout the 1970's although he tended to be somewhat overlooked in popularity polls. Heath was stretching himself during the era as can be heard on these obscure pieces; five of his originals plus Kenny Dorham's "No End." Although essentially bop-based, Heath was open to the influences of the avant-garde and fusion and, with a flexible group also including trombonist Curtis Fuller, guitarist Pat Martino, pianist Stanley Cowell, bassist Sam Jones, drummer Billy Higgins and percussionist Mtume, Jimmy Heath consistently takes adventurous yet logical solos. Worth checking out.

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Aunque este CD de 1994 parece una reedición, la música se publicó por primera vez veinte años después de su grabación. Jimmy Heath, al que se escucha aquí con el saxo tenor, alto, soprano y la flauta, tocó en su mejor momento a lo largo de la década de 1970, aunque tendía a pasar algo desapercibido en las encuestas de popularidad. Heath se estaba superando a sí mismo durante esa época, como se puede escuchar en estas piezas poco conocidas: cinco de sus composiciones originales más «No End» de Kenny Dorham. Aunque esencialmente basado en el bop, Heath estaba abierto a las influencias de la vanguardia y la fusión y, con un grupo flexible que también incluía al trombonista Curtis Fuller, al guitarrista Pat Martino, al pianista Stanley Cowell, al bajista Sam Jones, al baterista Billy Higgins y al percusionista Mtume, Jimmy Heath siempre interpreta solos atrevidos pero lógicos. Vale la pena echarle un vistazo.

Antonio Carlos Jobim • Estrada Branca

 

Julie London • Whatever Julie Wants

 

Al Caiola • The Magnificent Seven

 

The Surfaris • Fun City USA & Play

Biography by Richie Unterberger

Glendora, California surf group the Surfaris are remembered for "Wipe Out," the number two 1963 hit that ranks as one of the great rock instrumentals, featuring a classic up-and-down guitar riff and a classic solo drum roll break, both of which were emulated by millions (the number is no exaggeration) of beginning rock & rollers. The band recorded an astonishing number of albums (about half a dozen) and singles in the mid-'60s; the "Wipe Out" follow-up, "Point Panic," was the only one to struggle up to the middle of the charts. More talented than the typical one-shot surf group, the Surfaris' drummer Ron Wilson was praised by session stickman extraordinaire Hal Blaine, and his uninhibited splashing style sounds like a direct ancestor to Keith Moon. He also took the lead vocals on the group's occasional Beach Boys imitations.

https://www.allmusic.com/artist/the-surfaris-mn0000918682/biography

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Biografía de Richie Unterberger

El grupo de surf de Glendora, California, los Surfaris son recordados por "Wipe Out", el éxito número dos de 1963 que se clasifica como uno de los grandes instrumentales de rock, con un riff de guitarra clásico que sube y baja y un solo de batería de break, ambos emulados por millones (el número no es una exageración) de rock & rollers principiantes. La banda grabó un número asombroso de álbumes (alrededor de media docena) y singles a mediados de los 60; el siguiente "Wipe Out", "Point Panic", fue el único que llegó a la mitad de las listas de éxitos. Más talentoso que el típico grupo de surf de un solo golpe, el baterista de los Surfaris Ron Wilson fue elogiado por el extraordinario stickman de sesión Hal Blaine, y su desinhibido estilo splashing suena como un ancestro directo de Keith Moon. También tomó la voz principal en las imitaciones ocasionales de los Beach Boys del grupo.

https://www.allmusic.com/artist/the-surfaris-mn0000918682/biography

 

 

thesurfaris.com ...

 

 

Blowin' the Blues Away: Performance and Meaning on the New York Jazz Scene

 

New York City has always been a mecca in the history of jazz, and in many ways the city’s jazz scene is more important now than ever before. Blowin’ the Blues Away examines how jazz has thrived in New York following its popular resurgence in the 1980s. Using interviews, in-person observation, and analysis of live and recorded events, ethnomusicologist Travis A. Jackson explores both the ways in which various participants in the New York City jazz scene interpret and evaluate performance, and the criteria on which those interpretations and evaluations are based. Through the notes and words of its most accomplished performers and most ardent fans, jazz appears not simply as a musical style, but as a cultural form intimately influenced by and influential upon American concepts of race, place, and spirituality. 

 

 

Sounds Like London 100 Years of Black Music in the Capital

 

An exploration of the influence of immigrant cultures on London's music scene. Music is an essential link to home, celebrating an imported culture, boosting spirits, marking achievements in a new land and, most importantly, strengthening displaced communities.

 

Kraftwerk Publikation a biography

 

Kraftwerk: Publikation is the ultimate biography of the earliest Electronic Dance Music pioneers, available for the first time in the US.

As some of the earliest creators of electronic music, Kraftwerk became the living, performing embodiment of a stripped-down and unique brand of German rock. Records such as Trans-Europe Express, The Man Machine and Computer World were brilliant inventions that owed no debt to the prevailing music trends of their day. They've gone on to inspire the EDM movement that's launched the careers of countless DJs and the wildly popular (and also German) band Daft Punk. With contributions from Wolfgang Flür and Karl Bartos as well as other musicians from the world of electronica, this book offers a fascinating window into the long life of a truly inimitable group.

 

Bach A Musical Biography

 

J. S. Bach composed some of the best-loved and most moving music in Western culture. Surviving mostly in manuscript collections, his music also exists in special and unique publications that reveal much about his life and thoughts as a composer. In this book, Peter Williams, author of the acclaimed J. S. Bach: A Life in Music, revisits Bach's biography through the lens of his music. Reviewing all of Bach's music chronologically, Williams discusses the music collection by collection to reveal the development of Bach's interests and priorities. While a great deal has been written about the composer's vocal works, Williams gives the keyboard music its proper emphasis, revealing it as crucial to Bach's biography, as a young organist and a mature composer, as a performer in public and teacher in private, and as a profound thinker in the language of music.

 

Cadáveres bien parecidos (La crónica negra del rock)

Desde la década de los años 50, segunda mitad del siglo XX (comenzando en 1954), la música Rock ha ido evolucionando de un momento a otro desde un momento mágico a uno fascinante. Cuando vamos a un concierto de Rock somos testigos de lo más externo y superfluo que el cantante demuestra frente al escenario, si eres de los que aman la música Rock sentirás una sensación de placer, de adrenalina en dosis total; participamos del shock ya que somos parte del escenario.

Sin embargo, no todo es alegría y bonito en el Rock, ya que varios artistas y/o estrellas han muerto en el camino, desde Jim Morrison, Jonh Lennon hasta Jonh Bonham. La vida de los artistas no fue fácil y, sin embargo la mayoría de los jóvenes firmaría ahora en blanco por llegar a lo más alto sin importar las consecuencias que esto les pueda causar.

El Rock muchos lo consideran violento y destructivo pero no es así. Cada generación se ha ido sumergiendo más en la música en la búsqueda de una identidad propia, ya que desde los años 50 la música ha sido como un espejo social.

El Rock por lo tanto es rapidez nervio, un desgarro automático que puede conducir al éxtasis o a la derrota, y también las dos cosas a la vez. La historia del Rock tiene casos muy extremos tanto de éxitos prematuros como de las muertes mas impactantes de la historia; jóvenes que con 20 años ya lo han hecho todo pero cuando llegan a los 30 o 40 años ya no tienen idea de que hacer con sus vidas, que no han resistido con el paso del tiempo y el olvido. Pero la música Rock no es la culpable sino los medios.

Va pasando el tiempo, y conociendo mucho tiempo a la mayoría de los grandes artistas, de admirar y respetar unos y de rechazar a algunos. No se puede juzgar nada desde el exterior, pero lo mas evidente es que hay una historia que contar de todos aquellos jóvenes que pudieron lograr su éxito pero cayeron o los que no pudieron lograr su exito y cayeron. Cuando un ídolo del Rock muere automáticamente puebla en las mentes de sus seguidores de miles de respuestas.

<<Vive de prisa, muérete joven, y así tendrás un cadáver bien parecido>> – Mick Jagger

<<No hay futuro>> – Punks

Así que cada muerte en el Rock es una clave. Para aquellas personas que vivieron de cerca esa muerte sintieron un chispazo que electrificó su vida, pero para aquellas personas que no saben nada respecto al Rock esa muerte es la que despierta sus más profundas sospechas sobre la peligrosidad social de la música, pero también les llego a sorprender la búsqueda que las personas hacían por encontrar una identidad.

En el paso del tiempo como ya mencione antes hubo ídolos que simplemente resultaron fallecidos por ya sea suicidios o homicidios, como es el caso de Jonh Lennon que termino asesinado por un disparo de arma blanca o, como es el caso de Kurt Cobain (líder de la banda NIRVANA) que termino suicidándose a causa de que su vida no fue fácil, o el caso de otro artista (no recuerdo su nombre) en el que un día con su banda se pusieron a jugar a la Ruleta Rusa, en el turno del artista mencionado se esperó que la suerte estuviera de su lado pero lamentablemente la suerte no estuvo de su lado y termino disparándose en la cabeza. Y mas se cuenta de aquellos artistas /estrellas que lamentablemente perdieron sus vidas en el transcurso del tiempo, pero que siempre los recordaremos.

Este libro lo recomiendo para aquellos amantes de la música, para que sepan sobre como sucedieron las muertes de los ídolos y para que se entretengan un rato.

https://cronicanegradelrock.wordpress.com/resumen-del-libro-cadaveres-bien-parecidos-la-cronica-negra-del-rock/

Paul Desmond-Gerry Mulligan • Two of A Mind

 

Paul Smith-Ray Brown-Louis Bellson • The Jazz Trio

 

Charlie Barden and the Dan Leonard Trio

 

Lewinsky Quartet • Omnipotent

www.challengerecords.com ...

Herbert Noord, Rinus Groeneveld, Pierre Van Der Linden • Explosion Extra Ordinaire

 

Interview from www.cliffordallen:
Organist Herbert Noord (b. July 26, 1943 in Amsterdam) is not a household name among followers of European jazz, but his contributions to modern creative music in Holland are well worth taking note of. He’s probably best known for appearing on the equally rare and excellent Soulbrass, Inc. record Live at the Bohemia Jazzclub (released by Stichting Jazz Werkgroep in 1969), with Hans Dulfer (tenor sax), Henk van Es (baritone sax), Arjen Gorter (bass), Rob Kattenburg (drums), and Steve Boston (congas). He also occupied the organ chair in the one-off  ‘free fusion’ album Five Times Six (Cat Jazz, 1974) and has recorded with American saxophonist Harvey Kaiser and his countrymen Rinus Groeneveld and Fred Leeflang. Though retired from professional gigging, he has been convening informal sessions at the so-called “Hammond Cheese Warehouse” (a loft in a cheese warehouse) and posting the sonic results to YouTube (spoiler: they are heavy sessions).  He also wrote an autobiography called Hammonditis, (2013) which at this point is only printed in Dutch... Complete Interview  https://www.cliffordallen.me/interviews/an-interview-with-organist-herbert-noord

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Entrevista de www.cliffordallen:
El organista Herbert Noord (nacido el 26 de julio de 1943 en Amsterdam) no es un nombre muy conocido entre los seguidores del jazz europeo, pero vale la pena tomar nota de sus contribuciones a la música creativa moderna en Holanda. Probablemente es más conocido por aparecer en el igualmente raro y excelente disco de Soulbrass, Inc. Live at the Bohemia Jazzclub (publicado por Stichting Jazz Werkgroep en 1969), con Hans Dulfer (saxo tenor), Henk van Es (saxo barítono), Arjen Gorter (bajo), Rob Kattenburg (batería) y Steve Boston (congas). También ocupó la silla de órgano en el disco único de "fusión libre" Five Times Six (Cat Jazz, 1974) y ha grabado con el saxofonista estadounidense Harvey Kaiser y sus compatriotas Rinus Groeneveld y Fred Leeflang. Aunque retirado de los conciertos profesionales, ha estado convocando sesiones informales en el llamado "Hammond Cheese Warehouse" (un loft en un almacén de quesos) y publicando los resultados sónicos en YouTube (spoiler: son sesiones pesadas).  También escribió una autobiografía llamada Hammonditis, (2013) que por el momento sólo está impresa en holandés... Entrevista completa en Ingles: https://www.cliffordallen.me/interviews/an-interview-with-organist-herbert-noord

more:
https://www.hammondclub.nl/nl/menu/Muziek/Hammond-Organisten/Organisten-M-S/Herbert-Noord
https://www.advancedwarning.nl/bio_eng_int_hn.html

Jazz and Justice: Racism and the Political Economy of the Music

 

The music we call “jazz” arose in late nineteenth century North America―most likely in New Orleans―based on the musical traditions of Africans, newly freed from slavery. Grounded in the music known as the “blues,” which expressed the pain, sufferings, and hopes of Black folk then pulverized by Jim Crow, this new music entered the world via the instruments that had been abandoned by departing military bands after the Civil War. Jazz and Justice examines the economic, social, and political forces that shaped this music into a phenomenal US―and Black American―contribution to global arts and culture.

Horne assembles a galvanic story depicting what may have been the era’s most virulent economic―and racist―exploitation, as jazz musicians battled organized crime, the Ku Klux Klan, and other variously malignant forces dominating the nightclub scene where jazz became known. Horne pays particular attention to women artists, such as pianist Mary Lou Williams and trombonist Melba Liston, and limns the contributions of musicians with Native American roots. This is the story of a beautiful lotus, growing from the filth of the crassest form of human immiseration. 

 

Gerald Horne (Autor)  

 

Jazz, Rock, and Rebels Cold War Politics and American Culture in a Divided Germany

 

 

In the two decades after World War II, Germans on both sides of the iron curtain fought vehemently over American cultural imports. Uta G. Poiger traces how westerns, jeans, jazz, rock 'n' roll, and stars like Marlon Brando or Elvis Presley reached adolescents in both Germanies, who eagerly adopted the new styles. Poiger reveals that East and West German authorities deployed gender and racial norms to contain Americanized youth cultures in their own territories and to carry on the ideological Cold War battle with each other. Poiger's lively account is based on an impressive array of sources, ranging from films, newspapers, and contemporary sociological studies, to German and U.S. archival materials.

Jazz, Rock, and Rebels examines diverging responses to American culture in East and West Germany by linking these to changes in social science research, political cultures, state institutions, and international alliance systems. In the first two decades of the Cold War, consumer culture became a way to delineate the boundaries between East and West. This pathbreaking study, the first comparative cultural history of the two Germanies, sheds new light on the legacy of Weimar and National Socialism, on gender and race relations in Europe, and on Americanization and the Cold War. 

 

Uta G. Poiger (Autor)  

 

Cured, La historia de dos chicos Creativos

 

Las memorias definitivas de uno de los fundadores de The Cure, banda mítica y de culto. "En nuestro primer día de clase, Robert y yo estuvimos en la parada designada en Hevers Avenue con nuestras madres, y fue entonces cuando nos conocimos por primera vez." Así comenzó una amistad de por vida que catorce años más tarde daría lugar a la formación de The Cure, la banda post-punk por excelencia cuyos álbumes —como Three Imaginary Boys, Pornography y Kiss Me, Kiss Me, Kiss Me— permanecen entre los más influyentes de todos los tiempos.Atendiendo al principio al nombre de The Easy Cure, comenzaron a tocar en pubs y pronto desarrollaron un estilo y enfoque propios para componer canciones, que cristalizarían, con el tiempo, en temas atemporales que despertaron un profundo sentido de identificación y empatía en los oyentes. La música de The Cure no sólo era directa, sino también profundamente subversiva, desafiando las nociones convencionales de la música pop y los roles de género, al tiempo que inspiraba a una generación de fans devotos y una revolución en el estilo. "Biografía de rock por un lado y advertencia vital por el otro, Cured se considerará el mejor libro de rock en algún momento." Washington Times"Una historia hermosa y emocionante de amistad, pérdida, lucha contra demonios y redención." AXS"Para leer compulsivamente. Una fascinante crónica [...] no solo de la amistad única de dos niños, sino también de una era de la música increíblemente importante." Yahoo Music 

 

The Clash: The Only Band That Mattered

 

When considered in a broader social context, The Clash stand as one of the most important musical acts in rock history. Original punks who transcended the music’s minimalist origins, The Clash lived and breathed the idea that they could change the world with their art.

In The Clash: The Only Band That Mattered, respected music critic Sean Egan examines The Clash’s career and art through the prism of the uniquely interesting and fractious UK politics of the 1970s and ’80s, without which they simply would not have existed. Tackling such subjects as The Clash’s self-conscious tussles with their record label, the accusations of selling out that dogged their footsteps, their rivalry with the similarly leaning but less purist Jam, the paradoxical quality of their achieving multiplatinum success, and even whether their denunciations of Thatcherism were proven wrong, Egan has come up with new insights into a much discussed group. Clash fans, Clash haters, social historians, and political students will all find themselves entertained by his thought-provoking conclusions.

 

Sean Egan (Autor)