Sadao Watanabe • Hope For Tomorrow

 

Live jazz album by Japanese alto saxophonist Sadao Watanabe featuring a long-standing rhythm section with added strings, recorded during the Hope – Sadao Watanabe with Strings tour in December 2024 at multiple Japanese concert halls and released in 2025. The set blends Watanabe originals with jazz standards and bossa nova repertoire.

VA • Shazam! and Other Instrumentals Written by Lee Hazlewood

One of the many hats worn by Lee Hazlewood is that of rock & roll instrumental pioneer. Working with guitarist Duane Eddy, he created a moving, grooving sound suited for wide screens and wide-open deserts, and soon their hits reverberated out from the pair's home base of Phoenix, Arizona, causing surf rock waves in Southern California and hot rod ravers elsewhere. Ace's 2016 compilation Shazam! collects 24 of these instrumentals, all written by Hazlewood and many produced by the pop maverick, too. Hazlewood had a cinematic ear rivaled only by arranger Jack Nitzsche and, unsurprisingly, they're responsible for the best moments here: singles that play as if all the splendor of a B movie were condensed into a 7" single. Compared to that, the cheerful, generic surfers can't help but pale, but even knockoffs of Eddy hits by the Rhythm Rockers and the Lively Ones showcase Hazlewood's knack for melodramatic melodies. Still, Shazam! is the most fun when it's overheated: when the studio orchestras swing with a smirk and the brass smears the tune, knowing that the feel itself is the hook.

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Uno de los muchos sombreros que usa Lee Hazlewood es el de pionero instrumental de rock & roll. Trabajando con el guitarrista Duane Eddy, creó un sonido conmovedor y groovedor adecuado para pantallas anchas y desiertos abiertos, y pronto sus éxitos reverberaron desde la base de operaciones del par en Phoenix, Arizona, causando olas de surf rock en el sur de California y ravers de hot rod en otros lugares. La compilación Shazam! de Ace para el 2016 recoge 24 de estos instrumentos, todos escritos por Hazlewood y muchos producidos por el inconformista pop, también. Hazlewood tenía un oído cinematográfico que sólo rivalizaba con el arreglista Jack Nitzsche y, como no podía ser de otra manera, son responsables de los mejores momentos aquí: sencillos que tocan como si todo el esplendor de una película de serie B se condensara en un sencillo de 7". En comparación con eso, los alegres y genéricos surfistas no pueden evitar palidecer, pero incluso las imitaciones de los éxitos de Eddy de los Rhythm Rockers y los Lively Ones muestran el don de Hazlewood para las melodías melodramáticas. Sin embargo, Shazam! es lo más divertido cuando está sobrecalentado: cuando las orquestas de estudio se balancean con una sonrisa y los metales embadurnan la melodía, sabiendo que el sentimiento en sí es el gancho. 

Shorty Rogers • Courts The Count

 

Courts The Count is a West Coast jazz album led by trumpeter and arranger Shorty Rogers. The record pays tribute to the music and spirit of Count Basie through cool jazz arrangements performed by a small ensemble of top Los Angeles session musicians. The album blends swing, blues, and modern jazz with Rogers’ distinctive arranging style. The 2014 edition presents the complete original album program.

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Courts The Count es un álbum de jazz de la Costa Oeste dirigido por el trompetista y arreglista Shorty Rogers. El disco rinde homenaje a la música y el espíritu de Count Basie a través de arreglos de jazz geniales interpretados por un pequeño conjunto de los mejores músicos de sesión de Los Ángeles. El álbum combina swing, blues y jazz moderno con el distintivo estilo de arreglos de Rogers. La edición de 2014 presenta el programa completo del álbum original.

The Tony Williams Lifetime • Ego

 

Review
by Stewart Mason  
Easily the weirdest record the Tony Williams Lifetime ever released, 1971's Ego is an experimental blend of post-hard bop jazz and the spacier end of psychedelic rock. Larry Young's wafting organ parts and Ted Dunbar's rockist guitar (as opposed to the more traditional jazz bent of the guy he replaced, John McLaughin) combine to make parts of the album sound like Atom Heart Mother-era Pink Floyd, particularly on "There Comes a Time" and "Lonesome Wells (Gwendy Trio)." Unfortunately, both of those tracks are bogged down by Williams' own earnest and not terribly inspired verses. The best tracks are those that dispense with the lyrical claptrap -- the liner notes are also a terribly dated hoot -- and get down to the creation of some roiling atmospheres and powerful group improvisation. In that regard, things really pick up at the end, with the ghostly "Mom and Dad" and the cacophonous closer "Urchins of Shermese," on which Williams splits the narcoleptic mood of the introduction with some of his most fractured and arrhythmic fills ever, while simultaneously maintaining a groove that's typically snaky and propulsive. Drum geeks will particularly adore the two brief solo pieces, "Clap City" and "Some Hip Drum Shit," which are both technically impressive and short enough not to get dull. Solid jazz-rock, from the days before fusion got painfully dull.
https://www.allmusic.com/album/ego-mw0000048154

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Revisión
por Stewart Mason  
Fácilmente el disco más extraño que Tony Williams Lifetime haya lanzado, Ego de 1971 es una mezcla experimental de jazz bop post-duro y el extremo más espacial del rock psicodélico. Las partes de órgano flotantes de Larry Young y la guitarra rockera de Ted Dunbar (a diferencia de la inclinación jazzística más tradicional del tipo al que reemplazó, John McLaughin) se combinan para hacer que partes del álbum suenen como Pink Floyd de la era Atom Heart Mother, particularmente en "There Comes a Time" y " Lonesome Wells (Gwendy Trio)."Desafortunadamente, ambas pistas están empantanadas por los versos serios y no terriblemente inspirados de Williams. Las mejores pistas son aquellas que prescinden de la trampa lírica (las notas del trazador de líneas también son un grito terriblemente anticuado ) y se reducen a la creación de algunas atmósferas turbulentas y una poderosa improvisación grupal. En ese sentido, las cosas realmente mejoran al final, con el fantasmal "Mamá y papá" y el cacofónico cierre "Erizos de Shermese", en el que Williams divide el estado de ánimo narcoléptico de la introducción con algunos de sus rellenos más fracturados y arrítmicos de la historia, al tiempo que mantiene un ritmo que es típicamente serpenteante y propulsivo. Los geeks de la batería adorarán especialmente las dos breves piezas en solitario, "Clap City" y "Some Hip Drum Shit", que son técnicamente impresionantes y lo suficientemente cortas como para no aburrirse. Sólido jazz-rock, de los días previos a que la fusión se volviera dolorosamente aburrida.
https://www.allmusic.com/album/ego-mw0000048154

Tony Scott • 52nd St. Scene & Free Blown Jazz

 

Little Brother Montgomery • Tasty Blues

Review:

Here's a very attractive example of a pianist with roots dug deep in pre-war tradition updating his style just enough to sound contemporary for 1960. With a little help from bassist Julian Euell and Lafayette Thomas (better-known as Jimmy McCracklin's guitarist), Montgomery swoops through his seminal "Vicksburg Blues" and "No Special Rider" with enthusiasm and élan.

by Bill Dahl

https://www.allmusic.com/album/tasty-blues-mw0000093021

Artist Biography:

A notable influence on the likes of Sunnyland Slim and Otis Spann, pianist Little Brother Montgomery's lengthy career spanned both the earliest years of blues history and the electrified Chicago scene of the 1950s. By age 11, Montgomery had given up on attending school to instead play in Louisiana juke joints. He came to Chicago as early as 1926 and made his first 78s in 1930 for Paramount, including two enduring signature items, "Vicksburg Blues" and "No Special Rider," recorded in Grafton, WI. Bluebird recorded Montgomery more prolifically in 1935-1936 in New Orleans.

In 1942, Little Brother Montgomery settled down to a life of steady club gigs in Chicago, his repertoire alternating between blues and traditional jazz (he played Carnegie Hall with Kid Ory's Dixieland band in 1949). Otis Rush benefited from his sensitive accompaniment on several of his 1957-1958 Cobra dates, while Buddy Guy recruited him for similar duties when he nailed Montgomery's "First Time I Met the Blues" in a supercharged revival for Chess in 1960. That same year, Montgomery cut a fine album for Bluesville with guitarist Lafayette "Thing" Thomas that remains one of his most satisfying sets.

With his second wife, Janet Floberg, Montgomery formed his own little record company, FM, in 1969. The first 45 on the logo, fittingly enough, was a reprise of "Vicksburg Blues," with a vocal by Chicago chanteuse Jeanne Carroll (her daughter Karen followed in her footsteps around the Windy City).

by Bill Dahl

https://www.allmusic.com/artist/little-brother-montgomery-mn0000256709/biography

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Reseña:

Aquí hay un ejemplo muy atractivo de un pianista con raíces excavadas en la tradición de la preguerra, actualizando su estilo lo suficiente como para sonar contemporáneo para 1960. Con un poco de ayuda del bajista Julian Euell y Lafayette Thomas (más conocido como el guitarrista de Jimmy McCracklin), Montgomery se lanza a su seminal "Vicksburg Blues" y "No Special Rider" con entusiasmo y entusiasmo.

por Bill Dahl

https://www.allmusic.com/album/tasty-blues-mw0000093021

Biografía del artista:

Una notable influencia en gente como Sunnyland Slim y Otis Spann, la larga carrera del pianista Little Brother Montgomery abarcó tanto los primeros años de la historia del blues como la electrificada escena de Chicago de los años 50. A la edad de 11 años, Montgomery había dejado de asistir a la escuela para tocar en los bares de Louisiana. Llegó a Chicago ya en 1926 e hizo sus primeros 78s en 1930 para Paramount, incluyendo dos temas de firma perdurables, "Vicksburg Blues" y "No Special Rider", grabados en Grafton, WI. Bluebird grabó Montgomery más prolíficamente en 1935-1936 en Nueva Orleans.

En 1942, Little Brother Montgomery se estableció en una vida de conciertos estables en clubes de Chicago, con un repertorio que alternaba entre el blues y el jazz tradicional (tocó en el Carnegie Hall con la banda de Kid Ory en Dixieland en 1949). Otis Rush se benefició de su sensible acompañamiento en varias de sus citas con Cobra de 1957-1958, mientras que Buddy Guy lo reclutó para tareas similares cuando clavó "First Time I Met the Blues" de Montgomery en un resurgimiento sobrecargado para el ajedrez en 1960. Ese mismo año, Montgomery grabó un buen álbum para Bluesville con el guitarrista Lafayette "Thing" Thomas que sigue siendo uno de sus sets más satisfactorios.

Con su segunda esposa, Janet Floberg, Montgomery formó su propia compañía discográfica, FM, en 1969. Los primeros 45 del logo, como corresponde, eran una repetición de "Vicksburg Blues", con una voz de la cantante de Chicago Jeanne Carroll (su hija Karen siguió sus pasos por la Ciudad del Viento).

por Bill Dahl

https://www.allmusic.com/artist/little-brother-montgomery-mn0000256709/biography

Kid Ramos • Greasy Kid Stuff

Review by Hal Horowitz

For his fourth solo release, and third on the Evidence label, the Fabulous Thunderbirds' guitarist, Kid Ramos, once again calls in some high-profile blues friends for assistance. Instead of last album's guitarists and jump blues horns, this time Ramos sticks with harpists/vocalists to provide the momentum on a set of relatively stripped-down, greasy blues. He's also the only guitarist on the sessions, which makes this a spotlight for his picking as well as his bandleading abilities. Harmonica aces Rick Estrin (Little Charlie & the Nightcats), Paul de Lay, Lynwood Slim, Johnny Dyer, James Harman (who only plays on one of his three tracks and sings on the others), and Charlie Musselwhite, along with Rod Piazza, all contribute. The leadoff title cut, an instrumental that sounds like it was left over from his last horn-infused West Coast album, is the one exception. The sessions were cut in two days, which gives them a raw, not quite primal edge that adds to the gritty nature of the recording. Although the original intent was to perform exclusively covers, nearly all the harp-playing guests brought in their own original material. Just a handful of interpretations remain: Willie Dixon's "I Don't Care Who Knows"; an obscure Lightnin' Slim track, "Mean Ol' Lonesome Train"; an old uncredited Excello side, "Rich Man's Woman"; and Bobby Blue Bland's "Hold Me Tenderly." It sure sounds like this was one big part, as each guest plays with a relaxed gusto, whipping off harp lines with nonchalant intensity. Ramos' tough yet flexible guitar fills the holes and takes the lead just often enough so the listener knows whose album it is. Otherwise he's content to leave the majority of the spotlight to his high-profile guests, who turn in sterling performances. While few of their original tunes sound drastically different from standard blues fare, the ensemble playing and electrified atmosphere adds a palpable excitement to the tracks. The various vocals also infuse a diverse feel to the album, with Ramos' guitar and presence being the thread that holds it together. The closing "Harmonica Hangover" features Estrin and Musselwhite on what seems to be an improvised duet, with both harp men discussing the proceedings and other guests, as well as trading licks on an appropriately upbeat shuffle. It's a fitting finale to an album that works because of the loosely structured environment that Ramos provides, meshed with the remarkable talents of his talented contributors.

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Reseña de Hal Horowitz

Para su cuarto lanzamiento en solitario, y tercero en el sello Evidence, el guitarrista de los Fabulosos Thunderbirds, Kid Ramos, una vez más llama a algunos amigos del blues de alto perfil para que le ayuden. En lugar de los guitarristas del último álbum y saltar los cuernos del blues, esta vez Ramos se une a los arpistas/vocalistas para dar el impulso a un conjunto de blues relativamente despojado y grasiento. También es el único guitarrista en las sesiones, lo que hace que esto sea un foco de atención para su selección, así como sus habilidades como líder de la banda. Los ases de la armónica Rick Estrin (Little Charlie & the Nightcats), Paul de Lay, Lynwood Slim, Johnny Dyer, James Harman (que sólo toca en uno de sus tres temas y canta en los demás), y Charlie Musselwhite, junto con Rod Piazza, todos contribuyen. El corte del título de Leadoff, un instrumental que suena como si hubiera sobrado de su último álbum de la costa oeste con trompetas, es la única excepción. Las sesiones se cortaron en dos días, lo que les da una ventaja cruda, no del todo primitiva, que se suma a la naturaleza arenosa de la grabación. Aunque la intención original era tocar exclusivamente covers, casi todos los invitados que tocaban el arpa trajeron su propio material original. Sólo quedan un puñado de interpretaciones: "No me importa quién lo sepa" de Willie Dixon; una oscura pista Lightnin' Slim, "Mean Ol' Lonesome Train"; un viejo lado no acreditado de Excello, "Rich Man's Woman"; y "Hold Me Tenderly" de Bobby Blue Bland. Suena como si fuera una gran parte, ya que cada invitado juega con un gusto relajado, azotando las líneas del arpa con una intensidad despreocupada. La guitarra dura pero flexible de Ramos llena los huecos y toma la delantera con la suficiente frecuencia para que el oyente sepa de quién es el álbum. De lo contrario, se contenta con dejar la mayoría de los focos a sus invitados de alto perfil, que hacen excelentes actuaciones. Mientras que pocos de sus temas originales suenan drásticamente diferentes de la tarifa estándar de blues, el conjunto que toca y la atmósfera electrizante añade una emoción palpable a los temas. Las diferentes voces también infunden un sentimiento diverso al álbum, siendo la guitarra y la presencia de Ramos el hilo conductor que lo mantiene unido. En el cierre "Harmonica Hangover", Estrin y Musselwhite forman lo que parece ser un dúo improvisado, con ambos arpistas discutiendo los procedimientos y otros invitados, así como intercambiando lengüetas en una mezcla apropiadamente alegre. Es un final apropiado para un álbum que funciona gracias al ambiente poco estructurado que proporciona Ramos, mezclado con el notable talento de sus talentosos colaboradores. 

 

 

facebook.com ...

The Surfaris • The Surfaris Play

A Glendora, CA, surf group 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. They 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. The Surfaris were not extraordinary, but they were more talented than the typical one-shot surf group; 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.

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Un grupo de surf de Glendora, CA, recordado por "Wipe Out", el éxito número dos de 1963 que se clasifica como uno de los grandes instrumentales del rock, con un riff clásico de guitarra de arriba abajo y un solo de batería de break, ambos emulados por millones (el número no es una exageración) de rock & rollers principiantes. Grabaron un número asombroso de álbumes (cerca de media docena) y singles a mediados de los 60; el siguiente álbum "Wipe Out", "Point Panic", fue el único que llegó a la mitad de las listas de éxitos. Los Surfaris no eran extraordinarios, pero tenían más talento que el típico grupo de surf de un solo golpe; el baterista Ron Wilson fue elogiado por el extraordinario stickman de sesión Hal Blaine, y su desinhibido estilo splash suena como un antepasado directo de Keith Moon. También tomó la voz principal en las imitaciones ocasionales de los Beach Boys del grupo.

thesurfaris.com ...

 

Encyclopedia of Classic Rock

 

More than movies, literature, television, or theater, rock music set the stage for the cultural shifts that occurred from 1965 to 1975. Led by The Beatles and Bob Dylan, rock became a self-conscious art form during these years, daring to go places unimaginable to earlier rock and roll musicians. The music and outspokenness of classic rock artists inspired and moved the era's social, cultural, and political developments with a power once possessed by authors and playwrights―and influenced many artists in younger generations of rock musicians. This single-volume work tracks the careers of well-known as well as many lesser-known but influential rock artists from the period, providing readers with a handy reference to the music from a critical, groundbreaking period in popular culture and its enduring importance.

The book covers rock artists who emerged or came to prominence in the period ranging 1965–1975 and follows their careers through the present. It also specifically defines the term "classic rock" and identifies the criteria that a song must meet in order to be considered as within the genre. While the coverage naturally includes the cultural importance and legacy of most well-known American and British bands of the era, it also addresses the influence of artists from Western and Eastern Europe, Africa, Asia, and Latin America. Readers will grasp how the music of the classic rock era was notably more sophisticated than what preceded it―an artistic peak from which most of contemporary rock has descended.

 

David Luhrssen (Author)

Michael Larson (Author)  

Eddy Arnold Pioneer of the Nashville Sound (Michael Streissguth)

 

 

Illustrated with fifty-four photographs and featuring a comprehensive discography and sessionography, this book traces Eddy Arnold's origins from a cotton farm in western Tennessee to his legendary status in the world of country music. Michael Streissguth covers Arnold's success as a top-selling artist in the 1940s and 1950s and his temporary wane as listeners gravitated toward the rock & roll sound, embodied by newcomer Elvis Presley. Arnold (1918-2008) kept recording, however, and working on his craft. By the mid-60s, he reemerged as a pop crooner with his hit song "Make the World Go Away." His blend of country sentiments and pop stylings created the template for Nashville's modern country music sound. Throughout his career he was a major concert attraction and a radio and television star. Few other figures can claim to have had as great an influence on contemporary country and popular arranging.

 

Michael Streisguth (Author)  

 

Film Noir Guide 745 Films of the Classic Era, 1940-1959

 

More than 700 films from the classic period of film noir (1940 to 1959) are presented in this exhaustive reference book--such films as The Accused, Among the Living, The Asphalt Jungle, Baby Face Nelson, Bait, The Beat Generation, Crossfire, Dark Passage, I Walk Alone, The Las Vegas Story, The Naked City, Strangers on a Train, White Heat, and The Window. For each film, the following information is provided: the title, release date, main performers, screenwriter(s), director(s), type of noir, thematic content, a rating based on the five-star system, and a plot synopsis that does not reveal the ending. 

 

 

Michael F. Keaney (Author)  

 

 

El canon del jazz. Los 250 temas imprescindibles

 

Un recorrido exhaustivo por los mejores temas del jazz, profundizando en anécdotas, hechos, compositores, interpretaciones, etc. vinculadas a cada tema. Original, torrencial, imprescindible para aficionados e intérpretes. Cada tema está acompañado con una lista de sus mejores grabaciones.

 

Ted Gioia (Author) 

 

American Naive Painting • National Gallery Of Art

Deborah Chotner with contributions by Julie Aronson, Sarah D. Cash, and Laurie Weitzenkorn

Published 1992

688 pages

The American naive paintings at the National Gallery of Art have long been appreciated as wonderfully appealing, and in some cases visually stunning, works of art. Yet with the exception of those paintings by important, known artists such as Erastus Field or Edward Hicks, few had been studied thoroughly. Whereas other volumes of the systematic catalogue build upon decades, sometimes centuries, of scholarship, many of the more than 300 pictures included here are now published for the first time. The research presented here reveals much about the growth of the United States, its centers of commerce a century and a half ago, the pathways for the spread of visual ideas in the 19th century, and the aspirations and sentiments of the middle class. The majority of the works included originated in the northeastern United States during the 19th century.

AbeBooks ...

Bill Barron • Higher Ground

 

Description: Studio jazz album by tenor saxophonist Bill Barron recorded in 1989 and released on the Joken label. It features post-bop and hard bop repertoire with standards and original compositions. 

Bud Powell • The Return Of Bud Powell

 

Tal Farlow Quartet • Tal Farlow Quartet

 

Colaborador / Contributor:  Michel

Herbie Mann • Glory Of Love

This LP by flautist Herbie Mann was released in 1967 on A&M Records, it was produced by Creed Taylor and recorded by Rudy Van Gelder, the line-up includes Herbie Mann on flute, Roy Glover, Roland Hanna and Paul Griffin on piano & organ, Ron Carter and Earl May on bass, Grady Tate and Herb Lovelle on drums, Roy Ayers and Ted Sommers on vibes, Ray Barretto and Johnny Pacheo on percussion, Eric Gale, Jay Berliner and Sunny Sharrock on guitar, Hubert Laws on flute, plus a horn section.

Steve Kuhn • Plays Standards

 

Veteran jazz pianist Steve Kuhn has proved to be a popular artist in Japan, recording a series of CDs for the Japanese label Venus. On these 2006 sessions, Kuhn is joined by bassist Buster Williams and drummer Al Foster, two artists who also have extensive resumes. While the CD is titled Plays Standards, Kuhn doesn't stick exclusively to well-known works. In addition to Victor Young's widely recognized "Beautiful Love" (a favorite of pianist Bill Evans), the pianist offers a seductive take of the composer's "Golden Earrings" and a lighthearted, breezy setting of "Love Letters" as well. Kuhn's intense workout of "Alone Together" includes an amusing detour into Thelonious Monk's "Locomotive," while his revamping of "Softly, as in a Morning Sunrise" disguises the tune rather well. Kuhn also revisits his original "Oceans in the Sky," a brilliant piece evocative of a coming storm. Highly recommended.  
Ken Dryden, All Music Guide
https://www.allmusic.com/album/plays-standards-mw0001918823

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El veterano pianista de jazz Steve Kuhn ha demostrado ser un artista popular en Japón, grabando una serie de CDs para el sello japonés Venus. En estas sesiones de 2006, Kuhn está acompañado por el bajista Buster Williams y el baterista Al Foster, dos artistas que también tienen un amplio currículum. Aunque el CD se titula Plays Standards, Kuhn no se ciñe exclusivamente a obras conocidas. Además de la reconocida "Beautiful Love" de Victor Young (una de las favoritas del pianista Bill Evans), el pianista ofrece una seductora versión de "Golden Earrings" del compositor y una desenfadada versión de "Love Letters". El intenso ejercicio de Kuhn de "Alone Together" incluye un divertido desvío hacia "Locomotive" de Thelonious Monk, mientras que su renovación de "Softly, as in a Morning Sunrise" disimula bastante bien la melodía. Kuhn también revisa su original "Oceans in the Sky", una brillante pieza que evoca una tormenta que se avecina. Muy recomendable.  
Ken Dryden, All Music Guide
https://www.allmusic.com/album/plays-standards-mw0001918823

ecmrecords.com/steve-kuhn ...

Bernard Purdie • Soul Is... Pretty Purdie

Artist Biography by Ron Wynn
Soul Is...Pretty Purdie

An all-time great soul, R&B, funk, and pop drummer, Bernard Purdie's impeccable time and mastery of backbeats and grooves are celebrated. He moved to New York from Maryland in 1960, and recorded with James Brown, King Curtis, and many others. He was CTI's house drummer in the late '60s and early '70s, and worked with Grover Washington, Jr. and George Benson among several others. Purdie toured with Curtis and Aretha Franklin in 1970, and was Franklin's music director until 1975. During his studio days in the early '70s, Purdie recorded with Louis Armstrong and Gato Barbieri along with numerous rock, pop, and soul sessions. He recorded with Dizzy Gillespie in 1980 at the Montreux Jazz Festival and toured with him in 1983. Purdie recorded with Hank Crawford during the early '80s, and has continued working steadily into the '90s. He generated a firestorm of reaction in 1993 when he charged it was his uncredited drumming rather than Ringo Starr's on some Beatles tracks. Purdie claimed proof was forthcoming, but none was presented. He made a rare date as a leader for Flying Dutchman in 1972, Pretty Purdie, that has long since disappeared. But Purdie can be heard on countless discs by Brown, Franklin, Curtis, Gillespie, and Crawford among many others.

https://www.allmusic.com/artist/bernard-pretty-purdie-mn0000047401/biography

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Artist Biography by Ron Wynn

Soul Is...Pretty Purdie

An all-time great soul, R&B, funk, and pop drummer, Bernard Purdie's impeccable time and mastery of backbeats and grooves are celebrated. He moved to New York from Maryland in 1960, and recorded with James Brown, King Curtis, and many others. He was CTI's house drummer in the late '60s and early '70s, and worked with Grover Washington, Jr. and George Benson among several others. Purdie toured with Curtis and Aretha Franklin in 1970, and was Franklin's music director until 1975. During his studio days in the early '70s, Purdie recorded with Louis Armstrong and Gato Barbieri along with numerous rock, pop, and soul sessions. He recorded with Dizzy Gillespie in 1980 at the Montreux Jazz Festival and toured with him in 1983. Purdie recorded with Hank Crawford during the early '80s, and has continued working steadily into the '90s. He generated a firestorm of reaction in 1993 when he charged it was his uncredited drumming rather than Ringo Starr's on some Beatles tracks. Purdie claimed proof was forthcoming, but none was presented. He made a rare date as a leader for Flying Dutchman in 1972, Pretty Purdie, that has long since disappeared. But Purdie can be heard on countless discs by Brown, Franklin, Curtis, Gillespie, and Crawford among many others.

https://www.allmusic.com/artist/bernard-pretty-purdie-mn0000047401/biography

 

www.bernardprettypurdie.com ...

 

 

Eddie Palmieri • Essentials

 

2025 compilation gathering essential tracks from Eddie Palmieri’s catalog, covering salsa, Latin jazz, boogaloo, and classic repertoire. The collection spans Palmieri’s career and includes well-known compositions such as Vámonos Pa’l Monte, Ay Qué Rico and Azúcar, featuring collaborations with vocalists like Ismael Quintana. 

palmierimusic.com ...

Randy Brecker • Score

 

Review by Steve Loewy
Randy Brecker's debut album features the trumpeter leading two distinct all-star small groups, each with younger brother Michael (who was only 19 when this was recorded) on tenor sax, Larry Coryell on guitar, and Hal Galper on piano. The tunes alternate between jazz-rock (a style the Brecker Brothers were later to successfully exploit) and modern mainstream jazz. There are the customary fades, popular at the time, and a light, though constant, beat throughout that makes the music both accessible and even danceable, an impressive feat considering that virtually all the tunes are originals. The Brecker Brothers exhibit a command of their horns and a maturity that was to serve them well for many years. The recording has weathered the years well, in part because even the fusion pieces never lose their focus, nor do they compromise artistry for popular fads. "The Weasel Goes Out to Lunch" is a cute, though very short, take on the childhood theme, with the remaining tracks fine examples of late-'60s popular jazz. With well-constructed arrangements, strong soloing, and catchy melodies, Brecker knew he was onto something, and this album was the first of several successful ventures.
https://www.allmusic.com/album/score-mw0000097519

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Reseña de Steve Loewy
El álbum de debut de Randy Brecker presenta al trompetista al frente de dos pequeños grupos distintos, cada uno con su hermano menor Michael (que sólo tenía 19 años cuando se grabó) al saxo tenor, Larry Coryell a la guitarra y Hal Galper al piano. Las melodías alternan entre el jazz-rock (un estilo que los hermanos Brecker explotarían con éxito más adelante) y el jazz moderno convencional. Hay los habituales fundidos, populares en la época, y un ritmo ligero, aunque constante, que hace que la música sea accesible e incluso bailable, una hazaña impresionante teniendo en cuenta que prácticamente todos los temas son originales. Los hermanos Brecker demuestran un dominio de sus instrumentos de viento y una madurez que les servirá durante muchos años. La grabación ha aguantado bien el paso de los años, en parte porque incluso las piezas de fusión nunca pierden su enfoque, ni comprometen el arte por las modas populares. "The Weasel Goes Out to Lunch" es una bonita, aunque muy corta, versión del tema de la infancia, y el resto de las canciones son buenos ejemplos del jazz popular de finales de los 60. Con unos arreglos bien construidos, unos solos potentes y unas melodías pegadizas, Brecker sabía que tenía algo entre manos, y este álbum fue la primera de varias aventuras exitosas.
https://www.allmusic.com/album/score-mw0000097519


randybrecker.com ...

Reverend Gary Davis (Blind Gary Davis) • Say No To The Devil

Biography by Bruce Eder

In his prime of life, which is to say the late '20s, the Reverend Gary Davis was one of the two most renowned practitioners of the East Coast school of ragtime guitar; 35 years later, despite two decades spent playing on the streets of Harlem in New York, he was still one of the giants in his field, playing before thousands of people at a time, and an inspiration to dozens of modern guitarist/singers including Bob Dylan, Taj Mahal, and Donovan; and Jorma Kaukonen, David Bromberg, and Ry Cooder, who studied with Davis.

Davis was partially blind at birth, and lost what little sight he had before he was an adult. He was self-taught on the guitar, beginning at age six, and by the time he was in his 20s he had one of the most advanced guitar techniques of anyone in blues; his only peers among ragtime-based players were Blind Arthur Blake, Blind Lemon Jefferson, and Blind Willie Johnson. Davis himself was a major influence on Blind Boy Fuller.

Davis' influences included gospel, marches, ragtime, jazz, and minstrel hokum, and he integrated them into a style that was his own. In 1911, when Davis was a still teenager, the family moved to Greenville, SC, and he fell under the influence of such local guitar virtuosi as Willie Walker, Sam Brooks, and Baby Brooks. Davis moved to Durham in the mid-'20s, by which time he was a full-time street musician. He was celebrated not only for the diversity of styles that his playing embraced, but also for his skills with the guitar, which were already virtually unmatched in the blues field.

Davis went into the recording studio for the first time in the '30s with the backing of a local businessman. Davis cut a mixture of blues and spirituals for the American Record Company label, but there was never an equitable agreement about payment for the recordings, and following these sessions, it was 19 years before he entered the studio again. During that period, he went through many changes. Like many other street buskers, Davis always interspersed gospel songs amid his blues and ragtime numbers, to make it harder for the police to interrupt him. He began taking the gospel material more seriously, and in 1937 he became an ordained minister. After that, he usually refused to perform any blues.

Davis moved to New York in the early '40s and began preaching and playing on street corners in Harlem. He recorded again at the end of the 1940s, with a pair of gospel songs, but it wasn't until the mid-'50s that a real following for his work began developing anew. His music, all of it now of a spiritual nature, began showing up on labels such as Stinson, Folkways, and Riverside, where he recorded seven songs in early 1956. Davis was "rediscovered" by the folk revival movement, and after some initial reticence, he agreed to perform as part of the budding folk music revival, appearing at the Newport Folk Festival, where his raspy voiced sung sermons; most notably his transcendent "Samson and Delilah (If I Had My Way)" -- a song most closely associated with Blind Willie Johnson -- and "Twelve Gates to the City," which were highlights of the proceedings for several years. He also recorded a live album for the Vanguard label at one such concert, as well as appearing on several Newport live anthology collections. He was also the subject of two television documentaries, one in 1967 and one in 1970.

Quah

Davis became one of the most popular players on the folk revival and blues revival scenes, playing before large and enthusiastic audiences; most of the songs that he performed were spirituals, but they weren't that far removed from the blues that he'd recorded in the 1930s, and his guitar technique was intact. Davis' skills as a player, on the jumbo Gibson acoustic models that he favored, were undiminished, and he was a startling figure to hear, picking and strumming complicated rhythms and counter-melodies. Davis became a teacher during this period, and his students included some very prominent white guitar players, including David Bromberg and the Jefferson Airplane's Jorma Kaukonen (who later recorded Davis' "I'll Be Alright" on his acclaimed solo album Quah!).

The Reverend Gary Davis left behind a fairly large body of modern (i.e. post-World War II) recordings, well into the 1960s, taking the revival of his career in his stride as a way of carrying the message of the gospel to a new generation. He even recorded anew some of his blues and ragtime standards in the studio, for the benefit of his students.

https://www.allmusic.com/artist/rev-gary-davis-mn0000464017/biography

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Biografía de Bruce Eder

En la flor de la vida, es decir, a finales de los años 20, el reverendo Gary Davis fue uno de los dos practicantes más renombrados de la escuela de guitarra ragtime de la Costa Este; 35 años más tarde, a pesar de las dos décadas que pasó tocando en las calles de Harlem en Nueva York, seguía siendo uno de los gigantes en su campo, tocando ante miles de personas a la vez, y una inspiración para docenas de guitarristas/cantantes modernos como Bob Dylan, Taj Mahal y Donovan; y Jorma Kaukonen, David Bromberg y Ry Cooder, que estudiaron con Davis.

Davis era parcialmente ciego de nacimiento y perdió la poca visión que tenía antes de ser adulto. Fue autodidacta en la guitarra, a partir de los seis años, y para cuando tenía veintitantos años ya tenía una de las técnicas de guitarra más avanzadas de todo el mundo en el blues; sus únicos compañeros entre los músicos de ragtime eran Blind Arthur Blake, Blind Lemon Jefferson, y Blind Willie Johnson. El mismo Davis fue una gran influencia en Blind Boy Fuller.

Las influencias de Davis incluyeron gospel, marchas, ragtime, jazz, y minstrel hokum, y los integró en un estilo que era el suyo propio. En 1911, cuando Davis era todavía un adolescente, la familia se mudó a Greenville, SC, y cayó bajo la influencia de virtuosos locales de la guitarra como Willie Walker, Sam Brooks y Baby Brooks. Davis se mudó a Durham a mediados de los años 20, cuando ya era músico callejero a tiempo completo. Fue celebrado no sólo por la diversidad de estilos que abrazaba, sino también por sus habilidades con la guitarra, que ya eran prácticamente inigualables en el campo del blues.

Davis entró al estudio de grabación por primera vez en los años 30 con el apoyo de un empresario local. Davis cortó una mezcla de blues y spirituals para el sello American Record Company, pero nunca hubo un acuerdo equitativo sobre el pago por las grabaciones, y después de estas sesiones, pasaron 19 años antes de que él entrara de nuevo al estudio. Durante ese período, pasó por muchos cambios. Como muchos otros músicos callejeros, Davis siempre intercalaba canciones gospel entre sus números de blues y ragtime, para hacer más difícil que la policía lo interrumpiera. Comenzó a tomar más en serio el material evangélico, y en 1937 se convirtió en ministro ordenado. Después de eso, por lo general se negaba a tocar blues.

Davis se mudó a Nueva York a principios de los años 40 y comenzó a predicar y a tocar en las esquinas de Harlem. Volvió a grabar a finales de la década de 1940, con un par de canciones gospel, pero no fue hasta mediados de los años 50 que un verdadero seguidor de su trabajo comenzó a desarrollarse de nuevo. Su música, toda de naturaleza espiritual, comenzó a aparecer en sellos como Stinson, Folkways y Riverside, donde grabó siete canciones a principios de 1956. Davis fue "redescubierto" por el movimiento de renacimiento folclórico, y después de algunas reticencias iniciales, aceptó actuar como parte del renacimiento de la música folclórica en ciernes, apareciendo en el Festival Folclórico de Newport, donde sus sermones cantados con voz ronca; más notablemente su trascendente "Samson and Delilah (If I Had My Way)" - una canción que está más estrechamente asociada con Blind Willie Johnson - y "Twelve Gates to the City", que fueron los puntos culminantes de las actuaciones durante varios años. También grabó un álbum en vivo para el sello Vanguard en uno de esos conciertos, además de aparecer en varias colecciones de antologías en vivo de Newport. También fue objeto de dos documentales televisivos, uno en 1967 y otro en 1970.

Quah

Davis se convirtió en uno de los intérpretes más populares en las escenas de renacimiento del folk y del blues, tocando ante un público grande y entusiasta; la mayoría de las canciones que interpretaba eran espirituales, pero no estaban tan alejadas del blues que había grabado en la década de 1930, y su técnica de guitarra estaba intacta. Las habilidades de Davis como jugador, en los modelos acústicos gigantescos de Gibson que él prefería, no se vieron mermadas, y fue una figura sorprendente para escuchar, escogiendo y rasgueando ritmos complicados y contra-melodías. Davis se convirtió en profesor durante este período, y entre sus alumnos había algunos guitarristas blancos muy prominentes, como David Bromberg y Jorma Kaukonen de Jefferson Airplane (que más tarde grabó "I'll Be Alright" de Davis en su aclamado álbum en solitario Quah!)

El reverendo Gary Davis dejó un cuerpo bastante grande de grabaciones modernas (es decir, después de la Segunda Guerra Mundial), hasta bien entrada la década de 1960, tomando el renacimiento de su carrera en su camino como una forma de llevar el mensaje del evangelio a una nueva generación. Incluso grabó de nuevo algunos de sus estándares de blues y ragtime en el estudio, para el beneficio de sus estudiantes.

https://www.allmusic.com/artist/rev-gary-davis-mn0000464017/biography

Bill Heid • Da Girl

 

Review
by Scott Yanow
Organist Bill Heid has been around since the 1970s, but, although the sound he gets on his instrument hints at Jimmy Smith, he manages to largely escape that potentially dominant influence by coming up with fresh ideas, even when he plays a blues. His music swings, but sounds fairly individual. Heid is strongly assisted by the solo work of tenor saxophonist Scott Peterson and trumpeter Randy Magnarelli, with drummer Randy Gelespie and occasionally one of two percussionists giving stimulating support. Overall, this is a romping and spirited soul-jazz date from an organist who deserves to be much better known.
https://www.allmusic.com/album/da-girl-mw0000021251

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Reseña
por Scott Yanow
El organista Bill Heid lleva desde los años 70, pero, aunque el sonido que consigue con su instrumento insinúa a Jimmy Smith, se las arregla para escapar en gran medida de esa influencia potencialmente dominante aportando ideas frescas, incluso cuando toca un blues. Su música se balancea, pero suena bastante individual. Heid está fuertemente asistido por el trabajo en solitario del saxofonista tenor Scott Peterson y el trompetista Randy Magnarelli, con el baterista Randy Gelespie y ocasionalmente uno de los dos percusionistas dando un apoyo estimulante. En general, se trata de una cita con el soul-jazz, alegre y enérgica, de un organista que merece ser mucho más conocido.
https://www.allmusic.com/album/da-girl-mw0000021251

 hammondorganco.com ...

 

The Handbook of Texas Music

 

 

The musical voice of Texas presents itself as vast and diverse as the Lone Star State’s landscape. According to Casey Monahan, “To travel Texas with music as your guide is a year-round opportunity to experience first-hand this amazing cultural force….Texas music offers a vibrant and enjoyable experience through which to understand and enjoy Texas culture.” 

Building on the work of The Handbook of Texas Music that was published in 2003 and in partnership with the Texas Music Office and the Center for Texas Music History (Texas State University-San Marcos), The Handbook of Texas Music, Second Edition, offers completely updated entries and features new and expanded coverage of the musicians, ensembles, dance halls, festivals, businesses, orchestras, organizations, and genres that have helped define the state’s musical legacy. ·         More than 850 articles, including almost 400 new entries·         255 images, including more than 170 new photos, sheet music art, and posters that lavishly illustrate the text·         Appendix with a stage name listing for musicians Supported by an outstanding team of music advisors from across the state, The Handbook of Texas Music, Second Edition, furnishes new articles on the music festivals, museums, and halls of fame in Texas, as well as the many honky-tonks, concert halls, and clubs big and small, that invite readers to explore their own musical journeys. Scholarship on many of the state’s pioneering groups and the recording industry and professionals who helped produce and promote their music provides fresh insight into the history of Texas music and its influence far beyond the state’s borders. Celebrate the musical tapestry of Texas from A to Z!

 

The Andy Warhol Diaries

 

The late artist's intimate journals offer revealing insights into Warhol's world and the New York art scene, as well as the many rich and famous people that were a part of it, covering the years from 1976 until his death in 1987

 

  Andy Warhol (Author),

  Pat Hackett (Editor)

 

The Art of Organ Building A Comprehensive Historical, Theoretical, and Practical Teatise on the Tonal Appointment and...

 

 

The Art of Organ-Building. A comprehensive historical, theoretical, and practical treatise on the tonal appointment and mechanical construction of concert-room, church, and chamber organs. Profusely illustrated.

 

George Ashdown Audsley (Author)  

Gregorian Chant pdf

 

Willi Apel's classic study of Gregorian chant is now in paperback. This extensive survey describes the evolutionary processes of its long history as well as its definition and terminology, the structure of the liturgy, the texts, the notation, the rhythm, the tonality, and the methods and forms of psalmody.

 

Willi Apel (Author)  

 

Jimmy Giuffre • The Jimmy Giuffre 3

 

Pat Martino • Fire Dance

After finishing All Sides Now for Blue Note in 1997, the concept album of pairings with musicians of various compatability, Pat Martino headed off to San Francisco to record this intriguing east-meeting-west project. In a sense, it has a collaborative spirit that extends the earlier project, but here, the musicians cross freely over cultural boundaries, mainly in the direction of Indian classical tradition. The session is led by flutist Peter Block and sitarist Habib Khan, who provide the compositions-improvisational vehicles more than anything-and are joined by violinist Ilya Rayzman and the ever-robust Zakir Hussain on tabla. But it is Martino who provides the greatest excitement here, partly because of the unorthodoxy of the electric guitar in this setting, and partly because he burns, pure and simple. He serves a clean-but-ferocious style that is inimitably his own, and yet which adapts itself to other modes of musical thinking.
http://jazztimes.com/articles/10331-firedance-pat-martino

 

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 Después de terminar All Sides Now for Blue Note en 1997, el álbum conceptual de emparejamientos con músicos de diversa compatibilidad, Pat Martino se dirigió a San Francisco para grabar este intrigante proyecto de encuentro este-oeste. En cierto sentido, tiene un espíritu de colaboración que amplía el proyecto anterior, pero aquí, los músicos cruzan libremente las fronteras culturales, principalmente en dirección a la tradición clásica india. La sesión está dirigida por el flautista Peter Block y el sitarista Habib Khan, que proporcionan las composiciones - vehículos de improvisación más que nada - y se les unen el violinista Ilya Rayzman y el siempre robusto Zakir Hussain en la tabla. Pero es Martino quien proporciona la mayor emoción aquí, en parte por lo poco ortodoxo de la guitarra eléctrica en este escenario, y en parte porque arde, pura y simplemente. Sirve un estilo limpio pero feroz que es inimitablemente suyo, y sin embargo se adapta a otros modos de pensamiento musical.
http://jazztimes.com/articles/10331-firedance-pat-martino

 

 

https://www.patmartino.com/ 

 

 

Sonny Terry • Sonny's Story

Review:

Sonny's Story is an excellent showcase for Sonny Terry's talents, which sometimes went unheralded because they largely were showcased in the shadow of Brownie McGhee. Here, Terry is largely playing solo acoustic, with J.C. Burris joining in for harmonica duets every so often; Sticks McGhee and drummer Belton Evans also play on a few cuts. Unlike some solo acoustic blues albums, Sonny's Story is positively infectious. It's hard not to get caught up in Terry's shouts and boogies, and that's one major reason why this is among his best solo recordings.

by Thom Owens

https://www.allmusic.com/album/sonnys-story-mw0000312565

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Reseña:

Sonny's Story es un excelente escaparate para los talentos de Sonny Terry, que a veces no se anunciaban porque se exhibían en gran medida a la sombra de Brownie McGhee. Aquí, Terry toca mayormente en solitario en acústica, con J.C. Burris participando en dúos de armónica de vez en cuando; Sticks McGhee y el baterista Belton Evans también tocan en algunos cortes. A diferencia de algunos álbumes de blues acústico en solitario, Sonny's Story es positivamente contagioso. Es difícil no quedar atrapado en los gritos y boogies de Terry, y esa es una de las principales razones por las que esta es una de sus mejores grabaciones en solitario.

por Thom Owens

https://www.allmusic.com/album/sonnys-story-mw0000312565

VA • The Sun Rock Box [8 vols.]

 

sunrecords.com ...

Pinetop Perkins • Boogie Woogie King

Artist Biography

Pinetop Perkins was one of the last great Mississippi bluesmen still performing. He began playing blues around 1927 and is widely regarded as one of the best blues pianists. He created a style of playing that has influenced three generations of piano players and will continue to be the yardstick by which great blues pianists are measured.

Born Willie Perkins, in Belzoni, MS, in 1913, Pinetop started out playing guitar and piano at house parties and honky- tonks but dropped the guitar in the 1940s after sustaining a serious injury in his left arm. Perkins worked primarily in the Mississippi Delta throughout the thirties and forties, spending three years with Sonny Boy Williamson on the King Biscuit Time radio show on KFFA, Helena, Arkansas. Pinetop also toured extensively with slide guitar player Robert Nighthawk and backed him on an early Chess session. After briefly working with B.B. King in Memphis, Perkins barnstormed the South with Earl Hooker during the early fifties. The pair completed a session for Sam Phillips’ famous Sun Records in 1953. It was at this session that he recorded his version of Pinetop Smith’s Boogie Woogie.

By this time, Pinetop had developed his own unmistakable sound. His right hand plays horn lines while his left kicks out bass lines and lots of bottom. It was Pinetop, along with Pete Johnson, Meade Lux Lewis, Albert Ammons, and Little Brother Montgomery, who provided the basic format and ideas from which countless swing bands derived their sound - whole horn sections playing out what Pinetop’s right hand was playing. Although Pinetop never played swing, it was his brand of boogie-woogie that came to structure swing and, eventually, rock ‘n’ roll.

Still, with recent successes the exception, Pinetop is best known for holding down the piano chair in the great Muddy Waters Band for twelve years during the highest point of Muddy’s career. Replacing the late, great Otis Spann in 1969, Pinetop helped shape the Waters sound and anchored Muddy’s memorable combo throughout the seventies with his brilliant piano solos.

In 1980, Pinetop and other Waters alumni decided to go out on their own and formed the Legendary Blues Band. Legendary recorded two records for Rounder and toured extensively.

Pinetop, who had been labeled a sideman throughout most of his career, eventually left Legendary to concentrate on a solo career. Within two years, he had his first domestic record as a frontman and had a most impressive touring schedule. Since going solo, Pinetop was featured on many nationally syndicated news and music shows, and appeared in numerous movie productions, as well as television and radio ads. He also headlined nearly every major showcase room in North America and most of the major festivals around the world.

It’s certainly ironic that Pinetop waited for his eighth decade to blossom as a headliner releasing 15 solo records in 15 years beginning in 1992. “Born In the Delta” (a multimedia enhanced CD), his Telarc debut, documented an amazing historical figure and had an abundance of entertainment value for a contemporary audience. On his 1998 release, “Legends,” Pinetop collaborated with master blues guitarist Hubert Sumlin. Together, they blended the traditional delta blues sound with modern electric blues rock, showcasing the spirit and energy of the music. Both CDs were nominated for Grammy’s “in 1997 and 2000 respectively. This was followed by a 2005 Grammy nomination for “Ladies Man,” released by MC Records.

In 2005 he was also presented with a lifetime achievement award at the Grammy’s. In 2000 he received a National Heritage Fellowship from the National Endowment of the Arts. He has been featured in the documentary Piano Blues directed by Clint Eastwood for the Martin Scorsese PBS series, The Blues. In addition, he continued to win the Blues Music Award for best blues piano every year until 2003 when he was retired from that award, which now bears his name--the Pinetop Perkins Piano Player of the Year.

In 2007, still on the road in his 94th year, Pinetop Perkins’ unique life was chronicled in Peter Carlson’s biographical documentary DVD, “Born In The Honey,” which includes a live CD with a rare studio outtake track.

Pinetop Perkins passed on March 21, 2011.

https://musicians.allaboutjazz.com/pinetopperkins

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Biografía del artista

Pinetop Perkins fue uno de los últimos grandes bluesistas del Mississippi que aún actuaban. Comenzó a tocar blues alrededor de 1927 y es ampliamente considerado como uno de los mejores pianistas de blues. Creó un estilo de tocar que ha influenciado a tres generaciones de pianistas y que seguirá siendo el criterio con el que se mide a los grandes pianistas de blues.

Nacido Willie Perkins, en Belzoni, MS, en 1913, Pinetop comenzó tocando la guitarra y el piano en las fiestas de la casa y en los honky-tonks, pero dejó caer la guitarra en la década de 1940 después de sufrir una lesión grave en su brazo izquierdo. Perkins trabajó principalmente en el delta del Mississippi durante los años treinta y cuarenta, pasando tres años con Sonny Boy Williamson en el programa de radio King Biscuit Time en KFFA, Helena, Arkansas. Pinetop también hizo giras extensivas con el guitarrista de diapositivas Robert Nighthawk y lo apoyó en una temprana sesión de ajedrez. Después de trabajar brevemente con B.B. King en Memphis, Perkins hizo una tormenta en el sur con Earl Hooker a principios de los años cincuenta. La pareja completó una sesión para el famoso disco Sun Records de Sam Phillips en 1953. Fue en esta sesión que grabó su versión de Boogie Woogie de Pinetop Smith.

Para entonces, Pinetop ya había desarrollado su propio sonido inconfundible. Su mano derecha toca las líneas de trompeta mientras que la izquierda saca las líneas de bajo y mucho fondo. Fue Pinetop, junto con Pete Johnson, Meade Lux Lewis, Albert Ammons y Little Brother Montgomery, quien proporcionó el formato básico y las ideas de las que innumerables bandas de swing derivaron su sonido - secciones enteras de trompa tocando lo que la mano derecha de Pinetop estaba tocando. Aunque Pinetop nunca jugó al swing, fue su marca de boogie-woogie la que llegó a estructurar el swing y, eventualmente, el rock'n' roll.

Aún así, con la excepción de los éxitos recientes, Pinetop es más conocido por mantener la silla de piano en la gran Muddy Waters Band durante doce años durante el punto más alto de la carrera de Muddy. Reemplazando al fallecido y gran Otis Spann en 1969, Pinetop ayudó a dar forma al sonido de Waters y ancló el memorable combo de Muddy a lo largo de los setenta con sus brillantes solos de piano.

En 1980, Pinetop y otros ex-alumnos de Waters decidieron salir por su cuenta y formaron la Legendary Blues Band. Legendary grabó dos discos para Rounder y realizó numerosas giras.

Pinetop, que había sido etiquetado como sideman durante la mayor parte de su carrera, finalmente dejó Legendary para concentrarse en una carrera en solitario. En dos años, ya tenía su primer récord en la liga nacional como líder y tenía una impresionante agenda de giras. Desde que se hizo solista, Pinetop ha aparecido en muchos noticieros y programas de música sindicados a nivel nacional, y ha aparecido en numerosas producciones cinematográficas, así como en anuncios de televisión y radio. También encabezó casi todas las principales salas de exhibición de América del Norte y la mayoría de los principales festivales de todo el mundo.

Es ciertamente irónico que Pinetop esperara a que su octava década floreciera como cabeza de cartel lanzando 15 discos en solitario en 15 años comenzando en 1992. "Born In the Delta" (un CD multimedia mejorado), su debut en Telarc, documentó una figura histórica sorprendente y tuvo un gran valor de entretenimiento para un público contemporáneo. En su lanzamiento de 1998, "Legends", Pinetop colaboró con el maestro guitarrista de blues Hubert Sumlin. Juntos, mezclaron el sonido tradicional del delta blues con el rock blues eléctrico moderno, mostrando el espíritu y la energía de la música. Ambos discos fueron nominados para los premios Grammy "en 1997 y 2000 respectivamente. A esto le siguió una nominación al Grammy 2005 por "Ladies Man", publicado por MC Records.

En 2005 también fue galardonado con un premio a los logros de toda una vida en el Grammy's. En el año 2000 recibió una Beca de Patrimonio Nacional de la Fundación Nacional de las Artes. Ha participado en el documental Piano Blues dirigido por Clint Eastwood para la serie de Martin Scorsese PBS, The Blues. Además, continuó ganando el Premio de Música Blues para el mejor piano blues cada año hasta 2003, cuando se retiró de ese premio, que ahora lleva su nombre - el Pinetop Perkins Piano Player of the Year.

En 2007, todavía en camino en su 94º año, la vida única de Pinetop Perkins fue descrita en el documental biográfico de Peter Carlson, "Born In The Honey", que incluye un CD en vivo con un raro tema de estudio.

Pinetop Perkins falleció el 21 de marzo de 2011.

https://musicians.allaboutjazz.com/pinetopperkins