Tuesday, July 28, 2026
'Papa' John DeFrancesco • Jumpin
Sunday, July 26, 2026
'Papa' John DeFrancesco • Hip Cake Walk
Monday, July 13, 2026
Joey DeFrancesco & 'Papa' John DeFrancesco • All in the Family
Review
Saturday, July 5, 2025
Papa John DeFrancesco • Big Shot
The father of Joey DeFrancesco, "Papa John" had his career revived when his son's success helped bring about the renaissance of the Hammond organ. John's father had played reeds with various swing bands, including the Dorsey Brothers. John DeFrancesco began playing trumpet when he was six and did not start playing organ until his wife bought him an organ for his 23rd birthday. After a few months of nearly nonstop practicing, he was ready to perform in clubs. In 1967 DeFrancesco moved to Philadelphia and soon he was part of the Philadelphia jazz scene. However, in 1979 when Joey turned eight and started playing professionally, John temporarily gave up his career in order to supervise his son. Another son, Johnny DeFrancesco, developed into a fine guitarist. In the 1990s, John DeFrancesco returned to a more active playing career, recording two strong sets for Muse (Doodlin' and Comin' Home -- both of which feature Joey on trumpet) and gaining a national reputation of his own. "Papa John" plays organ in an infectious hard bop style not that different from his son. In the 21st century he signed first to Highnote and then its sister imprint Savant, where he issued a string of fine recordings including Hip Cake Walk in 2001, Jumpin' in 2003, Walking Uptown in 2004, and Desert Heat in 2006. After a five-year recording hiatus, Papa John returned with A Philadelphia Story in a classic B-3 trio setting with John Jr. on guitar and drummer Glenn Ferracone, with guest appearances from Joey and tenor man Joe Fortunato.
https://www.allmusic.com/artist/papa-john-defrancesco-mn0000009657/biographys.
Wednesday, May 21, 2025
Saturday, May 10, 2025
Joey DeFrancesco • Part III
Wednesday, September 4, 2024
Joey DeFrancesco • Ballads And Blues
Review by Ronnie D. Lankford, Jr.
Don't be fooled by the title. While Ballads and Blues may sound like a mellow batch of tunes to listen to while strolling in the park, the ever-soulful Joey DeFrancesco has something else in mind. The album takes off with "Get It All," a groovy piece of funk complete with Paul Bollenback's zesty guitar and Byron Landham's balanced backbeat. A steady, rocking groove also defines pieces like "Take the Coltrane" and "Jammin' in the Basement." The latter cut, in particular, emanates a good vibe, perhaps due to the presence of brother John DeFrancesco on guitar and Papa John DeFrancesco on a second B-3. Other guests include Pat Martino and saxophonist Gary Bartz on two tracks each. At least two pieces, "Home on the Range" and "Mama Don't Allow No," suggest that DeFrancesco has been hanging out with genre-bending guitarist Bill Frisell. And while soul-jazz renditions of folk songs may sound like a strange mix, every cut flows together in a lovely mesh of organ, guitar, and drums. DeFrancesco ends the album in a flourish by adding his smooth, rich vocals to "That's All." While his fans probably will not wait for a recommendation to pick up Ballads and Blues, everyone else will find the album a good introduction to organ music for the new millennium.
https://www.allmusic.com/album/ballads-and-blues-mw0000221431
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Reseña de Ronnie D. Lankford, Jr.
No te dejes engañar por el título. Mientras que Ballads and Blues puede sonar como un grupo de melodías suaves para escuchar mientras se pasea por el parque, el siempre sabio Joey DeFrancesco tiene algo más en mente. El álbum arranca con "Get It All", una pieza groovy de funk que se completa con la guitarra de Paul Bollenback y el ritmo equilibrado de Byron Landham. Un ritmo constante y rockero también define piezas como "Take the Coltrane" y "Jammin' in the Basement". Este último corte, en particular, emana buen rollo, quizás debido a la presencia del hermano John DeFrancesco a la guitarra y de Papa John DeFrancesco en un segundo B-3. Otros invitados son Pat Martino y el saxofonista Gary Bartz en dos temas cada uno. Al menos dos piezas, "Home on the Range" y "Mama Don't Allow No", sugieren que DeFrancesco ha pasado el rato con el guitarrista Bill Frisell. Y aunque las interpretaciones de soul-jazz de canciones folk pueden parecer una mezcla extraña, cada corte fluye en una encantadora malla de órgano, guitarra y batería. DeFrancesco termina el álbum con una floritura añadiendo su suave y rica voz a "That's All". Mientras que sus fans probablemente no esperarán una recomendación para coger Ballads and Blues, todos los demás encontrarán el álbum una buena introducción a la música de órgano del nuevo milenio.
https://www.allmusic.com/album/ballads-and-blues-mw0000221431
Saturday, July 27, 2024
Papa John DeFrancesco • Desert Heat
The father of Joey DeFrancesco, "Papa John" had his career revived when his son's success helped bring about the renaissance of the Hammond organ. John's father had played reeds with various swing bands, including the Dorsey Brothers. John DeFrancesco began playing trumpet when he was six and did not start playing organ until his wife bought him an organ for his 23rd birthday. After a few months of nearly nonstop practicing, he was ready to perform in clubs. In 1967 DeFrancesco moved to Philadelphia and soon he was part of the Philadelphia jazz scene. However, in 1979 when Joey turned eight and started playing professionally, John temporarily gave up his career in order to supervise his son. Another son, Johnny DeFrancesco, developed into a fine guitarist. In the 1990s, John DeFrancesco returned to a more active playing career, recording two strong sets for Muse (Doodlin' and Comin' Home -- both of which feature Joey on trumpet) and gaining a national reputation of his own. "Papa John" plays organ in an infectious hard bop style not that different from his son. In the 21st century he signed first to Highnote and then its sister imprint Savant, where he issued a string of fine recordings including Hip Cake Walk in 2001, Jumpin' in 2003, Walking Uptown in 2004, and Desert Heat in 2006. After a five-year recording hiatus, Papa John returned with A Philadelphia Story in a classic B-3 trio setting with John Jr. on guitar and drummer Glenn Ferracone, with guest appearances from Joey and tenor man Joe Fortunato.
https://www.allmusic.com/artist/papa-john-defrancesco-mn0000009657#biography
El padre de Joey DeFrancesco, "Papa John" revivió su carrera cuando el éxito de su hijo ayudó a lograr el renacimiento del órgano Hammond. El padre de John había tocado juncos con varias bandas de swing, incluidos los Hermanos Dorsey. John DeFrancesco comenzó a tocar la trompeta cuando tenía seis años y no comenzó a tocar el órgano hasta que su esposa le compró un órgano para su cumpleaños número 23. Después de unos meses de practicar casi sin parar, estaba listo para actuar en clubes. En 1967 DeFrancesco se mudó a Filadelfia y pronto formó parte de la escena del jazz de Filadelfia. Sin embargo, en 1979, cuando Joey cumplió ocho años y comenzó a jugar profesionalmente, John abandonó temporalmente su carrera para supervisar a su hijo. Otro hijo, Johnny DeFrancesco, se convirtió en un buen guitarrista. En la década de 1990, John DeFrancesco volvió a una carrera como músico más activa, grabando dos sets fuertes para Muse (Doodlin' y Comin' Home, ambos con Joey a la trompeta) y ganando una reputación nacional propia. "Papa John" toca el órgano en un estilo contagioso de hard bop no muy diferente al de su hijo. En el siglo XXI firmó primero con Highnote y luego con su sello hermano Savant, donde publicó una serie de excelentes grabaciones que incluyen Hip Cake Walk en 2001, Jumpin' en 2003, Walking Uptown en 2004 y Desert Heat en 2006. Después de una pausa de grabación de cinco años, Papa John regresó con A Philadelphia Story en un escenario clásico de trío B-3 con John Jr.a la guitarra y el baterista Glenn Ferracone, con apariciones especiales de Joey y el tenor Joe Fortunato.
https://www.allmusic.com/artist/papa-john-defrancesco-mn0000009657#biography
Wednesday, May 29, 2024
Memphis Slim • Boogie Woogie Piano
An amazingly prolific artist who brought a brisk air of urban sophistication to his frequently stunning presentation, John "Peter" Chatman -- better known as Memphis Slim -- assuredly ranks with the greatest blues pianists of all time. He was smart enough to take Big Bill Broonzy's early advice about developing a style to call his own to heart, instead of imitating that of his idol, Roosevelt Sykes. Soon enough, other 88s pounders were copying Slim rather than the other way around; his thundering ivories attack set him apart from most of his contemporaries, while his deeply burnished voice possessed a commanding authority.
As befits his stage name, John "Peter" Chatman was born and raised in Memphis; a great place to commit to a career as a bluesman. Sometime in the late '30s, he resettled in Chicago and began recording as a leader in 1939 for OKeh, then switched over to Bluebird the next year. Around the same time, Slim joined forces with Broonzy, then the dominant force on the local blues scene. After serving as Broonzy's invaluable accompanist for a few years, Slim emerged as his own man in 1944.
After the close of World War II, Slim joined Hy-Tone Records, cutting eight tracks that were later picked up by King. Lee Egalnick's Miracle label reeled in the pianist in 1947; backed by his jumping band, the House Rockers (its members usually included saxists Alex Atkins and Ernest Cotton), Slim recorded his classic "Lend Me Your Love" and "Rockin' the House." The next year brought the landmark "Nobody Loves Me" (better known via subsequent covers by Lowell Fulson, Joe Williams, and B.B. King as "Everyday I Have the Blues") and the heartbroken "Messin' Around (With the Blues)."
The pianist kept on label-hopping, moving from Miracle to Peacock to Premium (where he waxed the first version of his uncommonly wise down-tempo blues "Mother Earth") to Chess to Mercury before staying put at Chicago's United Records from 1952 to 1954. This was a particularly fertile period for the pianist; he recruited his first permanent guitarist, the estimable Matt Murphy, who added some serious fret fire to "The Come Back," "Sassy Mae," and "Memphis Slim U.S.A."
Before the decade was through, the pianist landed at Vee-Jay Records, where he cut definitive versions of his best-known songs with Murphy and a stellar combo in gorgeously sympathetic support (Murphy was nothing short of spectacular throughout).
Slim exhibited his perpetually independent mindset by leaving the country for good in 1962. A tour of Europe in partnership with bassist Willie Dixon a couple of years earlier had so intrigued the pianist that he permanently moved to Paris, where recording and touring possibilities seemed limitless and the veteran pianist was treated with the respect too often denied even African-American blues stars at home back then. He remained there until his 1988 death, enjoying his stature as expatriate blues royalty.
https://www.allmusic.com/artist/memphis-slim-mn0000421122/biography
Biografía de Bill Dahl
Un artista increíblemente prolífico que trajo un aire de sofisticación urbana a su presentación frecuentemente impresionante, John "Peter" Chatman -más conocido como Memphis Slim- seguramente se encuentra entre los mejores pianistas de blues de todos los tiempos. Fue lo suficientemente inteligente como para seguir los primeros consejos de Big Bill Broonzy sobre el desarrollo de un estilo para llamar a los suyos propios, en lugar de imitar al de su ídolo, Roosevelt Sykes. Muy pronto, otros de 88 libras copiaron a Slim en lugar de hacerlo al revés; su estruendoso ataque de marfiles lo separó de la mayoría de sus contemporáneos, mientras que su voz profundamente bruñida poseía una autoridad dominante.
Como corresponde a su nombre artístico, John "Peter" Chatman nació y creció en Memphis; un gran lugar para comprometerse a una carrera como bluesista. A finales de los años 30, se reubicó en Chicago y comenzó a grabar como líder en 1939 para OKeh, para luego cambiar a Bluebird al año siguiente. Más o menos al mismo tiempo, Slim unió fuerzas con Broonzy, que entonces era la fuerza dominante en la escena blues local. Después de servir como el inestimable acompañante de Broonzy durante unos años, Slim emergió como su propio hombre en 1944.
Después del final de la Segunda Guerra Mundial, Slim se unió a Hy-Tone Records, cortando ocho temas que luego fueron recogidos por King. El sello Milagro de Lee Egalnick se hizo con el sello del pianista en 1947; respaldado por su banda de saltos, The House Rockers (entre sus miembros se encontraban los saxos Alex Atkins y Ernest Cotton), Slim grabó sus clásicos "Lend Me Your Love" y "Rockin' the House". El año siguiente trajo el hito "Nobody Loves Me" (más conocido por las siguientes portadas de Lowell Fulson, Joe Williams y B.B. King como "Everyday I Have the Blues") y el desolado "Messin' Around (With the Blues)" (Messin' Around (With the Blues)).
El pianista se mantuvo en la etiqueta-hopping, pasando de Miracle a Peacock a Premium (donde enceró la primera versión de su inusualmente sabia blues de down-tempo "Mother Earth") a Chess to Mercury antes de quedarse en el Chicago's United Records desde 1952 hasta 1954. Este fue un período particularmente fértil para el pianista; reclutó a su primer guitarrista permanente, el estimable Matt Murphy, quien agregó un poco de grave preocupación a "The Come Back", "Sassy Mae" y "Memphis Slim U.S.A.".
Antes de que terminara la década, el pianista llegó a Vee-Jay Records, donde cortó versiones definitivas de sus canciones más conocidas con Murphy y un combo estelar con un magnífico apoyo simpático (Murphy fue nada menos que espectacular en todo momento).
Slim exhibió su mentalidad perpetuamente independiente al dejar el país para siempre en 1962. Una gira por Europa en asociación con el bajista Willie Dixon un par de años antes había intrigado tanto al pianista que se mudó permanentemente a París, donde las posibilidades de grabación y gira parecían ilimitadas y el veterano pianista fue tratado con el respeto que se le negaba con demasiada frecuencia, incluso a las estrellas del blues afroestadounidense en casa en ese entonces. Permaneció allí hasta su muerte en 1988, disfrutando de su estatura como expatriado de la realeza del blues.
https://www.allmusic.com/artist/memphis-slim-mn0000421122/biography
Tuesday, April 23, 2024
Rick Wurzbacher • The Essence
Saturday, April 13, 2024
'Papa' John DeFrancesco • A Philadelphia Story
The father of Joey DeFrancesco, "Papa John" had his career revived when his son's success helped bring about the renaissance of the Hammond organ. John's father had played reeds with various swing bands, including the Dorsey Brothers. John DeFrancesco began playing trumpet when he was six and did not start playing organ until his wife bought him an organ for his 23rd birthday. After a few months of nearly nonstop practicing, he was ready to perform in clubs. In 1967 DeFrancesco moved to Philadelphia and soon he was part of the Philadelphia jazz scene. However, in 1979 when Joey turned eight and started playing professionally, John temporarily gave up his career in order to supervise his son. Another son, Johnny DeFrancesco, developed into a fine guitarist. In the 1990s, John DeFrancesco returned to a more active playing career, recording two strong sets for Muse (Doodlin' and Comin' Home -- both of which feature Joey on trumpet) and gaining a national reputation of his own. "Papa John" plays organ in an infectious hard bop style not that different from his son. In the 21st century he signed first to Highnote and then its sister imprint Savant, where he issued a string of fine recordings including Hip Cake Walk in 2001, Jumpin' in 2003, Walking Uptown in 2004, and Desert Heat in 2006. After a five-year recording hiatus, Papa John returned with A Philadelphia Story in a classic B-3 trio setting with John Jr. on guitar and drummer Glenn Ferracone, with guest appearances from Joey and tenor man Joe Fortunato.
https://www.allmusic.com/artist/papa-john-defrancesco-mn0000009657#biography
El padre de Joey DeFrancesco, "Papa John" revivió su carrera cuando el éxito de su hijo ayudó a lograr el renacimiento del órgano Hammond. El padre de John había tocado juncos con varias bandas de swing, incluidos los Hermanos Dorsey. John DeFrancesco comenzó a tocar la trompeta cuando tenía seis años y no comenzó a tocar el órgano hasta que su esposa le compró un órgano para su cumpleaños número 23. Después de unos meses de practicar casi sin parar, estaba listo para actuar en clubes. En 1967 DeFrancesco se mudó a Filadelfia y pronto formó parte de la escena del jazz de Filadelfia. Sin embargo, en 1979, cuando Joey cumplió ocho años y comenzó a jugar profesionalmente, John abandonó temporalmente su carrera para supervisar a su hijo. Otro hijo, Johnny DeFrancesco, se convirtió en un buen guitarrista. En la década de 1990, John DeFrancesco volvió a una carrera como músico más activa, grabando dos sets fuertes para Muse (Doodlin' y Comin' Home, ambos con Joey a la trompeta) y ganando una reputación nacional propia. "Papa John" toca el órgano en un estilo contagioso de hard bop no muy diferente al de su hijo. En el siglo XXI firmó primero con Highnote y luego con su sello hermano Savant, donde publicó una serie de excelentes grabaciones que incluyen Hip Cake Walk en 2001, Jumpin' en 2003, Walking Uptown en 2004 y Desert Heat en 2006. Después de una pausa de grabación de cinco años, Papa John regresó con A Philadelphia Story en un escenario clásico de trío B-3 con John Jr.a la guitarra y el baterista Glenn Ferracone, con apariciones especiales de Joey y el tenor Joe Fortunato.
https://www.allmusic.com/artist/papa-john-defrancesco-mn0000009657#biography
Saturday, January 20, 2024
'Papa' John DeFrancesco • Walking Uptown
Papa John DeFrancesco, the father of Joey DeFrancesco, is a talented organist himself. On this informal set with his quartet (which also includes tenor-saxophonist Tim Warfield, his other musical son, guitarist Johnny DeFrancesco, and drummer Glenn Ferracone), Papa John mostly sticks to the blues and bluish material. In addition to a swinging version of "Sunny," the gospel-ish "People Get Ready," the funky "160 Million Dollar Chinese Man" (from the remake of Ocean's 11), and a vamp piece ("What Happened"), there are four blues at various tempos and levels of funk. Joey DeFrancesco makes guest appearances on two tracks (one apiece on trumpet and piano) and bassist Paul Klinefelter is on one number but otherwise the basic quartet is showcased romping and stomping out their brand of soulful blues.
Papa John DeFrancesco, el padre de Joey DeFrancesco, es también un talentoso organista. En este set informal con su cuarteto (que también incluye al tenor-saxofonista Tim Warfield, su otro hijo musical, el guitarrista Johnny DeFrancesco, y el baterista Glenn Ferracone), Papa John se ciñe principalmente al blues y al material azul. Además de una versión de "Sunny", el gospel "People Get Ready", el funky "160 Million Dollar Chinese Man" (del remake de Ocean's 11), y una pieza de vampiro ("What Happened"), hay cuatro blues a varios tempos y niveles de funk. Joey DeFrancesco hace apariciones como invitado en dos temas (uno en la trompeta y otro en el piano) y el bajista Paul Klinefelter está en un número, pero por lo demás el cuarteto básico se muestra retozando y pisando fuerte con su marca de blues conmovedor.


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