Showing posts with label bernard purdie. Show all posts
Showing posts with label bernard purdie. Show all posts

Friday, July 24, 2026

Masters Of Groove • Meet Dr. No

 





Masters of Groove is an all-star project featuring organist Reuben Wilson, drummer Bernard Purdie, and two considerably younger, still up-and-coming musicians -- guitarist Grant Green, Jr. and bassist Tarus Mateen. (Mateen is known in the jazz world as an upright player, but here he plays five-string electric.) The concept is simple: music from or inspired by Dr. No, the very first James Bond film, released in 1962. The group does justice to the movie's Jamaican flavor, dipping into reggae and calypso rhythms on "III Blind Mice," "Jump Up," and, of course, "Under the Mango Tree," a melody that surfaces time and again in the film. But there's also a steady supply of funk, as there must be when veteran soul-jazzer Wilson and R&B session master Purdie are on hand. The nicest twist is "Bond II" -- the universally recognized Bond theme over a laid-back 12/8 feel that has come to be known as the "Purdie shuffle." Wilson's own "Crab Key Lullaby," a brief and juicy organ solo finale, closes out the album on a swinging note. All along, one wonders whether they'll give listeners that classic Bond signoff: a sustained E minor/major ninth chord. Sure enough, it's the last sound you hear, sampled right from the soundtrack. This sort of danceable, improv-based worldbeat will certainly appeal to the jam band crowd. The playing is excellent, but some of these loosely structured tunes go on well after the point has been made.
by David R. Adler
http://www.allmusic.com/album/masters-of-groove-meet-dr-no-mw0000115924

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Masters of Groove es un proyecto estrella con el organista Reuben Wilson, el baterista Bernard Purdie, y dos músicos considerablemente más jóvenes, aún en ascenso - el guitarrista Grant Green, Jr. y el bajista Tarus Mateen. (Mateen es conocido en el mundo del jazz como un intérprete vertical, pero aquí toca la electricidad de cinco cuerdas.) El concepto es simple: música de o inspirada por Dr. No, la primera película de James Bond, estrenada en 1962. El grupo hace justicia al sabor jamaicano de la película, sumergiéndose en los ritmos reggae y calipso en "III Blind Mice", "Jump Up" y, por supuesto, "Under the Mango Tree", una melodía que aparece una y otra vez en la película. Pero también hay un suministro constante de funk, como debe haber cuando el veterano soul-jazzer Wilson y el maestro de sesiones de R&B Purdie están a mano. El giro más agradable es "Bond II", el universalmente reconocido tema de Bond sobre una relajada sensación de 12/8 que ha llegado a conocerse como "Purdie shuffle". La propia "Canción de cuna de Crab Key" de Wilson, un breve y jugoso final de solo de órgano, cierra el álbum con una nota de balanceo. Todo el tiempo, uno se pregunta si le darán a los oyentes ese clásico signoff de Bond: un acorde de mi menor/mayor novena sostenido. Por supuesto, es el último sonido que se oye, tomado directamente de la banda sonora. Este tipo de ritmo mundial bailable y basado en la improvisación ciertamente atraerá a la multitud de la banda de música. La interpretación es excelente, pero algunas de estas melodías vagamente estructuradas siguen bien después de que se haya hecho el punto.
por David R. Adler
http://www.allmusic.com/album/masters-of-groove-meet-dr-no-mw0000115924


Tuesday, July 21, 2026

Bernard Purdie • Bernard Purdie & Friends Present Cool Down

 



Touted as a the most recorded drummer in history, Bernard “Pretty” Purdie, has preformed on over 3000 albums to date. His current release, “Cool Down” on Sugar Road Records has him teaming up with Brian Jay (Pimps of Joytime) & Pete Shand (New Mastersounds) to bring a collection of original material touching in soul, jazz and funk. Featuring Ivan Neville on keys and vocals and special guest appearances by Cyril Neville (The Meters), Anthony Cole (Nat King Cole’s great grandson) and Mayteana Morales (Pimps of Joytime), the hit maker, brings these songs to live with his unique style.

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Considerado el batería con más grabaciones de la historia, Bernard "Pretty" Purdie ha participado en más de 3.000 álbumes hasta la fecha. Su actual lanzamiento, "Cool Down", en Sugar Road Records, cuenta con la colaboración de Brian Jay (Pimps of Joytime) y Pete Shand (New Mastersounds) para ofrecer una colección de material original con toques de soul, jazz y funk. Con Ivan Neville a las teclas y a la voz, y con la participación especial de Cyril Neville (The Meters), Anthony Cole (bisnieto de Nat King Cole) y Mayteana Morales (Pimps of Joytime), el creador de éxitos lleva estas canciones al directo con su estilo único.


www.bernardprettypurdie.com ...


Monday, May 18, 2026

Bernard Pretty Purdie • Move on!

 

 



No one receives top billing in this tight-knit trio, which embodies organist Ron Oswanski, bassist Christian Fabian and drummer Bernard "Pretty" Purdie. And that is as it should be, as each of them is indispensable to its success. That success is further predicated on how well the three amigos enhance an agenda that is heavily laden with funk and soul including five greasy compositions by Fabian and others by Duke Ellington, Miles Davis and even Julia Ward Howe (a gritty "Battle Hymn of the Republic").

Once Oswanski, Fabian and Purdie decided that funk was the order of the day, they set about making the music as bright and pleasing as possible, and in that respect they have pretty much succeeded. Oswanski's Hammond B3 is expressive and agile, Fabian's electric bass steady and emphatic, Purdie's drumming sharp and supportive, the teamwork as solid as could be envisioned from three past masters who have traveled this road many times before.

The compass is set on Fabian's "The Red Plaza" and "BPP Blues," which present the trio in a groovy milieu that serves as a harbinger of backbeats to come. After the engaging "Can't You See (You're Doin' Me Wrong)," Fabian returns with two more bass-heavy shufflers, "84-85" and "Got Groove (Part 2)," leading to the album's lone "change of pace," Ellington's "Love You Madly," on which the tempo slows and the funk eases for the first (and only) time. The sinewy "Move On!" (introduced by Purdie's persuasive snares) is next, followed by "Battle Hymn" and Davis' casual "So What," whose spare melody lends itself well to Fabian's sonorous bass.

Move On! was recorded for Consolidated Artists Productions and is dedicated "in loving memory" to the label's founder, pianist / composer Mike Longo, who died in March 2020 from the coronavirus. Make no mistake, this is music whose course is clear and whose rendition is exemplary. Having said that, prospective listeners should be aware that its base is funk, its essence soul, and appraise it from that vantage point. The stars are given primarily for the performance, which is superb.
By JACK BOWERS
July 15, 2020
https://www.allaboutjazz.com/move-on-purdie-fabian-oswanski-cap

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Nadie recibe la máxima atención en este trío tan unido, que encarna el organista Ron Oswanski, el bajista Christian Fabian y el batería Bernard "Pretty" Purdie. Y así debe ser, ya que cada uno de ellos es indispensable para su éxito. Ese éxito se basa además en lo bien que los tres amigos realzan un programa muy cargado de funk y soul que incluye cinco composiciones grasientas de Fabian y otras de Duke Ellington, Miles Davis e incluso Julia Ward Howe (un arenoso "Battle Hymn of the Republic").

Una vez que Oswanski, Fabian y Purdie decidieron que el funk estaba a la orden del día, se propusieron hacer la música lo más brillante y agradable posible, y en ese sentido han tenido bastante éxito. El Hammond B3 de Oswanski es expresivo y ágil, el bajo eléctrico de Fabian firme y enfático, la batería de Purdie afilada y de apoyo, el trabajo en equipo tan sólido como podría imaginarse de tres maestros del pasado que han recorrido este camino muchas veces antes.

La brújula está fijada en "The Red Plaza" y "BPP Blues" de Fabian, que presentan al trío en un ambiente groovy que sirve como presagio de los ritmos de fondo que vendrán. Después de la atractiva "Can't You See (You're Doin' Me Wrong)", Fabian vuelve con otros dos temas de bajo, "84-85" y "Got Groove (Part 2)", que conducen al único "cambio de ritmo" del álbum, "Love You Madly" de Ellington, en el que el ritmo se ralentiza y el funk disminuye por primera (y única) vez. El vigoroso "Move On!" (introducida por los persuasivos redoblantes de Purdie) es la siguiente, seguida de "Battle Hymn" y la desenfadada "So What" de Davis, cuya melodía sobria se presta bien al sonoro bajo de Fabian.

Move On! se grabó para Consolidated Artists Productions y está dedicado "en cariñosa memoria" al fundador del sello, el pianista/compositor Mike Longo, que murió en marzo de 2020 a causa del coronavirus. No se equivoquen, esta es una música cuyo curso es claro y cuya interpretación es ejemplar. Dicho esto, los posibles oyentes deben ser conscientes de que su base es el funk, su esencia el soul, y valorarla desde ese punto de vista. Las estrellas se otorgan principalmente por la interpretación, que es magnífica.
Por JACK BOWERS
15 de julio de 2020
https://www.allaboutjazz.com/move-on-purdie-fabian-oswanski-cap



www.bernardprettypurdie.com ...


Tracklist:
1 The Red Plaza 4:53
2 B P P Blues 5:31
3 Can't You See (You're Doin'me Wrong) 3:36
4 84-85 5:29
5 Got Groove? ((Pt.2)) 7:01
6 Love You Madly 5:26
7 Move on! 5:48
8 The Battle Hymn of the Republic 5:44
9 So What 6:12


Credits:
Ron Oswanski: organ, Hammond B3;
Christian Fabian: bass, electric;
Bernard Purdie: drums

2020
https://www.amazon.com/Christian-Fabian-Oswanski-Bernard-Pretty/dp/B087Z6DZNF




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Saturday, May 9, 2026

Sonny Phillips • Sure 'Nuff

 

 

Biography by Steve Huey
Organist Sonny Phillips was born in Mobile, Alabama in 1936 to a musical family, but did not begin his jazz education until the age of 23, when he began studying with Ahmad Jamal. The music of Jimmy Smith inspired him to switch to the organ, and soon he was performing with soul-jazz greats such as Lou Donaldson, Eddie Harris, Houston Person, and Gene Ammons. Phillips debuted as a leader on the 1969 Prestige set Sure 'Nuff, which was followed by the 1970 dates Black Magic and Black on Black. He returned to recording as a leader for the Muse label in 1976 with My Black Flower, but the next year's I Concentrate on You proved to be his final recording as a leader. After an illness in 1980, Phillips moved to Los Angeles, where he occasionally taught, performed, and recorded as a sideman during the years to follow.
https://www.allmusic.com/artist/sonny-phillips-mn0000046110/biography

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Biografía de Steve Huey
El organista Sonny Phillips nació en Mobile, Alabama, en 1936, en el seno de una familia de músicos, pero no comenzó su formación jazzística hasta los 23 años, cuando empezó a estudiar con Ahmad Jamal. La música de Jimmy Smith le inspiró a pasarse al órgano, y pronto actuó con grandes del soul-jazz como Lou Donaldson, Eddie Harris, Houston Person y Gene Ammons. Phillips debutó como líder en el disco de Prestige Sure 'Nuff de 1969, al que siguieron los discos de 1970 Black Magic y Black on Black. Volvió a grabar como líder para el sello Muse en 1976 con My Black Flower, pero al año siguiente I Concentrate on You resultó ser su última grabación como líder. Después de una enfermedad en 1980, Phillips se trasladó a Los Ángeles, donde ocasionalmente dio clases, actuó y grabó como músico secundario durante los años siguientes.
https://www.allmusic.com/artist/sonny-phillips-mn0000046110/biography


Colaborador / Contributor:  Ketmokin


Monday, March 23, 2026

Ronnie Foster • Sweet Revival






Tuesday, February 17, 2026

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

 
 
 

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 ...


Saturday, September 13, 2025

Bernard Purdie-Christian Fabian-Ron Oswanski • Move On!

 



El baterista Bernard Purdie es una de las figuras más destacadas en lo referente a las secciones de ritmo de las bandas de soul y jazz. Sin incurrir en ningún excso de él bienpuede decirse que es una leyendo en la suyo.

Para hacernos idea de lo que es este baterista baste decir que fue, entre 1970 y 1975, el director musical de Aretha Franklin, que fue miembro de las formaciones iniciales de James Brown, y que posteriormente ha grabado, por citar sólo a los músicos de jazz, con Lou Donaldson, Hank Crawford, King Curtis, Grover Washington, Jr., George Benson, Louis Armstrong, Gato Barbieri, Dizzy Gillespie, Gene Ammons, Rusty Bryand, Hank Crawfor y Herbie Hancock.

De su trabajo hay una cifra que lo dice todo: ha participado en más de 4.000 grabaciones como músico de estudio —si fuese un mediocre no le llamarían.

Además, Bernard Purdie es el creador del llamado ‘Purdie Shuffle’, un ritmo sincopado que se puede oír, por ejemplo, en ‘Home at last’ del álbum ‘Aja’ de Steely Dan, que ha sido sampleado de manera habitual por músicos de acid jazz y que ha resultado tremendamente influyente entre las nuevas generaciones de instrumentistas.

A su prolífica carrera como líder o co-líder, hay que añadir ahora este ‘Move On!’, grabado en compañía del bajista Christian Fabian y el organista de Hammond B-3 Ron Oswanski.

‘Move On! presenta nueve canciones que remiten al groove de toda la vida, aunque un tanto alejados de la furia de Richard ‘Groove’ Holmes, Jimmy McGriff o Charles Earland.

Las composiciones elegidas para este ‘Move on!’ se dividen entre temas propios, como ‘BPP Blues’ una pieza de Christian Fabian dedicada a Bernie Purdie, y el creación que da título al disco, que no tiene nada que ver con la maravillosa canción de Curtys Mayfield, y versiones de canciones clásicas, como el popular ‘The Battle Hymn of the Republic’ y el milesiano ‘So What’, del que hacen una intensa versión.

‘Move on!’ se presenta como un disco amable, sin mayores pretensiones que sus protagonistas, Bernard Purdie, Christian Fabian y Ron Oswanski, pasen un buen rato, y nosotros con ellos.
http://www.distritojazz.com/discos-jazz/bernard-purdie-christian-fabian-ron-oswanski-move-on

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No one receives top billing in this tight-knit trio, which embodies organist Ron Oswanski, bassist Christian Fabian and drummer Bernard "Pretty" Purdie. And that is as it should be, as each of them is indispensable to its success. That success is further predicated on how well the three amigos enhance an agenda that is heavily laden with funk and soul including five greasy compositions by Fabian and others by Duke Ellington, Miles Davis and even Julia Ward Howe (a gritty "Battle Hymn of the Republic").

Once Oswanski, Fabian and Purdie decided that funk was the order of the day, they set about making the music as bright and pleasing as possible, and in that respect they have pretty much succeeded. Oswanski's Hammond B3 is expressive and agile, Fabian's electric bass steady and emphatic, Purdie's drumming sharp and supportive, the teamwork as solid as could be envisioned from three past masters who have traveled this road many times before.

The compass is set on Fabian's "The Red Plaza" and "BPP Blues," which present the trio in a groovy milieu that serves as a harbinger of backbeats to come. After the engaging "Can't You See (You're Doin' Me Wrong)," Fabian returns with two more bass-heavy shufflers, "84-85" and "Got Groove (Part 2)," leading to the album's lone "change of pace," Ellington's "Love You Madly," on which the tempo slows and the funk eases for the first (and only) time. The sinewy "Move On!" (introduced by Purdie's persuasive snares) is next, followed by "Battle Hymn" and Davis' casual "So What," whose spare melody lends itself well to Fabian's sonorous bass.

Move On! was recorded for Consolidated Artists Productions and is dedicated "in loving memory" to the label's founder, pianist / composer Mike Longo, who died in March 2020 from the coronavirus. Make no mistake, this is music whose course is clear and whose rendition is exemplary. Having said that, prospective listeners should be aware that its base is funk, its essence soul, and appraise it from that vantage point. The stars are given primarily for the performance, which is superb. 
By Jack Bowers
July 15, 2020 
https://www.allaboutjazz.com/move-on-purdie-fabian-oswanski-cap


facebook.com/bernardprettypurdie



Tuesday, June 24, 2025

Sonny Phillips • Black On Black




Reviews:
Sonny Phillips' third and final album for Prestige, coming just over a year after his first, shows the soul-jazz organist moving in a somewhat funkier direction than his first two efforts. The roiling title track actually has an edge of menace to it, an idea his other albums never even entertained. Of the five tracks, the most surprisingly effective is the nine-minute take on Creedence Clearwater Revival's "Proud Mary"; even more so than Ike and Tina Turner, Phillips and band completely reshape the song, taking off the edge of distance from Creedence Clearwater Revival's original and the campy showbiz of the better-known cover in favor of a pure soul-jazz workout that's among the finest things Phillips ever did in his short recording career. The other highlight is "The Doll House," a showcase for Rusty Bryant's tenor sax with the album's most satisfying soloing. Sonny Phillips isn't highly rated by some soul-jazz historians, but his unique and characteristic light tone -- heavily influenced by his early teachers, Jodie Christian and Ahmad Jamal -- makes his albums far more interesting to listen to than the usual barrage of Jimmy McGriff lifts. ~ by Stewart Mason, AMG.
Source: http://www.allmusic.com/album/black-on-black-mw0000946457

This 1970 album "Black On Black" is another fine soul-jazz recording. It features Phillips with tenor saxophonist Rusty Bryant, guitarist Melvin Sparks, electric bassist Jimmy Lewis and drummer Bernard Purdie. The music is blues-and groove-oriented. Bryant in particular showcases some fine solos, while Phillips' chugging organ is always appealing.
 
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Reseñas:
El tercer y último álbum de Sonny Phillips para Prestige, que llega poco más de un año después del primero, muestra al organista de soul-jazz moviéndose en una dirección algo más funky que sus dos primeros trabajos. El tema que da título al disco tiene un toque de amenaza, una idea que sus otros álbumes ni siquiera contemplaban. De los cinco temas, el más efectivo es la versión de nueve minutos de "Proud Mary" de Creedence Clearwater Revival; incluso más que Ike and Tina Turner, Phillips y la banda remodelan completamente la canción, quitando el borde de la distancia de la original de Creedence Clearwater Revival y el espectáculo campestre de la versión más conocida en favor de un trabajo de soul-jazz puro que está entre las mejores cosas que Phillips ha hecho en su corta carrera discográfica. El otro punto culminante es "The Doll House", un escaparate para el saxo tenor de Rusty Bryant con el solo más satisfactorio del álbum. Sonny Phillips no es muy valorado por algunos historiadores del soul-jazz, pero su tono ligero, único y característico -muy influenciado por sus primeros maestros, Jodie Christian y Ahmad Jamal- hace que sus álbumes sean mucho más interesantes de escuchar que el habitual aluvión de levantamientos de Jimmy McGriff. ~ por Stewart Mason, AMG.
Fuente: http://www.allmusic.com/album/black-on-black-mw0000946457

Este álbum de 1970, "Black On Black", es otra buena grabación de soul-jazz. Presenta a Phillips con el saxofonista tenor Rusty Bryant, el guitarrista Melvin Sparks, el bajista eléctrico Jimmy Lewis y el baterista Bernard Purdie. La música está orientada al blues y al groove. Bryant, en particular, muestra algunos buenos solos, mientras que el órgano de Phillips es siempre atractivo.


Saturday, May 31, 2025

Gary Burton • Good Vibes

 


Biography by Scott Yanow
One of the two great vibraphonists to emerge in the 1960s (along with Bobby Hutcherson), Gary Burton's remarkable four-mallet technique (best displayed on an unaccompanied version of "No More Blues" from 1971) can make him sound like two or three players at once. He has recorded in a wide variety of settings and always sounds distinctive. Self-taught on vibes, Burton made his recording debut with country guitarist Hank Garland when he was 17. From there, he started recording regularly for RCA in 1961, beginning with his debut, New Vibe Man in Town.

Despite his burgeoning solo career, he continued work as a sideman, touring with George Shearing's quintet in 1963. He also gained some fame while with Stan Getz's pianoless quartet during 1964-1966, and then put together his own groups. In 1967, with guitarist Larry Coryell, he led one of the early "fusion" bands, releasing albums like A Genuine Tong Funeral, Duster, and Gary Burton Quartet in Concert. Coryell would later be succeeded by Sam Brown, Mick Goodrick, John Scofield, Jerry Hahn, and Pat Metheny.

During the '70s, Burton continued to release a steady stream of albums including the impressive solo session Alone at Last, Ring with Eberhard Weber, and the quintet date Dreams So Real: Music of Carla Bley. He also collaborated often during the '70s, touring and recording duet sets with Chick Corea such as 1972's Crystal Silence for ECM. There were similarly influential dates with Ralph Towner, Steve Swallow, Paul Bley, Keith Jarrett, and others. Among his sidemen in the late '70s and '80s were Makoto Ozone, Tiger Okoshi, and Tommy Smith. Very active as an educator at Berklee upon joining its faculty in 1971, Burton remained a prominent performer over the next few decades, releasing albums like 1982's Lyric Suite for Sextet, 1986's Whiz Kids, and 1988's Times Like These for GRP.

Moving into the '90s, Burton stuck with GRP, issuing albums like the Paul Bley duo date Right Time, Right Place, 1993's It's Another Day with vocalist Rebecca Parris, and 1995's Face to Face. He then shifted to Concord for a bevy of well-regarded efforts, including 1997's Departure and 1998's Like Minds. Two years later, Libertango, his tribute to tango master Astor Piazzolla, arrived. The very personal album For Hamp, Red, Bags, and Cal was issued in 2001, and in 2002 he explored classical music with the duet album Virtuosi, recorded with pianist Makoto Ozone.

The year 2004 found Burton back on familiar ground with the release of Generations, a bop-influenced album featuring a quartet of younger musicians. Burton paired with the same group for 2005's Next Generation. In 2009, Burton released Quartet Live featuring guitarist Metheny and bassist Swallow on Concord. In 2012, he released Hot House, another duet recording with Corea. In August of 2013, the vibraphonist released Guided Tour by the New Gary Burton Quartet on Mack Avenue Records. His new bandmates included drummer Antonio Sanchez, bassist Scott Colley, and guitarist Julian Lage. Two years later, he joined Metheny, Jan Garbarek, Paul McCandless, the SWR Big Band, and others in a concert marking bassist Eberhard Weber's 75th birthday. It was released as Hommage à Eberhard Weber on ECM. After a 50-plus-year career, Burton retired from performing in 2017, following a farewell tour with pianist Ozone.
https://www.allmusic.com/artist/gary-burton-mn0000738182#biography


gary-burton ...

 


Tuesday, May 13, 2025

Archie Shepp • For Losers

 



Review by Rob Ferrier
At the time this record was recorded, Shepp was bouncing back and forth between Paris and New York. He also bounced between the Impulse! and BYG labels. He also bounced between styles. For BYG, his music reached to grasp the bare beginnings of black music, back to Africa and the blues. His music for Impulse! tried to embrace the contemporary sounds of R&B, with very mixed results that to this day divide his fans. This record is a transitional one. For the traditionalists, there's his shattering and amusing cover of "I've Got It Bad" performed by the usual suspects one would think to find on an Archie Shepp record, including Cecil Payne and Joe Chambers. For those enraptured by albums like Attica Blues, songs like "Stick 'Em Up" will fascinate, as Shepp's raspy tenor is joined not only by a legion of avant-garde brethren (including names like Beaver Harris and Grachan Moncur), but also by the funky wood of electric bass, guitar, and organ. Some will find those later tracks a bit hard to take. Some will even find themselves snickering. But for anyone wishing to understand the music and career of this brilliant musician, this is an undervalued piece of the puzzle.
https://www.allmusic.com/album/for-losers-mw0000552954

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Reseña de Rob Ferrier
Cuando se grabó este disco, Shepp iba y venía entre París y Nueva York. También oscilaba entre los sellos Impulse! y BYG. También oscilaba entre estilos. Para BYG, su música buscaba los orígenes de la música negra, en África y el blues. Su música para Impulse! intentó abrazar los sonidos contemporáneos del R&B, con resultados muy dispares que a día de hoy dividen a sus fans. Este disco es de transición. Para los tradicionalistas, está su estremecedora y divertida versión de «I've Got It Bad» interpretada por los sospechosos habituales que uno pensaría encontrar en un disco de Archie Shepp, incluidos Cecil Payne y Joe Chambers. Para aquellos embelesados por álbumes como Attica Blues, canciones como «Stick 'Em Up» fascinarán, ya que al rasposo tenor de Shepp se une no sólo una legión de hermanos vanguardistas (incluyendo nombres como Beaver Harris y Grachan Moncur), sino también la madera funky del bajo eléctrico, la guitarra y el órgano. A algunos les costará aceptar los últimos temas. Incluso habrá quien se ría a carcajadas. Pero para cualquiera que desee comprender la música y la carrera de este brillante músico, ésta es una pieza infravalorada del rompecabezas.
https://www.allmusic.com/album/for-losers-mw0000552954


 


www.archieshepp.org ...



Colaborador / Contributor:  Pierre


Wednesday, May 7, 2025

Brother Jack Mcduff • A change is gonna come



Review by Bruce Eder
This album is an elegant mix of soul and sambas, interspersed with a pair of distinctly blues-focused pieces. Jack McDuff's Hammond B-3 organ surges and trills and rocks, at times seeming to talk as the lead instrument on renditions of works as different as Ray Charles' "What'd I Say" and Sam Cooke's "A Change Is Gonna Come." His calls and responses with the five-man brass section on several of the tracks here comprise another highlight, but even the slow numbers, such as "No Tears," offer virtuoso playing by McDuff. The tempo and texture shifts throughout keep this record continually interesting to the listener, and the range of influences, from jazz to gospel with side trips into the blues (culminating with a seven-minute epic in the latter genre), gives a lot of great playing for everybody.



Biography :
A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest. They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. ~ Ron Wynn and Bob Porter

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Reseña de Bruce Eder
Este álbum es una mezcla elegante de soul y sambas, intercaladas con un par de piezas claramente enfocadas al blues. El órgano Hammond B-3 de Jack McDuff surge, se estremece y se mece, a veces parece hablar como el instrumento principal en interpretaciones de obras tan diferentes como "What'd I Say" de Ray Charles y "A Change Is Gonna Come" de Sam Cooke. Sus llamadas y respuestas con la sección de latón de cinco hombres en varias de las pistas aquí comprenden otro punto culminante, pero incluso los números lentos, como "No Tears", ofrecen una interpretación virtuosa de McDuff. Los cambios de tempo y textura a lo largo de todo el disco mantienen este disco continuamente interesante para el oyente, y la variedad de influencias, desde el jazz hasta el gospel con viajes al blues (culminando con una epopeya de siete minutos en este último género), da mucho de que hablar a todo el mundo.



Biografía :
Un maravilloso director de orquesta y organista, así como un hábil arreglista, "Brother" Jack McDuff tiene uno de los estilos más funky y conmovedores de todos los tiempos en el Hammond B-3. Sus graves sólidos como el rock y sus solos empapados de blues están equilibrados por melodías inteligentes, casi pianísticas e interesantes progresiones y frases. McDuff comenzó como bajista tocando con Denny Zeitlin y Joe Farrell. Estudió en Cincinnati y trabajó con Johnny Griffin en Chicago. Se enseñó a sí mismo órgano y piano a mediados de los años 50, y comenzó a llamar la atención trabajando con Willis Jackson a finales de los 50 y principios de los 60, cortando fechas de soul-jazz de alto calibre para Prestige. McDuff hizo su debut discográfico como líder de Prestige en 1960, tocando en una banda de estudio con Jimmy Forrest. Hicieron un par de álbumes sobresalientes: Tough Duff y The Honeydripper. McDuff organizó su propia banda al año siguiente, con Harold Vick y el baterista Joe Dukes. Las cosas se pusieron feas cuando McDuff contrató a un joven guitarrista llamado George Benson. Estaban entre los combos más populares de mediados de los 60 y grabaron varios discos excelentes. Los grupos posteriores de McDuff en Atlantic y Cadet no igualaron el nivel de la banda de Benson, mientras que las fechas posteriores para Verve y Cadet fueron desiguales, aunque generalmente buenas. McDuff experimentó con teclados electrónicos y fusión durante los'70, luego en los'80 volvió a la rutina con la sesión de Muse Cap'n Jack. Mientras su salud fluctuaba a lo largo de los años 90, McDuff lanzó varios discos en el sello Concord Jazz antes de sucumbir a la insuficiencia cardíaca el 23 de enero de 2001, a la edad de 74 años. ~ Ron Wynn y Bob Porter
 


Tuesday, April 15, 2025

Lou Donaldson • Play The Right Thing



Review by Richard S. Ginell
As specifically indicated by the album's title, the title tune's bluesy cast, and Sweet Lou Donaldson's own determined liner notes, this CD aims to strike a blow for soul-jazz, a once-popular, then-maligned idiom newly returned from exile. That it does -- with no frills, no apologies, and an idiomatic supporting cast. For Donaldson, it was a return to the style that lit up inner-city jukeboxes for him in the 1960s, and though his alto sax lacks some of the majesty that he could summon forth, his bop-flavored technique remained in fine shape in his mid-sixties. It was also a reunion with Donaldson's occasional organist Dr. Lonnie Smith, who contributes plenty of understated savvy to his solos and bass pedal underpinning. Peter Bernstein is the crisp, tasteful guitarist and Bernard Purdie remains the genre's premier timekeeper, assisted by conguero Ralph Dorsey. Together, they work over a series of standards ("Harlem Nocturne," "I Had the Craziest Dream"), some vintage bop (Charlie Parker's "Marmaduke"), and a few Donaldson compositions. "Whiskey Drinkin' Woman," a humorous slow blues featuring Donaldson's high-pitched, good-natured vocals, became a popular feature of his stage act into the next century. With all of these ingredients in place, the CD achieves a comfortable level of competence without really grabbing hold of a groove and riding it the way Donaldson could in his Blue Note days. Also, the sound is a little dry.

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Reseña de Richard S. Ginell
Como se indica específicamente por el título del álbum, el elenco de blues de la melodía del título y las decididas notas de línea de Sweet Lou Donaldson, este CD tiene como objetivo asestar un golpe al soul-jazz, un modismo que una vez fue muy popular y que en ese entonces fue maldecido y que recién regresó del exilio. Así es, sin adornos, sin disculpas y con un elenco de apoyo idiomático. Para Donaldson, fue una vuelta al estilo que iluminaba las rocolas de los barrios pobres de la ciudad en la década de 1960, y aunque su saxo alto carece de algo de la majestuosidad que podía invocar, su técnica con sabor a bop permaneció en buena forma a mediados de sus sesenta años. También fue una reunión con el organista ocasional de Donaldson, el Dr. Lonnie Smith, que contribuye con una gran cantidad de inteligencia discreta a sus solos y a la base de sus pedales de bajo. Peter Bernstein es el guitarrista de buen gusto y Bernard Purdie sigue siendo el principal cronometrador del género, asistido por el conguero Ralph Dorsey. Juntos, trabajan sobre una serie de estándares ("Harlem Nocturne", "I Had the Craziest Dream"), algo de bop vintage (Charlie Parker's "Marmaduke"), y algunas composiciones de Donaldson. "Whiskey Drinkin' Woman", un blues lento y humorístico con las voces agudas y de buen carácter de Donaldson, se convirtió en una característica popular de su actuación escénica hasta el siglo siguiente. Con todos estos ingredientes en su sitio, el CD alcanza un cómodo nivel de competencia sin tener que agarrarse realmente a un surco y montarlo de la forma en que lo hacía Donaldson en sus días de Blue Note. Además, el sonido es un poco seco.



Jimmy Mcgriff • The Dream Team



Review by Richard S. Ginell
Jimmy McGriff moves back to the Milestone label in style with a great soul-jazz quintet, with whom he recorded one of his best Milestone albums, The Starting Five. This time, with no apologies to the notorious O.J. Simpson legal staff, he calls his quintet "the Dream Team" -- and for this kind of music, indeed they are. McGriff strokes his Hammond XB-3 keys and pedals with a relaxed in-the-pocket feeling; with this group, he doesn't have to push, nor should he. David "Fathead" Newman holds down the tenor chair, Red Holloway (replacing the late Rusty Bryant) is on alto and tenor, Mel Brown plays really tasty guitar, and Bernard Purdie powers the drums. Check out the effortlessly sauntering, hip-swinging boogaloo of "Fleetwood Stroll" or the slow, deeply soulful treatment of Willie Nelson's country standard "Funny How Time Slips Away" or the oooh-ain't-that-funky "McGriffin." Everybody swings, everybody listens intuitively to each other and feels the down-home churchy grooves, and they recorded it all in one day at Rudy Van Gelder's studio. This has the ingredients for ranking as an instant classic in this idiom.

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Reseña de Richard S. Ginell
Jimmy McGriff regresa a la discográfica Milestone con un gran quinteto de soul-jazz, con el que grabó uno de sus mejores álbumes Milestone, The Starting Five. Esta vez, sin disculparse con el notorio personal legal de O.J. Simpson, llama a su quinteto "el equipo de los sueños" - y para este tipo de música, de hecho lo son. McGriff acaricia sus teclas y pedales del Hammond XB-3 con una relajada sensación en el bolsillo; con este grupo, no tiene que empujar, ni debería hacerlo. David "Fathead" Newman ocupa la silla de tenor, Red Holloway (reemplazando al difunto Rusty Bryant) está en alto y en tenor, Mel Brown toca una guitarra muy sabrosa, y Bernard Purdie impulsa la batería. Echa un vistazo al boogaloo que se mueve sin esfuerzo en "Fleetwood Stroll" o al tratamiento lento y profundamente conmovedor del estándar country de Willie Nelson "Funny How Time Slips Away" o el oooh-no-que-sea "McGriffin". Todos se balancean, todos se escuchan intuitivamente y sienten los ritmos de la iglesia, y lo grabaron todo en un día en el estudio de Rudy Van Gelder. Esto tiene los ingredientes para clasificarlo como un clásico instantáneo en este idioma.